A Bluestocking Knits

A, B, C, J --

I was going to shamelessly pinch an idea from Beyond Eden Rock and do an ABC of miscellanea, but found myself with multiple ideas for S (some of which I've redistributed to other letters -- !) and nothing at all for Z, M-N-O, not even for E.  And so rather than leave this post marooned in the Drafts folder while I flail about trying to think of what would work for D, I'll just go with what I've got ...

A = The “Anna Ohman” sampler continues to be a pleasure to work.  (I have since gone back and put in the missing dot on the downward stroke of the R in år, Swedish for "year," florid though it is.)

B = This week's “Bookshelf Traveling for Insane Times” is one of our living-room bookcases.  Most of the one on the right is science fiction and fantasy.  Dedicated shelf-readers might spot in the other case my set of Laura Ingalls Wilder companionably next to my set of Patrick O'Brian's Aubrey/Maturins, and the Ransomes on the shelf below.  What you do not see is the Golden Lion, aka Hardy House, which has resided in front of these shelves on a pair of sawhorses for the past two years or so.  It was a bit of a wrench to even decide it was time to give it away, let alone do so, but I realized that not only was I not able to devote the time to fixing it up that it deserves, but that it was keeping me from even beginning the project that had got me started in miniatures in the first place.  Luckily for me, its departure was as gentle and sudden as its arrival three years ago.  So -- bless you, dear Lion, and fare well!

C = I asked David to put up some shelves in the closet in our front bedroom -- which we continue to call a bedroom though in the twenty-some years we've lived here has never had a bed in it, but is our family/catch-all room.  All three of our bedrooms still have the original 1929 built-in dressers, but we have added to the shelves that other owners have added, because, really, can you ever have too much storage space?  I had suggested merely a plank resting on the existing 2x4s attached to the walls on either side, and another across the top of the window frame, but David either didn't believe me or knows me too well when I said that there would still be enough light from the window, and so he decided this was a better idea.  Which it probably is, mind you, as I can put my boxes of embroidery floss (just about to perform a sort of meiosis into at least one more box) on the little shelves as the boxes are not heavy and will be quite easily reachable, with the much-larger shelf on top for heavier seasonal things.  I have also made the promise to weed things out as they go into the closet ...

J = I'm very much enjoying my re-read of the Jack Aubrey/Stephen Maturin series -- am on the fourth at the moment, The Mauritius Command.

    [Jack] sighed, smiled, and was about to seal when Stephen walked in, looking mean and pinched.  "Stephen," he said, "I have just written to Sophie.  Have you any message?"
    "Love, of course.  And compliments to Mrs. Williams [Jack's mother-in-law, a tartar]."
    "Lord," cried Jack, writing fast, "thank you for reminding me.  I have explained about Lady Clonfert [a fellow-officer's wife who has begged passage on Jack's new command]," he observed, as he closed the letter up.
    "Then I trust you kept your explanation short," said Stephen.  "Circumstantial details destroy a tale entirely.  The longer, the less credible."
    "I merely stated that she did not appear at the rendezvous, and passed on."
    "Nothing about three o'clock in the morning, the hocus-pocus at the inn, signals disregarded, the boat being made to row as though we were escaping from the Day of Judgement, and the lady ditched?" asked Stephen, with the unpleasant creaking noise that was his nearest approach to a laugh.
    "What a rattle you are, to be sure," said Jack.

L = Two lace samples from an 1849 lace collar pattern that I'm trying to figure out from the both complex and somewhat cryptic period instructions.  These are the two choices for edgings once the collar is knitted -- I did these in crochet cotton at a much-larger gauge, just to get it worked out before I started the real thing.  As it happened, I recognized both of them after a few repeats -- the bottom one is  a variation of the "Hearth and Home Lace" edging and the top one a variation of the "Clover Leaf Lace" found in Nancie Wiseman's Lace from the Attic, and probably numerous other Shetland edgings sources.  I started knitting the collar in no.80 tatting cotton on the smallest needles I have, but got interrupted enough times by Julia wanting another length of the cotton for her elaborate bobbin lace project that I decided it would be better to just give her the rest of the spool and start again with a fresh one! which I haven't got hold of yet.

Q = I had already heard, around the internet and from the local needlework shop owner, that if you work cross-stitch with overdyed thread, you should do it in the "English style" and not the "Danish," which is making each X before going on to the next, instead of a line of //// as long as necessary then returning to work the \\\\.  Why "English" and "Danish"?  I don't know! but the reason is that because, unlike in the days when unevenly-dyed thread was something to be disguised, now we celebrate it, and making all of the strokes in one direction then coming back to finish the Xs tends to even out the variations, whereas making the whole X at once keeps them prominent.  It seems that I have been working Danish-style all my life without knowing it (also "left-handed" with my right hand, though that's another story)!  Because I wasn't sure if I could go back and forth between the two methods without driving myself crazy, or if concentrating hard on making sure that I was keeping to one or the other would spoil my enjoyment of both projects, I decided that a bit of prudence was in order and I will set the “Quaker Virtues” aside -- but not very far -- for the much-smaller "Anna Ohman".

S = Yeah, I also needed a knitting project, because the gauges are small enough on the samplers that it's easier for me to work them without my glasses or contacts.  I can't watch television without my glasses, obviously, so having a knitting project means that I can watch the new season of the "Bake Off" or "The Good Place" while I knit! and save the samplers for the quiet hour after my usually-early breakfast, before anyone else gets up.  The S is for Savannah cashmere/nylon/superwash merino, wonderfully soft, which is on its way to becoming the “Copilot” cowl.

T = Skillet Turkey Chili from Smitten Kitchen -- impressively delicious for something so quick and so simple!

Shimmer

Scene: Mom's house, yesterday evening.

Mom (coming up with a bag of white yarns in her hand): Here, I bought these to make this [waving six pages of pattern] but I couldn't figure it out.

Self: Ooh, lace-weight.  [Fingering them] Hmm, two different kinds.

Mom: I don't remember what that one is. 

Self: It feels like merino and something.

Mom: This one's really nice, alpaca and silk.  [Pause] I bought it to make this.

Self [looking at the pattern]  That's a lot of charts!

Mom: Yeah.  All that back-and-forth between the lace patterns, ugh.  I think I started it three times before I gave up.  I thought maybe you could use the yarn for curtains or something for your dollhouse.

Self:  Well, thanks!

Mom [rustles through the bag to find the one remaining label]  Yeah, Knit Picks Shimmer, 70% baby alpaca and 30% silk.  Really pretty wrap, isn't it. 

Self: Would you like me to make it for you?  [Wryly] 'Cause I need another project.  [David, half-reading an old Readers Digest, rolls his eyes.]

Mom:  Yes!!

[Later, at home]

David: That was really slick of your mom, the way she got you to make that lace thing for her.  Just like Tom Sawyer and whitewashing the fence.

Self:  Oh, man --

Thoughts on the "Ghislaine" Mitts and "Henslowe"

The Bluestocking still knits!  I've had two finished projects sitting around waiting to be photographed and blogged for months, I'm sorry to say -- well, not even "sitting around" because I've worn the shawl a couple of times already.

First is the Ghislaine mitts by Sara Varty, here in a long-awaited skein of Cherry Tree Hill Supersock in "Water" (blueish greens/greenish blues).  I've had this yarn in my drawer for at least ten years -- I think I had some fancy of knitting a pattern that had a watery name, but nothing ever appealed quite enough, and so when I saw the Ghislaine mitts somewhere, I decided that elegance would suit the subtle sophistication of the yarn's colors and delicate sheen perhaps even better than a name would.

The top hems are sewn down per the new-to-me method in The Knowledgeable Knitter, which is a kind of duplicate stitch.  It's a lot more bother than simply knitting the front and the hem stitches together as you go, but much smoother and quite soft, so especially pleasing on a pair of mitts.

This pattern probably would have been quite easy if I had paid a little more attention -- it's possible that it is too easy, as I kept making little mistakes like repeating Round 2 three or four times (!) in a row, or ... or -- somehow -- picking up an extra loop somewhere and ending up with too many stitches (!!) at the end of the gusset.  Well -- I think I noticed all of these before it was too late, and the resulting mitts are quite elegant.

There is something about certain faggoting combinations that tend, on my needles at least, to sort of scooch to one side -- and I think usually on the left edge, though I will have to take note the next time it happens -- thus obscuring the faggoting.  This one did as well, so I came up with a little trick that worked pretty well.  The stitch pattern has you yo, SSK on the first patt round and K2tog, yo on the second, and since it was the left edge of the column that pulled in a little too much, on the second patt round I did a YO twice, and simply dropped the extra yo on the next round, thereby giving it a little more wool so that it could spread a little better.

For the first mitt, I did as the pattern suggested and decreased around the top edge before working the picot hem, but -- possibly since I shortened the top length a bit -- this made the hem too tight on my hand, so I picked it out and reworked it with the full number of original stitches.  It does flare out a bit, but this is an acceptable compromise for me, since I prefer the shorter length.

The next time that I use this picot hem, I might work one round less on the turning (the inside), as mine usually seem a little concave where they should be either flat or convex -- I'm assuming that having the turning ever-so-slightly shorter would pull the edge of the hem towards the inside just enough to solve that for me.  It might also be that the hemming method adds just a smidge of length, so that's something to keep in mind.

I really like them -- classic and elegant, with a lovely smooth line and fit.  Full marks!

And then a skein of Seven Sisters Arts' Meridian merino/nylon blend in "Havran" --

became the "Henslowe" shoulder shawl by Beth Kling.  This is one of those charmers that is much easier than it looks, for the lace is a fairly simple one, and the interesting effect of the alternating diagonals is accomplished simply by working one repeat from the RS, then one from the WS, and so on.  And there is minimal finishing to be done, as the sections are joined as you go, with no hemming necessary.

The wool looks rather purplish in these photos, but the one of the skein is for the most part more accurate -- it is a sort of RAF blue, but changeable -- very handsome.

Thoughts on the Nurmilintu and Regina Marie Shawls

No, I haven't fallen off the face of the earth -- just got busy with things, then busier, and busier -- crikey.  I finished both of these knits ages ago, don't even remember when, but it was too warm to wear them.

Both of these are of course in the Queensland Rustic Merino Sport I scored at Tuesday Morning, so they seem to go together.  First is the Nurmilintu scarf/shoulder shawl by Heidi Alander, which is an obtuse triangle knitted on the bias in garter stitch with regular bursts of an easy eyelet lace.  It's very clever and simple, with the added benefit of the bias making the ends swirl all by themselves into really charming shapes, rather like a French curve.

The wool is a bit rough for a merino, but then you kind of expect that with something called "Rustic", and it's not quite as soft when knitted up as it is in the skein.  It is very nice to knit with, though, with a pleasing springiness to it, and both of the colors I got are rich and deep.  I had a factory-splice in the purple which I tidied up and then ignored, and it is pretty much invisible in the fabric now.  I guess from the lack of availability on the internet that Rustic Merino is discontinued, but if you see it on close-out, it might be worth snatching up!

I did decide that two skeins really weren't enough, and so I ran back to Tuesday morning and got some more -- of both colors! -- luckily it was still there.  The Nurmilintu used I think two and a half.

The second is the Regina Marie shoulder shawl by Sara Burch.  I've already mentioned my troubles getting used to the lace border, wh. took me an excessively long time, but in my defense it is a 16-row repeat of true lace, different every single row.  It did turn out very pretty, though, once I got the hang of it!  I might recommend perhaps a double YO instead of a single one just to the right of the cable (on the inner side, as it were) as it doesn't stand out as much on the right edge as it does on the left, for some reason -- you would just drop the extra YO on the next (WS) row, because heaven knows you don't want to mess up your stitch count, trust me!

I also tried something a little different, in that instead of just casting loosely for the border, casting off ditto, then at the end working an I-cord bind off across the top of the shawl, I did a provisional cast-on, kept the top edge of the border on a stitch holder, and then worked the I-cord all of the way across, including both the original start and end of the lace border -- although it doesn't make an entirely straight edge, because of the difference in angle between the border and the body, it does make a nice uniform sweep of I-cord across the whole upper edge, and was only slightly fiddly.

So I'm very pleased with the little shawls, in themselves and because the yarn was a happy bargain -- and now I have enough left for something else, maybe some wrist-warmers ...!

Progress Report

It's the tenth of the month, so here is my November progress update!  I've finished the Nurmilintu scarf, but some of the ends popped out so it's spot-blocking at the moment ....

The Turkoman carpet continues, slowly but surely.

I started the Regina Marie scarf-shawl with the forest-green Rustic Merino, but am having the dickens of a time with the lace.  The construction is very clever, using a short-row of one stitch (in effect) to "pick up stitches" for the center section as you work the border.  That is not my problem, which is apparently a combination of dark-colored wool, slightly splitty on occasion, and a sixteen-row repeat that is different every single row.  This is my third attempt -- the others were frogged all the way back to the ball -- and then I discovered that somehow I made the same mistake in the same row four times in succession!  Honestly, I hardly know whether to laugh or weep.  That should be a line of clean faggoting there, running alongside the eyelet M1s, but there is clearly something wrong -- but for the life of me, I can't figure out what, or on which row (3? maybe 4?), and there was certainly no way to fix it on the needles.

Yes, I used the past tense just there, as I ripped it all out soon after taking the photo, though I did manage to console myself afterwards by doing a pretty good job of adding sarcastic red arrows to the image, if I do say so myself.  I have since restarted the whole thing yet again, and still have no idea what I did wrong those four times, as I now have six and a half new repeats on the needle with a tidy line of faggoting just where it should be.

I am also in the middle -- actually, about three-quarters along -- of putting together a NAME Day armoire.  Apparently every year the National Association of Miniatures Enthusiasts has a day where all of the clubs work on the same project, sort of like Knit in Public Day -- this year the project is this armoire.  It is certainly the most complex piece I've put together, by far!  It's a bit more modern-looking than anything I've got, but I think it will be rather handsome nevertheless.  I chose the cherry-wood version.  It's leaning backwards a little because it doesn't have the back feet on yet!

It's planting season for us now, so I went to a California-natives plant sale at our local arboretum and bought a few things for a shady spot.  It's not much to look at just yet, of course, but this one is a fragrant pitcher sage (Lepechinia fragrans), which I'm really eager to see in bloom, as it has very pretty trumpet-shaped flowers that hang in little clusters of delicate lavender.  Now for a bit of rain ...

A "Sophie" Scarf

Elizabeth H. send me a photo of her "Sophie" scarf, which she worked in Malabrigo Silky Merino.  It looks lovely!  Thanks, Elizabeth!

She found an omission in the pattern, which is now corrected and can be found here.

Thoughts on the Kid Mohair Wrap

I'm having a kind of love/hate relationship with this wrap. 

I don't much like Kidsilk Haze. I can see the appeal of the finished product, but knitting with it is rather unpleasant.  I found not one but two knots in the first ball, and at $15 apiece (for just 25g!) the stuff is far too expensive to have to contend with knots, let alone multiple ones. 

The pattern is the Kid Mohair Wrap from Susan Cropper's Pretty Knits: 30 Designs from Loop in London of 2007, reprinted in "Canadian Living".  As I've said before, in my previous attempt at knitting this, there are a few errors, though perhaps only of judgement, in the pattern as printed in "Canadian Living", and one howler, which was in the amount of yarn needed to complete the wrap.  Two balls is not nearly enough for a full-sized wrap.

One ball would have got to about 25 in. long, which was 6 1/2 repeats of the crossed-eyelet stitch -- the pattern assumes that you will get 18 repeats total plus the two knot-stitch borders, so that one ball would be 9 repeats of the crossed-eyelet, a serious underestimate in my opinion.

There is as far as I can tell no errata page for this book at Potter Craft. I can sort of understand why a publisher might not want to admit that a book has mistakes, but frankly I don't think it serves them well in the long run.  It certainly only makes me frustrated and annoyed that I cannot find an errata page on their website.

The dimensions given in the pattern are 30x60 in. (76x142 cm) blocked, with 2 balls of Kidsilk Haze.  I found that 3 balls blocked assertively but not aggressively to 27x75 in., which was 21 repeats of the crossed-eyelet stitch.  I have never tried blocking wires, but would recommend that anyone working this wrap consider them.  Even getting the piece to this size was a trial, and after an hour of pinning and stretching, I was beginning to long for some nails and pieces of lumber.

After relaxing a bit, when I laid it out for the photo and did a quick measurement, it is about 24x72 inches.

That said, it's a very pretty wrap.  The lace patterns go together very nicely -- I like that the knot section is garter-based, while the border and middle sections are stockinette-based.  Much of the apparent cumbersomeness of the written pattern is because the border pattern is "attached" to the center pattern in the instructions, so that this way the knitter does not have to contend with juggling two separate charts, and trying to remember "am I on Row 4 of the border and Row 10 of the middle, or Row 4 of the middle and Row 10 of the border??" 

I really liked the mirror-image of the wave border, but was perplexed that the pattern as written didn't take advantage of the "waviness" with the decreases going in the right directions.  So here are my corrections and amendments:

SSSK (my own un-vention): An SSK with three stitches instead of two.

Row 3: Sl 1 purl-wise, [K2tog, yo] twice, K2, SSSK, K5, slip marker, knit to marker, slip marker, K5, K3tog, K2, [yo, K2tog] twice, K1. (86 sts)

Row 5: Sl 1 purl-wise, [K2tog, yo] twice, K2, SSK, K4, slip marker, knit to marker, slip marker, k4, K2tog, K2, [yo, K2tog] twice, K1. (84 sts)

Row 7: Sl 1 purl-wise, [K2tog, yo] twice, K2, SSK, K3, slip marker, knit to marker, slip marker, K3, K2tog, K2, [yo, K2tog] twice, K1. (82 sts)

Row 9: Sl 1 purl-wise, [K2tog, yo] twice, K2, SSK, K2, slip marker, knit to marker, slip marker, K2, K2tog, K2, [yo, K2tog] twice, K1. (80 sts)

Row 11: Sl 1 purl-wise, K1, yo, K2tog, yo, K1, yo, K2, SSK, K1, slip marker, knit to marker, slip marker, K1, K2tog, K2, yo, K1, yo, K2tog, yo, K2. (82 sts)

Row 31: Sl 1 purl-wise, [K2tog, yo] twice, K2, SSSK, K5, slip marker, *P1, K1, [skpo, yo] 3 times, K1, P1, repeat from * 5 times, slip marker, K5, K3tog, K2, [yo, K2tog] twice, K1. (86 sts)

Row 33: Sl 1 purl-wise, [K2tog, yo] twice, K2, SSK, K4, slip marker, *P1, K1, [skpo, yo] 3 times, K1, P1, repeat from * 5 times, slip marker, K4, K2tog, K2, [yo, K2tog] twice, K1. (84 sts)

Row 35: Sl 1 purl-wise, [K2tog, yo] twice, K2, SSK, K3, slip marker, *P1, [skpo, yo] 3 times, K2, P1, repeat from * 5 times, slip marker, K3, K2tog, K2, [yo, K2tog] twice, K1. (82 sts)

Row 37: Sl 1 purl-wise, [K2tog, yo] twice, K2, SSK, K2, slip marker, *P1, K1, [skpo, yo] twice, K3, P1, repeat from * 5 times, slip marker, K2, K2tog, K2, [yo, K2tog] twice, K1. (80 sts)

Row 39: Sl 1 purl-wise, K1, yo, K2tog, yo, K1, yo, K2, SSK, K1, slip marker, *P1, C4B, K4, P1, repeat from * 5 times, slip marker, K1, K2tog, K2, yo, K1, yo, K2tog, yo, K2. (82 sts)

[Edited, thanks to the eagle eyes of Emily, who spotted a typo! -- 19 February 2016]

I would have found it more helpful to give the number of stitches in the wave borders outside of the markers than the total number of stitches in a given row, but I haven't changed that here.

And for more personal recommendations:

I omitted Row 308 (the last row), as I thought it better matched the beginning of the wrap to not have an extra "plain" row there.

The bind-off given in the pattern was far too tight, even worked very loosely, so I used the suspended bind-off instead:

Slip one stitch, knit one stitch, *insert left needle tip into first stitch on right needle and lift the first st over the second (Figure 1), leaving the first stitch on the left needle, knit the next stitch (Figure 2), then slip both stitches off the left needle-two stitches remain on right needle and one stitch has been bound off (Figure 3). Repeat from * until no stitches remain on left needle, then pass first st on right needle over the second.  (The image has been lifted from Knitting Daily's helpful glossary.)

I was going for length over width in my blocking, as I was concerned that it wouldn't be long enough to be comfortable for the wearer -- but I found that hard blocking rather spoiled the "fluffiness" of the knot stitch, so if it is not an issue, 4 balls and a much less assertive blocking might be preferable. 

This is, by the way, forty hours of knitting!

Halfway?

Well, after twenty-five hours of knitting, I decided to block the Kid Mohair Wrap -- still on the needles -- and see what I've got. 

This is eighteen repeats of the "crossed eyelet" stitch, which the pattern says is what is in the accompanying photo.  If I added the knot-stitch border at the end now, my finished wrap would be only 53 inches long, so I can only assume that the "2 balls" in the pattern is a mistake for "3", as going by this test-blocking three balls of Kidsilk Haze will make it almost exactly 60 inches, the target length in the pattern.

Note that I could not reasonably get a 30-inch wide piece, so this is about 27 inches.  Pulling it harder would of course make the length even less.  It is obviously pretty fiercely blocked in the pattern's photo --

But now 60 inches seems a bit stingy for a wrap to me.  If I use the fourth ball, it would be around 80 inches, which is probably too much.  Is 70-75 inches a good length for a wrap?  I've been going through the dresser drawers, pulling out scarves and stoles and even bath towels, and draping them around my shoulders, and still can't decide.  Any advice?

Winter and Summer

David e-mailed the other day saying that the Company-Which-Shall-Not-Be-Named is sending him to the Netherlands on the 11th.  (I must admit that I was hoping more than a little that at least one of us -- cough! me! cough -- would be allowed to go with him, but alas, no, it is far too short a trip this time around.)  But it is cold in the Netherlands in the middle of January!  So I started planning a pair of knitted mitts for him, and thought of this leftover bit of Trekking XXL from my "1810 Socks" a couple of years back, which socks are in fact one of the warmest pairs I've knitted, so it was lucky that the color is a fairly subdued and not-unmanly one.  I finished them in 48 hours -- pretty good, if I may say so myself.  This is about 49g of the leftovers, with still a bit left from that.

And he got his passport renewed and back in his hands in a week, to our astonishment!

I'm also having another go at the infamous "Kid Mohair Wrap" that I gave up on the last time around.  This time I have four balls of Kidsilk Haze, here in 634, a gentle cream color.  I am already doubting my math, though that may just be nerves.  Talking of time, I am keeping track of how long it takes to knit this, as I intend to donate it to my choir's annual raffle -- six hours to get this far, through the bottom border and one repeat of the center pattern.  Seventeen more repeats to go, and then the top border!  Wish me luck!

Kid Mohair Wrap Post-Mortem

Well, this wanted to be a pretty lace wrap, but -- alas.

It is the Kid Mohair Wrap from Susan Cropper's Pretty Knits: 30 Designs from Loop in London of 2007, reprinted in Canadian Living a year or so ago (there's no date!).  I was a little surprised to find almost no mention of this around the blogosphere, thinking that surely I could not be the only one seduced by the photograph.  I wonder now if knitters just gave up.

As I mentioned before, there are a few errors in the border pattern, not earth-shattering ones, but enough to be worth fixing.

This is a fairly-standard lace edging, found in Martha Waterman's Traditional Knitted Lace Shawls, among others I'm sure, and there called "Ocean Waves".  Here it is written worked in opposite directions on the right and left edges, so that they are mirror images.  The right-side edge has a three-stitch "wave" that swirls upwards towards the left, while as written here in the Kid Mohair Wrap the left-side edge has a two-stitch swirl.  It is not entirely noticeable at this lacy gauge, which is one of the reasons (the other being Kidsilk Haze's resistance to being picked out and re-knitted) that I simply left it there and went on.  The decrease used in the pattern is a left-slanting sl1-K1-psso, but it should be a right-slanting K2tog.  I worked the second repeat this way, and to my eye it looks much better, certainly a mirror image of the right-side border.  After working the second repeat, I realized that the one triple-decrease on the left-side border should be changed as well, from a sl1-K2tog-psso to a K3tog -- you can see the second repeat's sl1-K2tog-psso at the top of the first "swirl", just to the left of the last yarn-over hole, where the triple decrease is leaning the wrong way.  I worked a K3tog instead on the third repeat, along with the line of K2togs, and it looks much tidier.

So my recommendations: In Row 3, change the second sl1-K2tog-psso to K3tog, AND in Rows 5, 7, 9, and 11, change the second "skpo" (i.e. sl1-K1-psso) to a K2tog.  This will also need to be changed in the crossed-eyelet section, thus: In Row 31, change the second sl1-K2tog-psso to K3tog, AND in Rows 33, 35, 37, and 39, change the second "skpo" (i.e. sl1-K1-psso) to a K2tog.  There is another typo in Row 35: after the second "slip marker", K2 should be K3.

There also should be an asterisk in Row 39, after the first "slip marker", but this is only a slight hiccup.

The scarf version apparently simply continues a narrower version of the knot-stitch section all the way up, omitting the crossed-eyelet section -- but a commenter on the Canadian Living version of the pattern notes that Row 28 in the scarf version says to repeat Row 14, ie. Row 4 of the knot-stich pattern, but that this should be Row 2, not Row 4.

But the biggest problem for me is that two balls of Kidsilk Haze is not enough by some way to complete a 30x60-inch wrap.  I pin-blocked what I had worked so far to a 30-inch/76cm width, which to me looked far too stretched, so I repinned it to what looked good, which was 28 inches (71 cm) wide -- although certainly this was not proper blocking, and the results may have been different, but I suspect not much.  The result was a 28x22-inch piece, which of course with only one more ball of Kidsilk Haze would not have made a wrap that measured 60 inches by any means.

So, well -- it's pretty, but the yarn is now well on its way to becoming nona's Tie One On after all ...