Revisiting use of lace patterns Studio vs Brother machines

2011: There are several brand KMs still around and in use, most are no longer being manufactured. Questions often come up on using one KM brand pattern card on another. Card readers inside the machine are below eye level, so exterior number/other markings on cards or mylars reflect that, providing the knitter with a visual cue as to where they “are” in the repeat. If machines pre select,  the needle selection may not bear any relationship to actual design row on the punched card or mylar as opposed to what one “sees”.  In addition to this variable in lace one often has 2 carriages in use. It is possible to develop cards etc. from lace hand knitting graphs, but there is enough “going on” so a good place where to start experimenting is with pre drawn ones. Lace preselection on any single row may have no obvious relationship to where the lace hole will ultimately end up.
Here are some random facts gathered from both sources and experience, they are applicable only if the knit carriage is set for plain knitting and no other function ie. slip or tuck is involved; plain knit rows do not advance the card reading mechanisms. In mixed structure fabrics the rules change.

The Brother and Toyota lace cards can be used on studio punchcard machines as long as they are patterns which have 2 blank rows after each transfer sequence
Brother and Toyota have u shaped arrows to identify when to knit with the knit carriage, both brands read cards 7 rows down
The first row on Brother is transferred from right to left, while on Toyota it is transferred from left to right; Brother and Toyota cards are interchangeable provided the card is mirrored vertically (or a simple cheat: use carriages on opposite sides of usual)
For Studio knitting find the row number of the U shaped arrow and circle the 2nd and 3d row below that row that number to identify rows in which carriage is changed/set to knit
Brother ends with 2 blank rows
Studio starts with 2 blank rows
on Studio begin brother card by locking card 4 rows before row 1, on row 3
Brother/Knitking lace carriage does not carry yarn, does not knit or trip the row counter; the stitches get transferred in the direction that the lace carriage is being pushed
Studio/Singer has a lace carriage available that transfers as it knits; on more complex laces one is sometimes instructed to set the carriage not to knit for a specified number of rows, the yarn may be removed, other adjustments are often required
though Studio and Brother lace cards are not directly interchangeable; aside from the numbering issue the transfer method is different, so a studio lace card “working” on brother or vice versa is a happy accident and likely to result in a “different” fabric
Brother information is applicable to its “new” clone, Taitexma
A few references :
Machine Knitting: the Technique of Lace by  Kathleen Kinder
Knitting Lace and A Machine Knitter’s guide to Creating Fabrics by Susanna Lewis
Machine Knitting: the Technique of Pattern Card Design by Denise Musk
John Allen’s Treasury of Machine Knitting Stitches
The Harmony Guide to Machine Knitting Stitches (their Colorful Guide to Machine Knitting Stitches does not include lace)
322 Machine Knitting Stitches (Sterling Publishing,1988)

2013 In this instance I am exploring the use of punchcards that are designed for transferring and knitting at the same time as seen in Studio simple lace in machines such as Brother, where the operation is the result of using 2 different carriages.

the Studio card usedthe resulting fabric

The method: both carriages are used to select needles, use lace extension rails on both sides of the machine.  Cancel end needle selection on knit carriage underside if possible, or push end needles back manually if needed to avoid their corresponding stitches being transferred throughout the piece. Set up for knitting the pattern as usual, punchcard row 3 (marked in pencil) becomes row 1 of the design when the above card is used in brother machine. The arrows always indicate the direction the lace carriage will move across the knit to make transfers in the direction of that same arrow. 

  1. begin pattern knitting with COR, card locked, change knob on KC, no cam buttons in use. This will result in needle selection, but the fabric produced is in stocking stitch. The lace carriage is engaged o the opposite side, moves toward the knit carriage to make the transfers, as it travels across the bed the now empty needles will once again be in B position.
    2. (lace carriage) travels back to right and is released off the machine (same needle selection appears, but those needles are now emptied of yarn)
    3. COL: KC moves left to right, knitting the single row, all needle hooks now are now full, new needle selection occurs
    4. LCOL: makes transfers toward the knit carriage, and then makes a second pass to return to opposite side and is released.
    These 4 steps are repeated throughout the knit, with the knit carriage knitting and selecting, the lace carriage following its selection to make the required transfers. Not every transfer row will match the direction of the arrows as marked on the studio punchcard.
    If there is no pattern needle selection with the KC pass on any row(s), continue to knit until there is needle selection, and begin process using lace carriage to transfer toward the knit carriage from the opposite side and once again releasing it after its second pass.
    A caution: hesitation and reversal in movement of carriages in Brother machines advances the card in the reader, and results in mistakes in patterning; if errors are to be corrected or such movements need be made for any reason, it is worth locking the card, checking row numbers, remembering to release the card before continuing, and visually checking pattern after the next knit row.

2013: While working out yet another HK to MK lace pattern, I sorted out the following method for using Studio simple lace on the electronic KM. It is a method that does not work on the Brother punchcard to produce the same fabric however;  on punchcard machines as either carriage is moved to select from opposite side of the bed, the card will not advance on the first pass, interrupting selection. I tried a swatch and got a very different lace design; depending on the starting pattern the results may be interesting (do not use elongation), but not the ones intended to match any original.

The knitting samples shown below were knit on a Brother 910. On electronic machines, as seen in previous posts on knitting with 2 carriages, the mylar (or otherwise programmed) repeat advances a row with eachpass of the carriage, no matter on which side of the bed the pass originates. Dropped stitches are harder to repair in these fabrics than in patterns for multiple transfer lace (there knitting can be unraveled to the start of a sequence where 2 or more knit rows usually occur), so checking transfers, gate pegs, and adjusting stitch size and weights matter even more. There is no need to mirror the image horizontally; draw repeat as is on punchcard onto mylar, all variation buttons down

start knitting with KC (knit carriage) on left, Lace Carriage (LC) on Right program pattern double length
on the first row the LC selects, the next row it will transfer; LC always makes 2 passes first toward the KC, then away from it, even if those 2 rows in repeat have no needle selection. I is then removed from the bed to be returned to the bed on the opposite side after the knit row with KC that follows. In summary:
KC knits a single row to opposite side
*LC is placed back onto machine opposite the KC to make 2 passes, is removed.
KC follows with a single knit row to the opposite side*.  * to*  steps are repeated

3 total carriage passes complete one row of knit. The chart below shows actions and placement of carriagesThis sample was knit beginning with lace carriage on left, as can be seen in marked areas, the alternating repeats have a different quality in the sets of  transfers marked red vs green
The “successful” swatch knit beginning with KC on left, LC on right in the method described aboveApril 2019 I attempted the same repeat on the 930 with img2track.  I flipped the repeat horizontally and elongated it X 2 prior to knitting it. The arrows in the chart indicate the movement of the lace carriage, beginning with the first preselection row from the left I had issues with the proper needles being selected (proofed also in fair isle), but with random stitches not being transferred. A switch in lace carriages, needle retainer bar, yarn, did not eliminate the problem. I finally had to perform some of the transfers by hand. This swatch also shows the joy of missed dropped stitches in lace knitting, the yarn used is a thin acrylic  December 7 2018: an interesting method using 2  electronic lace carriages found on youtube  . The repeat used in the video is actually the same used in my sample above, programmed using img2track. In the video the repeat is mirrored prior to knitting, there are extra knit rows to allow LCs to continue pattern from alternate sides  2011: Studio transfer lace on Brother bulky and standard machines

Studio multi transfer lace punchcard use on Brother punchcard machines 

112

Studio multiple transfer lace with single rows knit between repeats on 910 

This image shows the published inspiration used in post (bottom), and a studio punchcard book version found at a later date for the same repeat>. At this point in time my image editing has evolved. Both repeats below were obtained by processing and scaling the original image in Gimp, for process please see posts 1, and 2

on 930 img2track use #1 variation key with pattern repeat as shown, or flip horizontally prior to download. Ayab knitters pre latest software release: mirror repeat, tile repeat width across the number of stitches to match the number of needles to be used in your final piece. There will be no needle selection at the end of each sequence, signaling the need to release the LC, knit one row, and continue with LC brought to opposite side. This is a very fussy knit. At several points it is loops formed on previously empty needles that get transferred rather than full stitches. They love to get hung up on gate pegs. It took a significant amount of time to produce the proof of concept swatch. It is a lovely lace. Knitting it on a punchcard would give one the luxury of frequent pauses and markings to make for additional clues

LCOL  9 passes, release
KCOR knit one row to left
LCOR 7 passes, release
KCOL knit one row to right
LCOL 5 passes, release
KCOR one row to left
LCOR 3 passes. release
KCOL knit one row to right

 

Mesh experiments using thread lace punchcards .  This image also illustrates the yarn lines created in the eyelet spaces: single thread for when single rows are knit between repeats, twisted double threads when 2 rows knit between transfers. 

Geometric shapes on ribber fabrics with tuck stitches 1

The previous post elicited a facebook query as to whether it might be possible to create solid shapes within the field of brioche vertical stripes. The inspiration for the query was a hand knit pattern published in ravelry 

https://www.ravelry.com/patterns/library/pariss-brioche-scarf 

Many terms are used in instruction manuals and published directions. In my notes I will refer to fabric with tucking on both beds as  full fisherman rib, tucking on one bed only as half fisherman.  These were my first attempts at exploring the inspiration idea, the fabric has inherent differences as it requires both slip and tuck stitch settings, so technically it is neither fisherman. Knitting happened on a random drop stitch day, which explains the patterning interruption errors. When attempting to knit isolated geometric areas on a field of frequently tucking stitches, automating the task when possible makes the process easier and faster. This was my first “diamond” pattern repeat, suitable for a punchcard machine as well. The design is illustrated on the left, converted to punched holes/black squares/pixels on the rightThe knit carriage is set to tuck throughout. The programmed repeat will alternate the knit/ tuck functions across the bed based on black squares, punched holes, or pixels. For full fisherman rib (top swatch) the ribber needs to tuck in one direction only, opposite to the action taking place on the main bed. A choice needs to be made on either of these 2 setting directions based on needle selection on the main bed, and stays fixed throughout knitting.  The ribber is set to knit on even numbered design rows on the card, to tuck on odd. Row count numbers may be different than design row ones depending on row counter settings by the operator or built KM ones. Below are tuck settings for to the right on top, to the left on the bottom.

For half fisherman rib (middle swatch), the ribber is set to knit with every pass.

Note the half fisherman fabric is narrower than the full. Also, I am not used to my 930, overlooked that the machine was set for isolation, so its bottom diamond shaped repeats are incomplete. 

In the bottom swatch I tried to produce a more distinct shape on tubular tuck created with only knit stitches on both sides of the fabric. Hand selection on the alternate beds on all tuck rows produced knit stitches in the desired area. A needle out of work made it easy for me to find proper location on needle bed .

Getting back to automating at least part of the process for such shapes: the repeat needs to be alteredThe main bed will be knitting the black squares in the chart on the right on every row, tucking the white ones. When the ribber carriage is on the side appropriate for it to tuck the following row and no needles are selected in design segments on the top bed (odd numbered design rows, ones with majority of black squares, tuck <— —>  may not be used in those locations because then the resulting stitches would be tucking on both beds with nothing holding the tuck loops down. 

bring all needles between selected main bed needles up to hold on the ribber so that they will knit while the remaining needles tuck on the next pass of the carriages. 

In my sampling the ribber was set to tuck when moving from right to left. Below is the resulting swatch, shown on both sides. Part of one diamond shape is missing due to the fact I was concentrating on moving needles around and missed the change in selection on one side of the machine.Back to the original the method used in the previous post where ribber settings are changed from knit to tuck <– –> every 2 rows along with color changes. I chose a design that would  make it easy to identify location of non selected needles on the main bed on rows where ribber will be set to tuck in both directions. The result is interesting, but the “solid” areas, narrower than the remaining knit, are in the opposite color to the dominant one on each side, the reverse of the inspiration fabric.
When needles are not selected on the main bed, interrupting the every needle selection bring all needles on the ribber between selected needles up to hold on each of the 2 passes from left to right, and right to left. Stitches on those needles will knit rather than tuckresulting in this fabric The first swatch at the top of this post was achieved going a very different route. Two knit carriages were used to select and knit from opposite sides of the machine. Each carried one of the two colors. When working with the first color and  coupled carriages  the main bed is  set to tuck <– –>, and the ribber to knit <– –>. The second color is knit using the main bed knit carriage only, set to slip <– –>.  A knit sinker plate may be altered  and  used on knit on main bed only rows, adjustments to it are shown in post http://alessandrina.com/2018/04/15/ribber-fabrics-produced-with-2-knit-carriages-selecting-needles/. The chart for my working repeat with a multiple of 4 rows in each pattern segment, color changes every 2 rows indicated on rightIn trying to produce a diamond shape using this technique, my first repeat had arbitrarily placed pixels: the cam settings on the right of the swatch images correspond to those used in each swatch segment. Colors were changed every 2 rows throughout. First 2 rows in pattern were knit in tuck setting, followed by 2 rows knit in slip. In segment B when no needles were selected on the top bed, all those needles were brought out to hold before knitting to the opposite side. Because every row is now knitting in corresponding color changes the result is a striped pattern. Segment C is knit with both carriages set for 2 rows as in C1 alternating with knit carriage only set as in C2.  At that point the color being carried knits only on the ribber, skipping non selected needles on the top bed, avoiding the striped result. A float is created between the beds in areas where no needles are selected that will be “hidden” as one returns to knitting in rib with 2 carriages.  The arrow in the chart points to an area where two colors were picked up with the color swap rather than one. The resulting swatch samples 

Analyzing the result in section C: the diamond is the same color on both sides, whereas the initial rectangular shape experiment reverses the colors. Reworking the diamond repeat in segments that are each a multiple of 4 rows:Other considerations in DIY designs. The background repeat for this pattern is actually composed of units 2 wide by 4 rows high. If the pattern is intended to be repeated across a larger number of stitches on the machine bed than that in the chart, it is always worth tiling the image to pick up any errors (sometimes happy design features).  Tiling in width readily shows the error, tiling in height as well proofs row intersections as welltiling the corrected width repeat, now 42 stitches wide by 72 rows highI sometimes tend not to keep immediate notes when I test ideas, which often comes with a price. I knit my first swatch using this repeat beginning the pattern with 2 rows of tuck, resulting in this fabric (and some randomly dropped stitches once more) with the same color diamond on both sides:Beginning the pattern with 2 rows of slip stitch on the main bed only mirrors the swatch at the start of this post. Where no needles are selected on the main bed, with passes of the combined carriages, two rows of tuck will now be produced, resulting in the wider geometric shapes and the increased bleed throughThe tuck loops created by the white in this instance have the elongated slip stitches in the alternate color (blue) partially covering them, creating the darker geometric shape in the top detail photo. The blue is thinner than the white, the effect will vary depending on yarn weight and tension used for the main bed yarn. One can begin to observe the change in width in areas with more stitches tucking. 

If the aim is to have a tighter, more clearly defined diamond, after the swatches rested, the swatch that began in slip stitch setting appeared to “work” better to my eye, even with the single color geometric shape on both sides taken into account. Ultimately the choice is a personal one.  The wider vertical stripes created in the white yarn in the slip combination fabric happen because of the 2 stitch wide repeat on the top bed as opposed to a single needle one in a true fisherman knit. Because of the slip setting the results will be narrower in width from it as well.

Ayab knitters will need to program any repeat across the width of the intended number of stitches, and use the single setting. Electronic knitters can enlarge the background pattern field easily, or create brickwork, extended repeats.

Arah-paint offers a free program that allows drawing repeats in different orientations with a few mouse clicks. Shifting the this pattern must also be in pairs of pixels/black squares in this instance because of the 2X4 stitch background unit. The 21 (half) pixel shift shows an error in its continuity a 22 stitch shift results in a “correct” all over repeat 

Quite some time ago I experimented with shadow knits including in posts 

2013: DIY design  2017 crochet   

It occurred to me the same design might work in a tuck rib version. The original repeat was 24 stitches wide, 28 rows highscaled to double length, 24 stitches wide by 56 rows high a tile test of new pattern Knit tests: the red yarn was a very strong cotton, hard to knit smoothly, the blue encountered some stitches not being picked up on the main bed as well, but the concept may be worth exploring further. The main bed is set to tuck in both directions, the ribber to knit throughout. The red and white fabric is considerably wider because of tension required to get the red cotton to knit. Better stitch formation results with different yarn used for second color 

And lastly, a first quick adaptation of a design previously used for drop stitch lace, which requires some further clean up: the yellow squares indicate loops tucking on both beds at the same time, the repeat on the far right is the one tested after eliminating those problem areas. It is 14 stitches wide by 80 rows high.an “improved” version, the choice remaining as to whether to make all the blue shapes pointed at top and bottom, or “flat” this is my repeat, tiled. It is 14 stitches by 84 rows

2 color ribbed brioche stitch on Brother knitting machine 1

After a complicated nearly 3 months I am returning to some knitting, and am sharing some of my results once again.

I have always found 2 or more color patterned brioche stitches executed in hand knitting as inspiring and complex challenges to admire, but am not tempted to actually attempt to execute them in any way.

I have not knit on a Studio KM in more than a decade. I have been asked whether this fabric is possible to produce on Studio/Knitmaster. The most crucial difference imo between the 2 brands (Passap has its own universe) is the fact that Studio selects and knits with each pass. Needle pre selection for clues is not an option. I have gathered some information from manuals on tuck knitting including “English rib and Double English rib” as clues to anyone who wants to work out the technique sorting out their own Studio settings tuck on studio km

This was my first Brother machine knit swatch result:

Each of the 2 colors tucks for 2 rows and in turn knits for 2 rows alternately. Settings are changed manually as shown below after every 2 rows knit, following each color change on the left. Making things a little easier: the top bed may be programmed on any machine, including punchcard models to avoid cam button changes in the knit carriage every 2 rows. With the main bed set to tuck <– —> throughout, black squares will knit for 2 rows, white squares will tuck. First preselection row is toward the color changer. When no needles are selected on the top bed (white squares), ribber is set to knit. Top bed will tuck every needle. 

When needles are selected on the top bed (black squares), the ribber is set to tuck in both directions. The ribber will tuck on every needle.

Proof of concept: blue yarn is used on rows where main bed needles are selected (black squares). The crossed stitches at the top right begin to represent an effort to create surface shapes or designs on the fabric. They are created by cabling 1X1, making certain the stitch creating the “shape” is carried to the front side of the fabric, the opposite stitch crossed so it is facing the knitter.I used KCI in this instance, first needle on left in work on ribber bed, last needle on right in work on top bed. A border is created on the knit’s edges on the far right and left. The reverse side of the fabric:

Using a blank square on a knit row to help track 1X1 transfer patternsWorking the 24 stitch repeat using KCI; both first and last needles in work on the ribber bed. Due to operator error and forgetting to change ribber settings after transfer row, I chose to stop knitting rather than attempt a pattern correction

Another attempt at cabling, 1X1 and 2X2. That white line in the bottom image on the right was caused by the color changer picking up and knitting both colors for part of the row before my noticing it. I got rid of the “wrong” color from the feeder and continued on. The wider 2X2 cables require “special handling” and eyelets are formed on columns aside them after transfers are made. Before attempting to knit crossed stitches such as the above in an every needle rib, it is worth exploring cables crossed in vertical stripe color patterns single bed. This is a hand knit inspiration series of patterns, better left to hand knitting

one of my ancient machine knit demo swatches:

On any knitting machine with every other punched hole, black squares or pixels locked on a single row, id the pattern is knit in FI, continuous columns of  vertical color are created. 

If the the goal in creating the continuous an unbroken vertical stripe 2 color pattern, one must place like color on like color. Because FI is essentially a slip stitch the fabric will be tighter, narrower and shorter than that produced knitting either yarn in stocking stitch. Cables on the machine need to be transferred across fixed widths between needles, so there are distinct limits as to how far stitches will allow their movement in groups in either direction. Loosening the tension can often help. Sometimes it is possible to create extra slack by a variety of means, making moving the stitches easier. I have found my own limit for this fabric was working with a 2X2 cross (it is possible to work moving single needles as well). Adding to the complexity single bed: proper needle selection for the next row knit needs to be restored prior to knitting it when using the FI setting, movement of stitches is mirrored on the knit side in the opposite direction of that viewed on the purl. Visualizing some possibilities as worked on the purl sideto consider the knit side appearance mirroring is not enough the direction and appearance  of the crossed stitches on the knit surface is reversed from that on the purl as well 

When working every needle rib it will take 4 rows of knitting with 2 color changes to produce the striping. R represents stitches on the ribber, K the stitches on the knit bed

Tuck stitches widen the fabric. As a result,  the tucked knitting in this chart on the ribber (represented by the color yellow), forces the space between the knit stitches produced on the main bed (represented by the color green) apart, while stitches tucked on the ribber will create the gap between the stitches knit on the ribber, appearing on the reverse side of the fabric. The combinations create the appearance of single stitch vertical stripes. 

This is an illustration of one possibility for programming reminders for tracking location of cable crossings  

Every needle ribs are generally knit at tighter tensions than when the same yarn is knit single bed.  Too loose a tension in any tuck fabric causes problems with loops forming or knitting off properly, too tight will produce stitches that do not knit off properly. One limitation of crossing stitches here is the actual stitch size, which needs to be constrained to produce the fabric. Tiny stitches need to travel across fixed space. One by one crossing is manageable, 2 by 2 requires extra slack to make the transfers possible. 

Adding some “give” to crossed stitches
1:  the carriage has moved from left to right after the color change. All needles except for the four white squares in my design were preselected prior to the next row of knit. The carriage now stays on the right
2: take note of the white tuck loops formed on the ribber on the previous pass from left to right
3: white tuck loops ( I chose center 3) are lifted up and off their respective needles and allowed to drop between the beds. This will allow the 4 white cable crossing stitches to have more slack. 
4: cross your cable in the intended direction
5: push cable stitch needles out to E
Knit from right to left, change color, continue in pattern 

With some planning on longer pattern repeats it is possible to plan added clues to tracking rows on which the cables occur, and their location on the needle bed. Repeats with very few marked areas merit testing in tile as any other repeat. The repeat on the left when tiled shows the area of a patterning error, on the right with the missing blank rows added the problem is shown to be resolved.A proof of concept swatch: Planning for all over brick layout of corrected repeat: More detailed charts of the 2 repeats, suitable for punchcard machines, editable further for use in electronics. Ayab knitters need to repeat the final motif across the width of the download to match the number of pixels to the number of stitches in use across the needle bed, use single setting.

 

Reversible DBJ, Brother knitting machines

I am including notes on my working through the process and some of my stumbles at the start of this post. More specific how tos  are found toward the bottom of it.

Such fabrics may be created with both the KRC built in function, or with the color separations that knit each color for each design row for 2 consecutive, identical rows. Punchcard knitters are not excluded. The starting side is on the left for the KRC setting (B in this illustration), on the right side for the alternate color separation (C, double length or drawn with each row repeating X 2). I am still testing my 930, for my samples I began by using the built in pattern #16 in the Stitchworld Pattern Book I.In the absence of a jac40 the fabrics are knit by manually selecting stitches to upper working position (E on Brother) on the ribber bed every row. Preselection for the next row to be knit on the main bed makes the process far easier. 

In my first sample, the colors are the same on each face. Since the same number of needles are selected for both design and ground, both sides of the fabric will be exactly alike. There will be floats, enclosed by knit stitches of the opposite color. Beds are set at half pitch. Consistency makes any process easier and more predictable. My ribber set up was also with an extra needle on the ribber at either end of those in work on the main bed. I found I had less issue with the long floats in my design when I made certain the needle selection began with needles to the left of those in work on the opposite bed rather than to the right, allowing for the color in use to knit first on the ribber, then in turn on the main bed. It may not matter with patterns with shorter spans worked between the 2 colors. The dropped stitch issues below were resolved by using different yarns, no other changes. 
The needle set up in colored squares and on my needle beds showing matching selections on both beds (different design rows). Some of the floats may be seen created by the blue yarn in the bottom photo. If first and last needle on each side were not selected on the main bed, the needles at each end on the ribber were added to hand selections for next row (blue squares)


better results with the different yarn choice

For DBJ that reverses ground and pattern colors, opposite needles are selected on each bed. Color 1 knits the design on one bed and the background on the other at the same time, while color 2 knits the reverse. There are no floats. I knit this fabric as well at half pitch. The ground color created pockets (white squares), with the pattern color (black squares) locking the layers of fabric together. Here again, first and last needles on the ribber were worked on each row. I began pushing needles up on the ribber beginning to the right of each needle in work on the main bed. Needle selection on ribber matches unselected needles on main bed (pink). All needle positions each bed are mirrored. 

needles actually selected on both beds (pink), different design row One design row, 2 different angles

Since ribber fabrics are not visible for a large number of rows, I frequently scrap off after short distances to proof technique before committing to longer pieces as well as to asses whether the effort is worth it in order to produce the fabric in that particular technique or yarn.

Moving on to a self drawn pattern, the technique proved to be sound. On inspection however, I saw I was actually missing a pixel in the .bmp I downloaded, and on the reverse the green arrow is most likely operator error in needle selection. The orange dots highlight the missing pixel/contrast color stitch, and on the color changer side I had a really sloppy edge that needs sorting out (red dots).  A possible added factor: I knit the motif using KCI, and later recalled end needle selection does not always work with the carriage I am using. Here I filled in the missing pixel, and drew a single pixel black line along each side, testing a “border”. The first and last needles on each side were now cast on and in work on the main bed. 

That single stitch solid color line does not add to the design in my opinion, so back to the drawing board: side “border” pixels are eliminated. The first and last stitch are now in work on the ribber. This fabric is the best by far, at the very start I forgot to cancel end needle selection (KCI), then switched to canceling it, KCII on electronic. The how to in summary: first and last needle are on the ribber. On the electronic choose KRC for the built in color separation for the fabric to be worked in DBJ. KCII (no end needle selection). With free pass to right, both carriages set to slip <– –>,  select for first row of knitting to be worked in color represented by white squares in the design chart. Both carriages remain set to slip in both directions throughout. On the ribber bed, bring up to E/hold position first needle on the right of any needle selected on the top bed, then continue to push needles up into work to match the number of not selected needles on the knit bed.  As needles are arranged, there will be a space between the last hand selected needle on the ribber, and the next needle in work on the main bed Now that there is that extra needle in work on the ribber on the color changer side, to match selection as seen above, needles are hand selected to E beginning on the far left, still keeping that space just before the next needle selected by the pattern reader. Remaining selections began to right of needles on main bed as described above.when selection begins on the main bed on the left Getting back to working the same pattern on both sides of the knit: first needle on the left is on the ribber, the one on the far right on the main bed. On the electronic select KRC for the fabric to be worked in DBJ. KCII. With free pass to right, both carriages set to slip <– –>,  select for first row of knitting to be worked in color represented by white squares in the design chart. Both carriages remain set to slip in both directions throughout. On the ribber bed, bring up to E/hold position first needle on the left of any needle selected on the top bed, then continue to push needles up into work to match the number of selected needles on the knit bed.  Small selection errors are seen on left image, ie on the second row on its right, may be easily repaired by duplicate stitching. The stitching yarn may be fed easily through layers of double knit for short distances before and after the “mistake”. With all settings and yarn being equal, there is a difference in size between this fabric (larger of the 2) and the one with color reverse on its other side 

A similar set up, working in full pitch. Here needles line up directly below each other. If wrong needle is selected it will be point to point with the needle immediately above it, and is an added clue the wrong needle is being pushed up into hold/ E position. My first swatch had distinctly different side / vertical edges. Cast on was for every needle, half pitch (top image), first needle on left on main bed, last needle on right on ribber. When completed, it was  followed by change to full pitch prior to pattern knitting, lining up needles point to point, directly below each other (bottom image).  I prefer the edge obtained on the half pitch throughout, seen in previous  sample 

Still pondering those edges, and what about repeats with large areas of solid color? The image on the left is 25X26 rows in height, the one on the right adjusted for an even number of solid color rows, and a total row repeat divisible by 4, 25X28. The single black line at the top is a marker for returning the carriage to all knit when the top of the repeat is reached. When using full pitch, solid areas remained open at both edges with carriage set to KCII. A wooden tool handle is actually inserted through from one side to the other in the bottom of the swatch. Because the needles are point to point, no extra needles could be brought to work on both ends as a work around. KCI will select end needles on main bed. I tried that as the first work around to seal the edges. I paid no attention to whether needles were selected at each end every row, and got another creative pair of edges. 

Returning to half pitch I brought up to work the first needle on the left every row (too many rows at seen at R top edge compared to other side) and pushed the last needle on right up to work if it was not part of the group to be brought up to E. Analyzing the fabric structure in those areas of solid colors on alternating beds: at first full pitch makes sense if one has knit tubular stripes or solids which have closed edges, with the yarn making a single pass on each bed, traveling back to the color changer, with the option to stripe every X, even number of rows. Such stripes occur evenly spaced and identical on both fabric sides. Here the goal is to knit the fabric with large blocks of solid, alternate colors on each side. The main bed knits color 1 on selected needles on the top bed only, the alternate color is knit with the ribber needles being hand selected up to E while the main bed is slipping, with none of its needles selected. Other than that first set up row with preselection from the left, 2 rows are knit in color A, followed by 2 rows in color B. There are no stitches traveling between the beds to seal the fabric together in those areas, creating open sides, so if the goal is to have the edges seal. other steps need to be taken. A single pixel solid line along either edge of the repeat did not create a good edge. Full pitch is easier than half pitch to manage. One possible solution to both issues is to alter the side edges of the design repeat so there will be alternating needle selection along those side edges, thus sealing the fabric. 

I decided to cast on with white, and to continue with white as the first color used in pattern (white squares in chart). This swatch was knit in full pitch. Edges are sealed throughout. The only hitch was when the top was reached and that all black squares row was reached. I was on the right at that point, with my dark color in the feeder. The row toward the left would have knit in the dark color instead of the white on the top bed.  I cut the dark yarn, made a free pass to the left, continued in plain knit in white to right, and then transferred stitches and bound off. Top and bottom edges /borders in terms of number of rows, whether to add pattern there as well, are all subject to personal preferences and taste.

For an off topic reversible double bed fabric using thread lace setting, see post 

Numbers to GIMP to create images for electronic download

WORK IN PROGRESS

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 https://archive.org/details/dictionaryofweav00poss 

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

for more on gimp editing see post 

4/15/19 I have always been curious about weaving drafts and patterns being translated to knitting ones. I wrote a post on some of the basic possibilities in 2015, in my Excel days. Lately I have come across many tempting charts shared in Pinterest from many sources. Some are more difficult than others to translate cleanly. Having a periodic leaf obsession, I came across this chart, which also will show some of the issues found in mesh grounds, thread lace, and other fabrics when there are regularly spotted grounds.

I found the easiest way to work with the repeat was to overlay the table over the image using a much thicker cell border. The repeat was isolated, its colors reduced to black and white out of habit. Adjustments were made to the image eliminating aspect constraints, and it was laid under the grid to the closest visual match for stitch and row units cell size. Command select makes quick work of filling in pattern cells. When done, the table border was selected and rendered in a much lighter outline, the captured final image was saved, opened in GIMP (insured it was indexed), scaled to 38X50 pixels, and produced something in theory now knittable.Tiling is as always a good test to see if the final repeat meets your expectations prior to knitting,  and  offers the opportunity for any other adjustments with use  of  grid and magnificationAn even easier approach: use the same grid method on the original, in the original color isolated repeat. The table may be shifted slightly in its front position as one advances through the repeat, filling in cell content.   another in progress repeat and its tiled BW counterpart using this method

Back in 2011 I had quite a lace obsession. One of the shawls I produced is shown below in one color on a blocking board, and in a completed other
The knitting took place in my mylar on 910 days and I still recall the tenacity it took to reproduce the lace pattern accurately from a small image in a publication, to a repeat 150 rows in height, and 35 wide on the mylar. The original lace pattern was part of a series of motifs used in a lace shawl published by Susanna Lewis in issue # 5 p 43 of Macknit, a short lived machine knitting magazine. I now used the method illustrated with the woven leaf above. A thick cell border table was laid in front of a scaled scanned image of the original repeat, filling in cells, and then using the image grabbed from numbers in gimp to produce the final BW .bmps for download via img2 track to my 930. Once I realized that the original image grabbed from numbers needed to be large enough to produce a clean scaled bmp in gimp and broke the pattern into 3 segments 50 high each to accommodate the screen size of the Mac and an easy to count grab, within minutes I had my lace pattern for downloadThe subsequent proof of concept swatch was easier and quick to produce as well now that I have a much better understanding of how lace transfers work, it was not quite centered, but  appears to be correct

A bit on method:
Cell size minimum 24X24, at this size I was able to grab 50 rows at one time 
Colored Border 6- 8points when filling in individual cells 
Zoom 75%
Fill in cells with black
Change cell border to 1 point dotted 
Screen grab desired repeat as cleanly as possible, this makes a difference with straggler dots 
Open screen grab in gimp, trim if necessary, convert to mode indexed 1 bit palette
Image scale to grabbed repeat cell count. On occasion one of the 2 numbers may be off by one or 2 pixels, can be rounded off by breaking the chain symbol used for keeping aspect ratio constraints
If there are stragglers they can easily be edited with side by side comparison. There may be fewer with larger grabs.The method worked seamlessly for me yesterday, today I am getting extra black cells. Comparing with the screen grab and editing at 800 to 1000 X with grid, snap to grid preferences will make for a quick edit, still ever so much faster than drawing on mylar.

“straggler” illustrations for clean up in GIMP prior to saving  for  download