More scales and chevrons in ribbed, racked (4) fabrics

Over the years a variety of fabrics have been named dragon scales or crocodile stitch. Here dragon scales have referred to shapes created using a lace technique and resulting in a pattern such as this

that was followed by hand knit samplesand an investigation into possibly creating a ribber fabric with auto shaping resulting in similar protrusion


vertical chevrons/ herringbone  

which eventually led to this, where a reversal in racking periodically shifts the lean in opposite directions

automating the pattern in half fisherman rib/ mylar repeat tracking shown. Any repeat in a factor of 24 may be used on punchcard machine as well The start of a series in varied colors and fibers: sometimes I enjoy getting back to the simplicity and predictability of punchcard machines, though punching those cards can be slow and a bit tedious. I am presently curious about striping again, and creating a wider “scale”, with a crisper fold. The chart is for the working idea, the punchcard typical of what some of my cards begin to look like as my work evolves. When marking cards for any action, the fact that the eye is not on the same design row as the reader needs to be taken into consideration. Here racking numbers begin to get marked on what would normally be row one on a factory marked punchcard, 7 rows up for Brother KMs on any other brand punchcard or cardroll # position. Though the final repeat is an even number of rows in height (42) note that each half repeat is not (21). The color changer sits on the left, so first preselection row is left to right, cam button on KCI to insure end stitches knit. Any color changes happen every even #X rows, so they will technically be in a slightly different spot on the alternate repeat. 

some of the trial and error, random yarns. The white is a 2/15 wool, the yellow a 2/12, the blue an unknown, also woolthe best fo the lot, but not “there ” yet, going back to one color knitting

So then you go for a yummy alpaca and silk, make a racking error and manage to correct the pattern, and lo and behold the yarn breaks halfway across the row a repeat up from there! “They” do keep talking about how relaxing knitting is ;-).  Yarn specsFiber Content: 80% Alpaca/20% Silk; Weight: Lace; Gauge: 8 sts = 1″, 1/2-lb cones/3472 YPP (1736 yards/cone)

This yarn is an English  import, 2675 yards per pound. It felts into a lovely fabric (not the goal here), and knit tolerably well. The fabric is quite stiff however, and the surface change is minimal and nearly completely lost 2/18 Jaggerspun wool silk: worth a shot at a scarf. Starting ribber cast on on left, followed by 2 circular rows, one closing row right to left, and first KCI row from left to right, will set up patterning in tuck so that the direction of the arrows on the left side of the card, lines up with the racking number appropriate for that row prior to knitting it. The fabrics below are as they came off the machine, not blocking of any sort

I have some lovely cash wool in 3 colors, 2/48 weight. Using 3 separate strands fed through the yarn feeder separately resulted in uneven feeding, loops, and too many problems. Using 2 strands “worked” easily, but the fabric was nearly flatCautiously winding 3 strands onto a cone prior to knitting gave far more predictable results, and there now is a scarf in progress. The difference in color is due to lighting at the momentMy best advice to anyone attempting this is to knit slowly. The most likely spot for errors in my experience is at the point where 1: no action is taken for a row (or more in later swatches), so racking position remains at 10 for 2 rows, and 2: for racking position 9 the knit carriage position is reversed in each half of the repeat. One can get also reach a left right rhythm, and without realizing it, begin racking between position 9 and 8 as opposed to 9 and 10, throwing pattern off. Another look at racking positions: the numbers reflect racking position before the carriage moves to the opposite side, the arrows the direction in which the carriage will be moving. Once the knit carriage moves the card advances, so glancing at the card after that move will show the action for the next row at eye level, which can be confusing at times.  A finished piece, 9.5″ X 64″, in the coned 3 strands of merino. Occasional single strand caught on ribber gate pegs, no yarn feeding issues as such. The fabric has not been blocked in any way, but allowed to “relax”. I like the larger scale of the “scales”, would still like to introduce striping in a way that pleases my eye. The knitting is slow thanks to all the racking, but is probably faster than single bed holding for similar shapes, with a very different finished look. Future of the fabric tbd

and back to introducing stripes in contrasting color

An act of faith after lots of trial and errors and a punchcard redesign, that this may have been worth the effort when done. I am choosing to cut the yarn and weave in ends for longer solid areas, and am giving myself permission to only knit while I feel focused on manual changes in color and racking. It may take a very long time to get to “scarf length”

and here is the fabric in a completed piece, about 54 inches in length when off the machine. Top right photo shows reverse side of the piece, the bottom right is how it might appear when worn

Next up may be how to use 2 carriages, or changing settings, allowing for the turning stripes to help the scale shape bend more outward into a “point”. I found to get the width I needed, along with striping it was simpler to change ribber ribber settings to slip <– –> for all knit rows and retain use of the color changer on the left.

It is easy to share successes. There are also those days however, when one should not be anywhere within range of a knitting machine and perseverance does not lead to anything positive. The above scarf was knit in a charcoal, using 3 strands of the cash wool. Two strands of the blue created a nearly flat fabric, 3 strands did the job. So I now turn to true black and white. Knitting 3 strands of the black was impossible at any tension for any length. Then I noticed the ribber on the right was lower than it should be. It turned out the bolt used to adjust the height of the ribber was loose, and the slightest turn of it loosened it completely. So then it took way too long to get it back in place. Got things back together and set up, and with each movement of the racking handle the ribber dropped on the right. After a lot more fiddling that got me nowhere, I decided to use the ribber for another brother machine that had not been used for years. That was dry, the grease on it had turned black, and time flew cleaning and oiling and waiting. Back on the machine the right ribber bracket of the alternate ribber will not allow it to drop on that side so it’s back to grease and patience and yes, I finally got up and running, only now the smell of the oil and lubricants makes me want to leave my apartment. Outdoors the temp is a dozen degrees warmer than inside it and grossly humid. I don’t want my knit to smell like the solvents either, so the remainder of the day is called in as a period of rest and recreation mixed with a touch of hopefully amnesia.

Moving on to the next day: success in one color with no major problems or errors, have a black scarf, 64 inches long with lovely bumps, here as it appears immediately off the machine

So what would that true black in the thinner weight do with those stripes in a true white? I found myself forgetting completely to set the carriage to tuck for several tries, then messed up the color changing sequence. Time for more R&R.

8/7 after several tests with minor variations in the pattern, sorting out yarn weights preferences, I decided to “go” for a version of the same stitch type as the charcoal and white in true black and white. Again, I am not able to use 3 strands of the black 

Got a third of the estimated desired length knit, and whoopee! about 10 stitches dropped off both beds on the color changer side. Oh the joys of unraveling several rows of sewing thread weight black yarn, in racked tuck stitch, down to an all knit row in the white to make certain the proper number of stitches are in work on both beds. Got that far, and ready for more R&R.

And 8/8 this is the last in the series, at least for a while in true B&W

Just a reminder: the service manual provides information on ribber adjustments. In the image below b= the bolt that became completely loose. I discovered after getting things back together that a, which secures the ribber bracket, is actually directional with a barely perceptible difference in shape, and if accidentally rotated 180, will keep the ribber bracket from changing height positions and working properly. Rotating it restored expected actions, so now I have 2 well functioning ribbers to work with.  

Knit and purl blocks to create folding fabric/ “pleats”

Knit and purl combinations  may be executed in hand or machine knitting. Knit charts are generally planned and illustrated based on the fact that the same side of the fabric is always facing the knitter. Hand knitters have to accommodate for the fact that the the work is turned over (unless knit tubular) with every row worked, so plans would need to reverse knit for purl and vice versa if needed. For more ribbed, pleated/ folding fabrics please see 

The easiest way to produce this particular fabric on Brother machines would be to let your garter carriage do the walking and working. For those of us that do not have that option there are transfer carriages, (I honestly have only used mine once, decades ago, will have to dig it out of moth balls) and transferring needles by hand. Pairs of identical stitch transfer tools  may be used to move stitches from one bed to the other. If the goal is to produce a knit with tension as tight as possible, the latter can be problematic and result in dropped stitches, so testing the yarn and the mode of transfer should be part of swatch trials prior to committing to larger knit pieces.  I found moving stitches between beds one at a time for me was preferable and more reliable

The chart for the initial concept: The number of needles used for “pleats” is constant (7); 3 stitches move up (or down) in turn, indicated by arrows. After the first 3 are transferred, 3 more are now moved adjacent to the now remaining 4 stitches from the opposite bed in order to maintain the total of 7 on each bed, excluding any borders, in which stitch placement remains fixed.

cast on for every other needle ribafter completing cast on rows, set up for pattern by transferring between beds*knit 6 rows, transfer between beds  knit 6 rows, transfer again restoring original selections**repeat * to **; transfer to main bed, bind off. Swatch on KM prior to binding off 

If the goal is to retain the texture, it is best to knit using a yarn with “memory” such as wool, which may be steamed or blocked lightly while retaining the fabric’s quality. A rayon or cotton would flatten permanently if pressed. The photo shows both sides of my swatch, beginning on left with it slightly stretched with pins, relaxed in center, and with a bit of vertical “tug” 
The fabric changes a bit when some stitches remain fixed on alternating beds, and the same sort of approach is used. My initial intent had been to transfer every 4 rows, but I actually did so after every 6 rows knit. Colors in chart on right:Its numbers indicate the working needles on each of the 2 beds. The first 3 needles on either side are never transferred. Groups on either bed after transfers remain constant at 6 with the exception of the borders . The starting set upand the alternating one, repeated in turn throughout the knit. Note border stitch selection, constants in between still on the machine 
and my small test swatch. The fold on each side and the swing in the pattern appear crisper and better defined to me
What of horizontal folds? Transferring every stitch to and from the main bed manually is more than I am willing to deal with in addition to transfers for those blocks. I am also interested in the effect produced with use of thicker yarn. This repeat is presently on my hand knitting needles, is suitable for electronics or punchcard machines. A single unit is 5 by 16 rows, the punchcard repeat is 24 X 16 X 3; 32 rows is a tad shy of enough rows for the punchcard to roll and advance properly, 36 rows in height is the recommended minimum. Knitting as tight as possible makes for a stiffer, crisper fabric. I decide there were things about this repeat I did not like however, including the change in pattern at the folds 

The new repeat , with only 2 rows worked rather than 4 between block pattern reversal, the repeat is now 12 rows rather than 16 in height

The hand knit swatch, using 4 ply yarn on #5 HK needles. The arrows mark area where 4 rows were knit between knit and purl blocks rather than 2, creating an added ridge, and a straighter line than the row pairs

an attempt at a side view

Getting rid of those blocks altogether: a generously shared free pattern on ravelry , and a link to the author’s blog 



Garter bars and how to use them

I previously wrote on a ruffled trim using the garter bar and holding. While recently searching online I found some hints/ publication links I thought I would share. The “manual” that came with the 4.5 mm set was written in Japanese when I purchased mine, includes patterns for vertical weaving/ “embroidery. The supposed English counterpart does not have the pictorial stitch information, but provides basic technique clear instructions.
Using garter bar on the bulky  
Studio tips and techniques 

If needles and gate pegs are not bent, with a bit of practice, in most instances and unless working on very wide pieces of knit I have found using the needle stopper unnecessary.

The Brother publication on topic:


A complex published transfer lace to electronic repeat for download/ GIMP editing

Lace on the machine can render beautiful fabrics that closely resemble hand knitting, but programming very long repeats is a challenge both in placing every hole in the correct square in a punchcard, and in programming individual pixels on a mylar or as pixels for download correctly. I found the “leaf lace” repeat below shared frequently on Pinterest, and thought I would test the approach discussed in the post on using numbers and gimp to create images for electronic downloads . Because it is 16 stitches wide, it is not suitable for punchcard knitting, which requires a factor of (4, 6, 8, 12) and up to a 24 stitch maximum width.

The published pattern on the left is shown as shared on Pinterest. In turn in was captured, opened in Gimp, and magnified. After a threshold adjustment, it was converted to a BW indexed, scaled to its 16X96 original stitch and row count, and then saved in 100% magnification result for the possible electronic download.

On far left below is the first BW processed single repeat isolated from its source. To its right it has been adjusted so first row is a preselection row for the lace pattern, and the full repeat ends with blank rows (Brother KM characteristic). The latter in turn was saved as an image for download. Since the leaves change direction in the way they lean, spacing between each pattern swing in the repeat is actually 3 all blank rows, not the “standard” 2, including at the top. The bottom half begins with the first row resulting in transfers to the left, while after the the first 3 knit rows the  transfers will begin to the right.  The plan was for me to use Ayab for knitting a proof of concept swatch.  In order to achieve that, the full repeat is first flipped horizontally (ayab will auto mirror it,  so starting with it this way it will be in the correct orientation when knitting). The mirrored repeat may be used in unaltered  machines as is with LC operating from the right, KC operating from the left (not possible in ayab without adjustments). The full repeat consists of 16+14+18+16+14+18= 96 passes of the lace carriage, for each 12 rows knit. My sample was programmed horizontally for 3 full repeats, the width of my planned swatch. I added one additional needle in work on each side, with the LC end needle selection cancelled, allowing for full pattern as programmed with a single stitch all knit border on either side A tightly twisted cotton yarn did best in terms of handling the multiple transfers and not resulting in split stitches or breaking. I had occasional selection errors, seen in center panel at the top of each repeat (my common experience with the interface), but the repeat itself appears to be sound.

Lace repeats that have even numbers of rows for both and LC transfer and knit ones are easy to follow. Punchcards are also easily annotated and if knitting is interrupted needle selection is easy to return to or restore if necessary. In electronics, there may not be a any memo to indicate row #  location for each carriage pass in pattern, or when to switch carriages. Because in this instance there are so many transfers (some of multiple stitches) between knit rows and dropped stitches are best corrected as noticed during knitting if possible, I created a “cheat sheet” of sorts to help keep track of actions. Each block here represents one full repeat, read from their bottom up, with red borders at the start and end of each sequence representing knit rows. A visual check at the end of each segment’s # of rows in the series is well worth it to prevent unnoticed runaway dropped stitches and large holes. A check in boxes next to # could indicate completion of transfers. and a number added manually in that same row for that sequence, record the row on which knitting was interrupted ie. stopping on row 8 out of 16 to fix dropped stitches would be a reminder 8 more LC passes are required before the next visual check.  

Pretend/ mock cables 3


A facebook group query brought up the possibility of creating cables in an “easier, quicker” way than by crossing stitches by hand. Over the years different authors have suggested a “sewn” method for pulling stocking stitch columns together in order to achieve the cabled effect. The illustrations are usually of the work done on a ribbed fabric, but it also may be achieved in simple stocking stitch, with ladders marking the edges of the mock cable, and providing a visual line to follow and count spaces when smocking the fabric up. The width of each column, the yarn fiber content, and personal preferences will determine the success” of the results.

I was reminded of “magic cables”, a technique made popular years ago in a copyrighted pattern series by Ricky Mundstock, ie this one from 1969 (illustrated online). The concept originated in a Japanese publication years before, relies on hooking up tuck loops to create the cable like effects.

I tend not to knit from published patterns, set out to understand what makes the fabric work in theory, and then sort out whether I have other preferences of my own for creating it. I began to experiment with a totally random tuck card. Tuck is chosen for the background  because it is short and fat, giving the taller all knit rows for the “cables” the possibility of an additional gather, adding to their depth. I chose a purely random repeat, which is a good way to start for DIY if hesitant on the process. White squares will not be selected, will tuck for 2 rows, have a knit stitch (black dot in card) on each side of them. Max on Brother, unless using very thing yarn would be white bars single square in width, 4 rows in height (yes, there can be exceptions on rare occasions)

The card is cropped to the 24 X 44 stitch in width and height for the repeat to be worked in electronics. The area colored blue on far right indicates possible all knit rows for hooking up “cables” during knitting, mustard color indicates ladders created by an out of work needle on each side of the central, all knit column. The ladders make it easier to identify each all knit column. The tape over holes idea does not work for masking a punchcard, since that blue area would need to be all punched holes. The tape over would result in “unpunched” ones.

This takes the revised card single repeat and indicates some quick possibilities for altering it

I added 2 more stitches to establish a slightly different pattern. The grab form my work in Numbers was then opened in gimp and scaled to 26X44 for the possible knitting pattern. If working with black and white squares, the image will need to be colored reverse for knitting. I abandoned this repeat for my final swatches in favor of keeping markers for hooking stitches up along the all knit column inside the ladders as opposed to the knit body of the remaining shapes. Here the non selected needles are placed along the knit column itself, on alternating sides. The final repeat after correcting a pixel error I discovered while knitting:Ayab does not repeat across the horizontal row, each stitch in the width you are planning to knit needs to be programmed. For a test swatch I decided to work with programmed 72 stitches (knit on fewer). This would be the downloadable file

 magnified and gridded to visually check again prior to knittingThis is what is seen by the knitter when the image is loaded, 

but any image loaded is automatically flipped/ mirrored horizontally by the software. Direction may not matter in the overall pattern, but here we have needles out of work, which if selected on the basis of what is seen as opposed to what is knit, would be in the wrong location. First preselection row is also only possible from left to right. The easiest way to empty the proper needles is to do a transfers after that row, to either side, restoring needle selection prior to continuing to knit. Also, since there are needles out of work, end needle selection is cancelled (KCII).

In my first swatch I tried the idea of hooking up stitches in opposite directions, but was not pleased with the result, wanted to reduce the amount of hand manipulation involved. In the later swatch I hooked up every other selection onto the same side. Arrows here indicate direction, not proper needle position. 

Alternating side hooking up with some yarn and needle change issues Hooking up to one side only was quicker to execute and appeared more pleasing to me. Both swatches had blips from an errant pixelSteps in knitting the above fabric. The actual knitting will happen with what is shown as the repeat with white pixels on the dark ground, seen looking at the center vertical all knit column of the repeat when knitting the fabric. Allow the non selected needle on the left side of the column to tuck, providing a marking row for picking up stitches, knit until the needle on the right side of the column is not selected. Prior to knitting across that row pick up the tucked loop and stitch on the left side 
Lift both loops up onto the non selected needle on the right side of the column, bring that needle all the way out to hold (three yarn loops in hook)

Continue knitting until the next non selected needle in the column appears once again on the right, pick up from below left marking spot and repeat. For DIY insert all knit columns on your chosen repeat, and proceed as above.

Visualizing possibilities: chart for side by side columns actions on purl side is shown. The black columns with arrows coupled with photos show the direction of the hook ups in the back, purl side of the fabric, and  potential “cables” as seen on knit side using the column repeat illustrated above. 

Numbers to GIMP to create images for electronic download


I am a member of a few facebook groups, recently joined the img2track one out of curiosity and wanting to explore the possibilities of an interface other than an Ayab/910 from kit, which  has proven to be of limited use to me. I have been charting original patterns and color separations for years, first in Excel and occasionally and now exclusively using Mac Numbers.  Up to last December, entering designs for knitting on my 910 was limited to filling in squares carefully one at a time or small blocks and lines on mylar sheets in order to knit the repeats designed in charts in either program. Working with small, individual repeats and filling cells one at a time or in limited groups in GIMP to create duplicate pattern downloads was an easy transition out of sheer habit.  A FB group member, Julie Haveland Beer shared a file on how to Convert Mosaic Knitting Chart to KM Skip Stitch Diagram  (shared with her permission) that sparked a light bulb moment. I began to explore using the method in her share on files available in other printed materials and punchcard collections, wondering about those lace cards with so few holes that can go awry when building from scratch in order to download. Often I use Scanner pro (rather than a scanner) on my phone, save images in black and white, share them via photos, and open them up on my Mac for further editing. Full size scanner saves of 60X150 patterns may be found at bottom of post.

The first repeat was from 

I happen to own a hard copy. The book offers endless repeats that might be adapted for knitting FI. They are categorized by height and width, so even punchcard owners can find whole pages of workable repeats.  Another group member shared the link to the pub for online browsing 

I have written several previous posts on using GIMP,  including use of the tiling option to visualize how groups of repeats line up prior to any actual knitting. The enlarged, gridded image would be the final repeat, reduced in size, grid gone, ready for download in required image format. 
A chart from my blog got converted with a few keystrokes and commands. The image is converted to B/W, then scaled to stitch and row proportions

From self drawn mylar, with a subsequent one pixel correction

From colored repeats in Brother electronic collections: with some color adjustment after a first attempt that would have required some clean up of pixels, the conversion and scaling are easily achieved. The originals were designed on a rectangular grid, within blocks defined 6 wide by 10 tall

the repeat tiled, for an added visual check 

From a Brother electronic lace publication a simple BW bitmap conversion followed by scaling (60X120 repeat). The appearance of difference in width is due to the fact that the published image is on a rectangular grid, the bitmapped on a square one 

If the electronic published repeat appears to have the core of the cells outlined clearly in white something to try: reduce to indexed BW, use bucketful to remove as many gridlines as possible, scale to appropriate repeat (24X48), edit the result

A “straightforward” conversion for a repeat from a scanned punchcard with its darkest black line removed 

and one from a BW punchcard reference pub 

My last post on working with numbers to create knit charts includes info on creating tables, working with cells, keyboard commands, and more

 using the combined programs

Things also got more complicated again, when I tried to work with a lace repeat from an electronic pattern book. The straightforward method resulted in an unworkable image. Part of the problem may result from varied densities of lines in the original, its cells not being fully filled in (ie dots in squares or rectangles), and illustration with units in a rectangular rather than square format, so they do not scale properly in a ratio of 1 pixel per row and stitch.  After isolating the repeat, I for this repeat I entered it in numbers with the plan to superimpose a table grid over the repeat and fill in squares/cells where needed. Cell borders may be created in varied thicknesses and colors, and are easily changed or removed altogether. Having a red cell border to superimpose on image made the process significantly easier for me. In the middle section the red border is switches to a significantly lighter one, and lining up the repeat beside the images helps one visually check for any errors. In the bottom row the image is shown magnified after scaling, gridded in the magnified version again to check the repeat against the original. 

Another lace image with table cell margins adjusted, and a reminder that borders may be in any configuration or color that makes it visually easier for you to proceed with filling in cells that correspond to black squares in the original image 

The steps in progress, with the processed image ready to knit,  shown in magnified, gridded final GIMP scaled repeat on far right. With a bit of familiarity with both programs, this process is far faster  than any counting and filling in of pixels one at a time 

This lace card was not cautiously cropped at top and bottom edges, the final repeat when scaled is shown first, with obvious errors, but workable when done “the long way” from the same image or hand edited

Taking the time for a more careful crop for another card and easy peasy: crop, open in GIMP, convert to bitmapped BW image, scale to stitch and row count of original repeat (in this instance 24X56), verify gridded by GIMP in magnified image version, then save for download in reduced size

GIMP magnified and gridded final repeat above on left, one obtained working the “long way” between programs to its right

Conversions issues may happen also when there are large areas of black squares, or working with color adjustments or with the option to “photocopy” in GIMP in images that do not translate cleanly  

Working with repeats that do not convert easily using both programs: the greater the number of squares or dots, the slower the process, but ultimately faster than counting then and entering them one at a time. In Numbers, create a table that will be superimposed onto the desired repeat. I like to work in cells that are 24 X 24 points. Columns are marked in letters, so 24 is 2 letters short of the full # of letters in alphabet (X), and row counts are numbered top down on left and easily adjusted. Lace repeats would be the easiest to translate, as they are likely to have the lowest number of cells that will require to be filled in. The cell borders may be created in any color. To my eye the red grid made it easier for me to view its lines when superimposed on the black image. The BW center image was then dragged/dropped into the numbers sheet. Checking via the table format arrange option, the table was shown to be 553 X 1440. The image arrange option showed my black and white image to be adjusted visually by me using corner handles to 496 to 1440. On the far right, the BW image is in turn adjusted to match point values for the table. Check your typing, adjust accordingly. Here my width on right is actually 3 points off.  

Drag and position table onto BW image. Use image format arrange to move image to back of table (box to left below “Style”). Magnify screen to easier working view by adjusting the zoom. It may be helpful to alter some row heights or column widths to get a cleaner view and matching cells to be filled in to dots (center). Click on any row or column, adjust by in turn clicking on up or down arrows that correspond to their respective size. Using command click and color fill options, cell fill on top of the black dots. When done, or to check periodically, table may be slid off the image and back on if needed.

With the table completed, if any columns or rows have been altered in with or height, choose from menu to distribute rows and columns evenly, restoring all square units. 

Change border selection to light, thinner color, capture image and save as png.  Load image in GIMP, convert to BW bitmap, scale to 24 by 60, save in downloadable format. Results are magnified in GIMP final images on the right. Showing grid allows an added visual check if preferred, against the original repeat.

The final repeat tiled, as opposed to punchcard repeat tiled helped me see one missing square I found bothersome, an easy editthe culprit marked in red

The easiest conversion of all? a full page factory mylar sheet. Here is one for lace with a simple adjustment of sharpness and contrast, magnified, and with superimposed rectangular grid after converting to BW bitmap for saving 

to then discover that the blue grid disappears in a quick mode change to indexed in this factory mylar. The images on the far right are again the magnified scaled image, and shown with a superimposed rectangular grid to check match against the original crop 

Rethinking those dark cards: this is a partial repeat grabbed from Pinterest, the image was loaded into GIMP, color inverted, the threshold was adjusted while in RGB mode. The adjoining 2 images show the magnified, scaled, indexed image and its color reverse. When working in RGB mode choose color invert, and when working in indexed mode, choose value invert for color reversal of the image and its ground. Other image adjustments may require toggling between the 2 modes. The bottom pair of images indicate menu location for adjusting grid size and color, and the magnified, scaled image now with a GIMP single pixel grid is also shown
This method however, did not work for flower ? thread lace motif (partial repeat) or the FI repeat. That said in the days of glitched knits, perhaps executed in DBJ accidents such as this could make for interesting experiments or transitions. Here we have the original not planned result, followed by some flipping horizontally and vertically, then resized. There usually is no right or wrong, and it is important to find one’s own voice and the tools required to express it.

my favorite glitch textile artist: Phillip Stearns

Revisiting pleats on the knitting machine: single bed

work in progress 

I am recently pondering self folding shapes, which begin with pleating. Presently, in fashion and knitwear, skirts and clothing with ruffled or folded fabric variations abound. In 2013 I wrote a post including downloadable files of one of my early handouts and working notes. This is the same information
It is possible to knit shadow pleats combining them with holding position to knit wedges which will produce a more circular shape . The shaping can occur in both thick and thin areas.

When working in stocking stitch, if a soft looking pleat is desired, the knitted fabric is simply folded to form the pleat and joined to keep the fold. Crisper folds require the added techniques described above. In hand knitting fold lines are created by slipping stitches on the fold line on the “public side”. Assuming the latter is the knit side of the fabric, this is often indicated by “sl 1 with yarn in back” for front fold line (and as another slip st  option, for with yarn in front for back fold line). A purl stitch is more commonly worked on the same side of the knit for the opposing, inner fold. Both the slipped stitch and the purl one are purled on the return purl row pass. It is also possible to work the former purl stitch as a purl, resulting in a garter stitch is fold inner fold.

To review, parts of pleats: 

knife pleats may be put next to each other, and pointing to the right (S) or the left (Z)

Box pleats are composed of alternating right and left knife pleats, pointing away from each other. Inverted box pleats are composed of one left and one right knife pleat, pointing toward each other.

Accordion pleas are a series of knife pleats in which the back of one pleat forms the face of the next 

The subsequent posts followed with the information in on pleated skirts made with lace carriage transfers (from Brother Knitting Techniques Book ) as well as on ribbed folding fabrics, and automating pleats single bed (‘holding’/slip stitch shaping).

Some authors and publications include hems in the category of pleats as “horizontal”. To my mind they merit their own category. Some related techniques that may be used at the bottom, in the body of the knit, at the top, or only on part of the surface may be found in my previous posts hems 1, hems 2, and ruching .

Ayab: short rows automated with slipstitch

I have recently been reviewing some of my ideas for using slip stitch to achieve fabrics normally created by hand pulling needles for short rows. The samples for most charts below are found in previous posts on topic. My hacked machine is presently being put to bed for a while as I work on some production pieces on KMs that allow me to produce predictable lengths of knit. I will not be providing proof of concept swatches for every chart.

A bit on defining short rows

The carriage movements are partially illustrated below, beginning with the first row pre selection from left to right (red line/ arrow), which happens to be the only option when using ayab. Ayab also mirrors automatically, so either mirroring the rendered repeat or using action mirror in software is required for the holding sequence to be correct. The lines indicate direction of carriage movement on each design row. Blocks need to be even numbers in height, and may be adjusted in width. The full swing of the fabric in each direction needs to be programmed.
here the holding sequence works toward the center Ayab will mirror it if drawn as is, which will place carriages in position for first preselection row to start from left, decreasing stitches in work 

For increasing stitches in work rather than decreasing them, this illustrates the direction in which the carriages need to be moving. In this instance the image needs to be mirrored to erase the software’s automatic doing so 

Single bed pleats This repeat is planned for each square representing both a single stitch and single row. Since the width of the knit piece needs to be programmed when using Ayab, this approach may be used for anything from ruffles to sideways skirts. Additional information on designing is offered in previous post, used as is  

With a bit more planning and even using a garter bar, this is executable as well
For a possible all knit surface variant the repeat on the left is drawn, due to auto mirror no mirroring is required to obtain the knit rows in the directions illustrated the right. Knit as is, the resulting eyelets including the larger one at the center can serve as “design features”. Motif on left, mirrored as it would be by Ayab on right. With narrow pieces of knit, pay extra attention to beeps and flashes. Clearing the end marks on the needle bed may also be necessary to keep needle selection accurate, watch for yarn loop formation on either side as the result of  having to travel that far from the end of the needles in work. “just for fun”

Category search


Knit charting using Mac Numbers

from 2012, Numbers 3.2.2: printing graph paper to desired cell dimensions

I chose to change preference for rulers to point units (options are for centimeters, inches and points). Online conversion between units of measurement and PostScript points may be calculated (if needed) using calculators ie.

default cell size in cm and points

Click on table at top of your document screen, to right of function icon; select first choice on left, second row

a place to start

Uncheck alternating rows on sidebar at right

Click anywhere on screen, use command all to select all table cells. Choose row and column size, typing in your desired values or using arrows provided, hit return.

Click anywhere on table to get additional markings to appear again. With your mouse, grab and drag the Add or remove rows and columns button symbol on bottom right and all units on sheet will be resized to displayed measurements

as you do so you will also have the benefit of viewing the number of rows and columns in your document.

For thicker, darker,or even differed colored and types of lines changes are easily made working with borders menus

Clicking on any cell leaves only your graph; selecting print from your file menu prints exactly what appears as the sheet number chosen , and /or have saved; additional adjustment options are offered on right

Click on white part of your sheet, only your chart will be viewable and ready for printing. If a PDF is desired, choose Export to -> PDF from file menu.

The last online manual for numbers 09 is available here. The program has changed significantly in appearance and in some of its functions since then.

I have been exploring numbers out of necessity since upgrading my Mac to the latest OS, thus losing availability to Office, and therefore to Excel. I recently published a post using Numbers for color separations in knits , and decided to attempt to explore the program further. Here I am reviewing and sharing some of the process and information I now use in creating my blog’s knit charts. There is no recent, full manual for the program.

The format bar that may be familiar to users of older versions