Slip/ tuck stitch experiments

These scarves were designed using the same method as described for mazes and mosaics, they are knit in rayon chenille, fringes are composed of  i_cords applied to cast on and bound off edges. The smaller shape/repeat allows for more control over fabric width while retaining full repeats

blue ovals: 11X58 inches excluding 3 inch fringe

BW: 9.5 X 58 inches excluding 4.5 inch fringe

time to stop playing and get back to winter inventory production!

hot off the presses 11/10: tuck stitch 11 X 60 rayon chenille

an unplanned “mutation”

scarves measure and average 9(+) inches in width, 60(+) in length after blocking

11/17/2012: some colorways


More play with dropped stitches

I am interested in trying to introduce designs into drop stitch grounds, and my leaf obsession is at least temporarily back. In working with a vine shape, I found having the vine create the dropped stitches created a too loosely knit, unrecognizable fabric, so on to color reverse. The resulting swatch is a bit of a brain teaser : “find the vine”

the companion ruffle: these blocking pins are great for blocking, may be pressed over

both were a lesson in gauge; using same tension etc. as in blue shawl this scarf is inches narrower, and the ruffles were not wide enough , will have to be re knit; only difference in fabrics was the change in yarn color, not its composition. “Back to the drawing board”

the finished piece measuring 14 X 74: 2 ways to wear it

Mosaics and mazes: machine knits_ from design to pattern

Maze patterns have long vertical and horizontal lines broken by regular gaps and the pattern lines change course from the vertical to horizontal, and vice versa. Maze cards can be identified by completely punched sections, some alternating with every other square marked for two rows, usually geometrically shaped. Areas of stocking stitch produce horizontal colored stripes, and alternating pattern stitches that slip or tuck cause the vertical stripes, which are sometimes pulled nearly diagonal by the influence of tuck or slip. The fabric will be unbalanced because the number of needles slipping or tucking will not be the same on every row. Odd rows form 2 color horizontal stripes, even rows vertical stripes, with color changes occurring every 2 rows.

Mosaics have a brick arrangement (tessellae), with clear perimeters and cores, and stepped diagonals (frets) that are partially formed bricks, their positive and negative spaces are created by the use of contrasting colors. The stripe sequence is not as obvious. The punchcard looks even less like the original design.

In single bed work the reverse of the fabric will show the original design in the texture of its slip or tuck stitches. There  usually will be no floats longer than one or two stitches.

The knit side may look like fair isle but the back lacks the usual long floats, hence the name “float-less fair isle”

The row gauge is compressed. Tuck fabrics are short and fat, slip ones tend to be short and thin. Some patterns elongate in washing. The tension used is usually one number higher or more than that used for stocking stitch for slip patterns to reduce their narrowing, tuck patterns may also have to be adjusted to suit. Smooth yarns in contrasting colors are the easiest to establish and test the pattern, then the choices can be far more personal.

Designing your own: traditional “rules”

  1. if scale matters consider that the height of 2 rows may equal the width of one stitch
  2. start small, let each square on your graph whether on graph paper, in a design program or spread sheet/vector program cell equal one stitch, each line on graph represents 2 rowsof knitting, when knitting the pattern double length specific to KM may be used .The unfilled squares represent the lighter color/color1, the colored squares represent the dark/color2
  3. no more than one stitch to tuck, two to slip at a time
  4. row 1 and all odd numbered rows (most stitches knit) can have any number of squares marked, the slipped (tuck, or slip/part tuck in alternating directions) are represented by blank grids (no more than 2 side by side for slip, single for tuck), they are generally knit in the lighter color/color1
  5. even numbered rows must have single squares marked, they are generally knit in the darker color/color 2, there should be no more than 2 “light squares”/ unpunched holes side by side, the slipped (tuck, or part/slip tuck in alternating directions) are represented by marked grids
  6. vertical lines must begin and end on odd numbered rows
  7. vertical lines must always consist of an odd number of rows in total
  8. the finished design must be an even number of rows to allow for traveling back and forth to color changer for picking up and carrying the subsequent color
  9. if the design is not to be elongated check to see that every light square to be worked in the dark color is present in the row below, that every dark square in the row to be worked in the light color is also present in the row below

Susanna’s chapter on mosaics has information on fabrics where “rules” get broken. Changing the order of the colors or introducing a third color may yield pleasant surprises. Knitting is started on a non patterning row with first row selection toward the color changer in Japanese machines. If you have a machine that preselects needles: color must always change when the needle selection changes. Four movements of the carriage are required to produce two rows of knitting.

One approach with a design that breaks some rules:

masking alternate rows and “separating them”: odd rows knitting in color 1

dark squares get punched out/ drawn, light ones tuck or slip depending on cam settings

color 2 knitting even rows:

light squares are punched out/drawn and will knit, dark squares ones tuck or slip depending on cam settings

colored areas below are those to be punched overall

I used Excel to eliminate yellow fill on odd rows, darker fill on even. Many articles on this subject date back to graph paper, pencil and eraser days. Quick color fills including empty make the process quicker with software. Still finding the image above  confusing, it may be easier to decide what to draw on the card/mylar if all areas to be punched are dark, blank squares can then be more easily identified and marked, punching everything else or coloring them in and using color reverse if your machine has that ability. In the image below the lighter color is replaced by a darker one

the resulting card

the fabric in slip and tuck settings (breaking the usual rule), some of the tuck rows have a bit of color scrambling

slip stitch front

the back

tuck front

tuck back

one may also start process with point grids, which are of 2 types

in turn pattern may be drawn over them

staggered units may require some clean up and “erasing”, as represented by pink squares

when shape is what one desires, color separation follows as for the design at beginning of post

Susanna Lewis at one time did publish a technique that could be entered in the E6000 that essentially did the separation; wincrea does not presently download techniques, there are other programs that can, and/or a combination of card reader sheet  and computer download may be used, but that is for another day.

Mosaics and mazes from “FI” “universal” patterns

Many punchcards that obey the usual restrictions for tuck in particular may be used to create “random” mazes and mosaics. Test swatches will show differences in surface texture, patterning, width and height of knit, and it is useful to use clearly contrasting colors to study how the structure of the fabric is affected by the different techniques. One series follows: swatches were knit as a class demo, for easy visibility, not as studies for finished garments or accessories. They were produces on Brother punchcard KMs, with a single bed color changer. Electronic KMs advance a row for each pass of the carriage regardless of its beginning position/side, so such fabrics are produced more quickly and easily if an electronic and 2 compatible carriages are available for use. Yet another pattern variation would be to use opposing buttons for tuck/slip, that was not done in the samples below.

FI pattern front with a bit of bleed through where floats were hung up on back

FI back

tuck 1 color front

tuck 1 color back

slip 1 color front

slip 1 color back with a few stitches that got away

tuck 2 color front

2color tuck back

slip 2 color front

slip 2 color back

last but not least slip stitch adding a third color front, still changing colors every 2 rows

slip stitch 3 color back