Lace point cams and lace isolation on Brother machines

This is a quick reference in response to a Ravelry question. L cams clip onto the needle bed (like single motif cams on some punchcard machines). Where there is a cam the needles won’t select for lace. They come in 4 or 8 stitch size. They can also be used across the bed if you want to block part of the punchcard for plain panels. You can even put several next to each other to block 12 or 16 sts. On some lace carriages the cams may be a bit high but you can shave a tiny bit off the top so they fit. They can be moved along mitered edges to highlight the miter.

The pages below are from Brother machine manuals. I don’t believe there ever was a separate manual for the LCs themselves, though they were often sold as a separate accessory.

for electronic 910

from Punchcard Pattern Book vol #4 LC Variations using the point cams 

control for end needle selection on carriages that have the ability works the same way as on knit carriages with same option

over the years color varied, but function remains the same 

A lace mesh series: GIMP, superimposing, Brother 910

I like placing motifs, grounds, and borders myself whenever possible, in any knitting technique, rather than relying on adding or combining them via the built in KM software.  It is simply my strong personal preference in designing and gives me additional controls over patterning. However, the ability to superimpose is a convenient feature, available on multiple machines and worth mentioning. I have used it more frequently in operating my Passap, than my Brother 910. That said, it would appear to be an easy feature to use for programming shapes onto mesh grounds. For illustration purposes I am using a 24 stitch repeat. Electronics width and height potential depends on use of mylar or PC download. The “rose” is not a workable, resolved repeat. When electronics were first introduced, at one point Kathleen Kinder wrote a book on electronic knitting (? 1984), exploring the full potential of managing designs by combining settings and flipping buttons for both the Brother 910 and the Studio 560.

A bit of review on machine buttons and functions for the Brother pattern case for those unfamiliar with it.  M= Memory: each of the tiny red spots on the garment representations lights up, as specs on motif are entered or reviewed. CE= cancel entry: corrects programmed numbers or cancels the red error light when it flashes. CR= cancel row: press in a number, say 2 on the panel, and the card moves back 2 rows. If you press the button and no number is entered, the error light flashes and the card stops advancing. This is the same as locking the punchcard to repeat a pattern row. RR= row return, brings the card back to the set line. This is routinely done before shutting off the machine when knitting is complete or to remove the mylar for editing.  CF= card forward. The mylar returns to programmed design row 1.  Numbers pressed in using CR or CF do not change those programmed using the M button.

When the pattern selector button on the 910 is down, the pattern is centered on green #1. A reminder: Brother has 2 needle #1 positions, one on each side of 0. When the pattern has an even number of stitches, it will be centered with half that number of stitches divided evenly on each side of 0. For 24 stitches, the pattern’s limits are yellow 12 and green 12. If the repeat is an odd number of units wide, the center stitch then will be placed on green #1 (right of 0). If the repeat is 25 stitches wide, then the pattern limits are yellow 12 and green 13. If using a 24 stitch repeat, the machine automatically knows that the first needle position (FNP) for the pattern is yellow 12. When the pattern selector is in the upper position (motif A) and the middle position (motifs A & B) we can choose the FNP, and with A & B the number of stitches separating them. One way to produce filet lace as is to program A & B motifs. The lace mesh is the A motif, the “rose” the stocking stitch motif. The A motif can be on the left or right of the mylar, but it is always the taller of the 2. In most cases it is the dominant pattern. The starting row for the combined motif is shared.

In lace knitting transfers and resulting eyelets are programmed as black squares. Superimposed solid patterns in stocking stitch occur in unmarked areas of the mylar or downloaded image, so they need to be “white squares”. In order to get the 2 to meet, the mesh repeat in the height required (column A in illustration), and a single width is drawn or programmed in reverse (column B), with the result being  read as (column C) when it is programmed as the base for a complete overlap. The basic mesh becomes the A motif in programming the 910, the stocking stitch “shape” is the B motif.  If end needles are selected during knitting, they need to be pushed back to B manually, or use the orange L cams. It is possible in addition to mark the “L window” on mylar, but the mesh repeat is so regular you may not find that necessary.The “rose’ would also need to be drawn in black, and positioned or programmed, with first placement resulting on the image seen below right. Color reverse is then used converting white squares to black, and lace knitting could proceed based on the black markings resulting in eyelets.  As is already noted, there is no guarantee the image placement on mesh the will yield a precise shape or the best possible results for motif edges, its definition, and its segments’ outline In terms of placement: if the all over mesh is programmed centered on G1, and the motif is positioned with FNP other than G1, any simple, extra rows of mesh prior to starting the all over pattern (below green line), will need to be programmed separately with adjustments also in FNP to match the superimposed segment. The programmed repeat for the mesh “rose” below would begin immediately above the blue line, and the extra mesh rows at the top would provide the transition to the start of the rose once again. The height of pattern seen in the B column in the first illustration may be adjusted accordingly. 

Color reverse (button #6) will provide “black squares” for creation of transfers to create eyelets. The mesh and superimposed design need to share the same starting row. Image above reversed, shows extra white at the bottom of chart that needs to be eliminated. Brother lace starts on a selection row (black squares), ends with 2 blank rows at the top of the pattern (white squares). This is reversed in Studio knitting.

What happens when starting row placement is the same for both motifs, and color reverse is used: the first row lace carriage selection is good to go. The height of the mesh above the rose may be adjusted to suit. Trying to place multiple roses in different locations on the finished piece using this method is more than my brain wants to even consider. Punchcard knitters are not completely out of the superimpose loop. If you are so inclined, areas on mesh punchcard ground may be taped over to test the repeat. Again, this works best for simple shapes. Tape may be shifted or trimmed as needed. If intended for extended use, trace holes over a blank card, punch the final version, and proceed. Images on punchcard machines are reversed on the stockinette side. If direction matters, flip the card over horizontally, mark and punch, or if the card is already punched, work with lace carriage on right, knit carriage on left. No worries about multiple programs or a mix of starting points, etc. Know the rules for where to begin and end for lace knitting.

Sharp single stitch points are not attainable. In the illustration below, the yellow indicates the “desired point”, red squares indicate the additional stitches knit, adding to the intended shape as the alternating directions transfers are completed. The one stitch start, is actually converted to 3 stitches, 3 to 5, etc .

A lace mesh series: using GIMP

Eons ago I owned a BitKnitter for my Passap machine, and to this day I miss it and some of the other Cochenille software that is no longer available, especially when working with multiple colors for color separations of any sort. When using it for downloading the resulting motif, picking the same exact color for each “square” on the grid was a necessity for accuracy. If “only” black was involved, the same guide applied. Working in GIMP one can set the color mode to fewer colors to start with, reducing the palette. This can limit your editing ability sometimes, and switching between modes may be required. I tend to go autopilot when I work on color separations for any purpose and work with built in colors rather than custom.

It is helpful to have previous experience with any program as well as with basic knitting  before tackling and combining large scale designs and  fabrics such as lace. This is not a step by step how to use GIMP (search for my other posts on topic), merely an illustration of my experiment in working with superimposing an image onto a mesh grid.

To start with: a 1 X 1 grid is set up. “Black squares” become single pixels in downloads. For the single stitch 1 X 1 grid to be visible, I prefer to work in at least a 500X magnification. Because I do not own a hacked machine I am unable to provide a corresponding test swatch to the final chart.

The resulting image may be tiled to produce a large enough mesh ground, the grid needs to be turned off for this step

The tiled image will appear on a different part of the screen, shown in both versions below, I realized reviewing the above that the width was for more pixels than could be programmed on a 200 needle machine, I resized its width to 120 pixels

here the grid is removed for further processing 

the goal is to retain the black squares for the end bmp, so the ground is filled with a color that will later be removed gridded again if and when needed 

Today’s image is a letter (20 pixels by 24), produced in a new file with text from one of my built in computer fonts. I happened to be working in RGB mode the same image as it would appear in indexed mode Here some edges “clean up” has been worked with grid on, then removed for tripling the motif length (now 72 pixels) and pasting on the “mesh” ground 

Switching to indexed colors (6) if you have worked in RGB to this point, it may make cleaning up of edges easier.  I flood filled the A to insure only one red was in use. Below the A is selected (fuzzy selection tool) and copied for paste onto the “mesh”. Magnification reduction to 500X makes the whole file more easily viewed on my mac

the A pasted in placewhite color fill leaving only black squares of letter and ground

Superimposing may be used in some machines, but eliminates the choice of editing when one is “not happy with edges” until after sampling the knit, has several parameters and limitations. Above image gridded for editing:
feeling better, with the exception of the left side bottom of right leg of Aone last bit of clean up, switching between magnification  as needed happier grid removed, image magnification reduction to 100X for export as bmp and download to KM

When downloading a large image that constitutes the width of your piece, programming an extra square or 2 vertically for the height of the pattern in “white” on each side will insure that stitches in those areas are not selected for transfer by the lace carriage, and a knit border will be created.

Things become more complicated with more complex shapes. This is part of a filet crochet chart, and a rose now becomes my goal

use selection editor or fuzzy selectpaste and move to “best” spot not quite a rose

Back to the drawing board: the mesh and knitting method are altered. For a possible knitting method option see http://alessandrina.com/2017/07/28/unconventional-uses-for-punchcards-2-thread-lace-cards-for-filet-mesh/  The ground “mesh” is now composed of every other stitch, alternating every other row. The “rose is not lengthened. “Stitches” need to be “cleaned up” to approximate a more recognizable shape.

 When satisfied, export in format for download.

 

A lace mesh series WIP 1

This is a work in progress (WIP) post, subject to future additions and editing.

These patterns are suitable for punchcard machines. Individual repeats in excel illustrations are outlined in red. They in turn are the minimal repeat information for electronic machines. The lace carriage always begins on left, transfers are made during either 2 or 4 LC pass rows. In the first repeat below the LC operates for 4 rows, KC follows for 2 rows knit. For a fabric using it see post 

This repeat appears in my pre punched factory basic packs as both #17 and #20. The lace carriage is used for 2 passes and then for 4 alternately, as indicated on the left side of punchcard. The 2 passes will make transfers to left, the 4 make transfers to right. See previous lace posts for further info on lace selection methods and accompanying charting. 

More variations and swatch photos: all patterns unless otherwise stated are knit with 4 passes of the lace carriage from left, followed by 2 rows knit

In this instance there are several vertical spaces between punched holes, creating the knit vertical stripe.  The spacing can be adjusted to suit, but if “mock crochet” is the goal, superimposing an image onto an every other needle mesh gives better results. It is possible to have 2 punched holes side by side on alternate rows, but not in the same row for stitches to knit properly without intervention on the next pair of all knit rows. In patterns such as the first and third below, stitches are transferred onto the adjacent needle in one direction, then both stitches are transferred back onto the previously emptied needle. The transferred stitch then sits on the front of the work (duplicating the look in hand knitting), instead of remaining on the adjacent stitch on the purl side of the fabric. With transfers in the same direction, the swatch biased after relaxing

a mylar marking error as drawn (3A)
the intended repeat (3B)

The above swatch and the one below are similar, transfers occur in the opposite direction, so vertical columns of stacked stitches occur in the alternate columns of the finished fabric. I had some transfer issues in similar spots in both fabrics, have not analyzed the possible direct cause. As seen below, the dropped stitches did not result in the frequent large holes often seen in lace knitting. Pins and red dot indicate problem spots, which could be repaired with careful stitching at the end of knitting. The best prevention of the problem is to visually check after sets of transfers to make certain all stitches have indeed been moved properly.

LC is used alternately for 2, and then 4 passes between knit rows (5)

transfers create a sort of “shape”, highlighted in photo; the LC operates in sequences of 4 rows, followed by 2 rows, and repeat (6)

this one is a bit trickier, LC operates for 4 rows resulting in side by side transfers; in the first trial yarn caught up on gate pegs, dropped stitches, etc
after reducing KC tension and adjusting amount of weight 

Mylar repeats can be very small, it is easy to be one stitch off in entering data; here one blank row was added to left (a possibility for intentional vertical stripes of knitting) and the program was one row short on right of single repeat

with the corrected program 

the “variations” repeats in summary
Adding geometric forms to mesh: a working MK chart for a cousin to the fabric link provided at the top of this post, the underlying mesh repeat is the same as that for card 17the corresponding punched holes; 2 LC passes for transfers to left (purl side), 4 LC passes for transfers to right (purl side) throughout on Brother KMchart flipped horizontally, suitable for hand knitting the swatch, MK, knit side 

Note: the appearance of the “straight line” edges is altered by the formation of the eyelets along the sides as well as the top of the shape. As more shapes are played with, some adjustments may need to be made in punched holes after knitting a test swatch.

Custom shapes become a bit more complex. So I like the circle in the previous experiment, but I want to accomplish it with traditional lace transfers. I previously discussed a possible approach to filet mesh. This is the swatch where there is one row knit for each row of eyelets, discussed more recently

Below is the result from working with a traditional mesh, where there are 2 rows of knitting to form each eyelet. The third row in the “design” on punchcard is needed for the lace carriage to travel to its proper place for alternating direction of transfers, is not technically a knit row. The fabric is wider and longer than that above, and there is some elongation of the “circle”. Large patterns are mylar and punchcard real estate hogs. The swatch for slightly more than a single repeat with red dots indicating where one square in the mylar did not have a dark enough mark, resulting in a missing eyelet 

the mesh 

A: is my desired shape 17 units by 17, B: that shape elongated X 2 (17 X 34), to try to approximate elongation with knitting 2 rows for each set of eyelets. It is drawn on a square, not a rectangular or gauge specific grid however, so if that is a consideration in the design, it would have to be a case of “back to the drawing board”. C: the shape elongated X 3 (17 X 51), for placement on the mesh, and D shows it in my desired spot. Lace gauge is harder to gauge because of stretch in the final fabric, and the changes subject to pressing and blocking depending on yarn fiber content. Because transfers in this method occur on rows 1 and 2 to the left, 3 and 4 to the right, no pure straight edges along design borders can be achieved. If simple superimposing a large shape on the mesh is possible, there may be even more distortion along those edges. Ultimately a lot of this boils down to personal preference and patience.

For single vertical line(s) in mesh whether single, at regular intervals, or for use in pattern transitions place repeats as shown where eyelets are desired. Markings for Brother row 1 selection on right of chartFor directions on using lace mesh to create pleated skirts please see post http://alessandrina.com/2017/08/16/pleats-created-with-lace-transfers/

Unconventional uses for punchcards 2: thread lace cards for “filet” mesh


Mock filet crochet machine knit lace has surfaced in a ravelry blog of late. The sample in question was made by Tanya Cunningham, using a hacked knitting machine and software to download the repeat. Sometimes punchcard machines or early electronic users feel left out of creating particular fabrics. If one can settle for working with simpler and far smaller repeats however, one can achieve interesting results in that scale.  Several years ago I wrote a series of posts on lace meshes and lace patterns inspired by filet crochet, this link will take you to them. There also has been a thread lace  ravelry “thread”, and today’s avoidance of housework led me to thinking about pre drawn thread lace patterns to create filet mesh.

What to look for a first experiment (Brother machines only): large unpunched areas creating motifs, with no side by side punched holes, and no more than 2 consecutive punched rows. Some samples are provided in stock cards that come with machine purchase. One such

The lace carriage (LC) selects on first pass, transfers on the second. It advances the card with each pass of the carriage if is operated consistently from the same side. If 2 knit carriages (KC) set to select needles for any technique are in use in punchcard machines, as one is put to rest and the other one begins to move from the opposite side, the card does not advance on the first pass, so selection for the previous row is repeated one more time. If all lace transfers are made in the same direction the resulting fabric will bias. For balanced lace fabrics, the direction of the transfers needs to be reversed, whether in alternating series of rows, or with every other set of transfers. In a situation such as this, the LC makes one set of transfers operating from the left, with the next set of transfers operating from the right. For the correct set up, the first row selection with the card locked is made on the row jut below the one marked #1 (in this instance that would be row #40), then the card is set to advance as usual. If the first selection row is made with the card set to below the #1 line, the card needs to be already joined with snaps into a drum or the card reader will be selecting the all punched row which is normally part of the overlap that sits over the last 2 rows of the pattern repeat.

I began with my LC on the left for transfers to the left, and alternately placed it on the right after knit row(s) for transfers to the right. A “simple” lace is produced with only one row knit between transfers, a more complex lace if 2 rows are knit between them. The LC moves left to right, transfers back to left. If the knit carriage is used for one pass only, it stays on left. The LC is now taken off the machine and moved to the right, used for 2 rows, and will be removed from bed to ready it for its return to the left side. The KC follows with one pass from left to right. The LC is returned to left and operated for 2 rows, starting the sequence over again. The LC is always moving toward the KC to select, and away from it to transfer.

Brother knitters are used to knitting 2 rows after lace transfers. It can be done with this card as well. The problem here is that when knitting for 2 rows, the knit carriage consistently returns to the same side, so that when transfers need to be made from its starting side with the LC, the KC needs to come off the machine until after transfers are made. There is a lot more juggling of carriages and keeping track of what needs to be where. The elongation that occurs with 2 rows knit after each set of transfers, and the difference in the appearance in the yarn forming the eyelets (single/magenta arrow vs crossed/glow green arrow strands) for the respective methods is shown below.

another Brother card, more possibilities

The above shows long vertical lines of transfers are possible in design motivs (punched holes). Adding shapes to all over mesh may require some editing along edges where the shapes meet the mesh. Varying size swatches are recommended before commitment to any large piece. As always punched errors may be taped over. Red squares in the image below reflect holes missing in card if the goal is a smoother circular shape. When this technique is used, selection, transfers, and knitting occur in each single, completed row of the design.

note differences in circle sides
an amended, wider repeat 

The slight bias zig zag at the top of the swatch results from a missing reverse direction transfer before continuing with plain knitting and binding off. Ultimately whether the final fabric is worth the effort in making it is a personal choice. Sometimes small swatches work like a dream, and when large pieces are produced, problems multiply or the result is disappointing. In the past I have also tried to use thread lace inspired patterns for drop stitch lace (ribber fabric), but have found the result far more subtle than expected. As always yarn and color choice make a significant difference. The yarn used in these samples is a 2/15 wool blend, knit at tension 6.

BTW: Studio pattern books have multiple sections of published 24 stitch thread lace patterns. Not all Brother machines have the capacity for knitting this type of fabric, so not all of their publications include “suitable patterns”. If one understands what punched holes vs unpunched do, some of the Brother weaving and “pick rib” (perhaps another post’s topic) can be used as is or adapted.
electronic http://machineknittingetc.com/knit-in-punch-lace-silver-m…
punchcard http://machineknittingetc.com/pattern-library-for-punchca…

previous blog notes on thread lace http://alessandrina.com/2016/11/03/thread-lace-on-brother-km/

 

A new “leaf” lace

I am often surprised when I return to visiting past ideas and discover how long I have actually been blogging. In 2016 Vogue knitting published what appeared to me to be an interesting pattern for a leaf lace variant combining dropped stitches and lace transfers. In looking back my leaf “phase” began in 2011. Here are links to my previous posts and process at the time:http://alessandrina.com/2011/02/15/beginnings/
http://alessandrina.com/2011/02/20/in-progress/
http://alessandrina.com/2011/02/20/on-the-blocking-board/
http://alessandrina.com/2012/02/25/back-to-lace/
http://alessandrina.com/2012/02/28/more-on-those-slanting-lace-leaves/
http://alessandrina.com/2012/03/08/back-to-leaf-lace-add-rib-and-take-it-to-the-passap/
http://alessandrina.com/2012/03/20/getting-there/
http://alessandrina.com/2012/03/27/the-joys-of-lace-on-the-km/
http://alessandrina.com/2015/03/22/ladders-with-lace-making-things-work/

Below, I am sharing my WIP swatches and notes. I am presently working on some production knitwear pieces, and it is unclear when I will return to more samples of this variant.

The “new leaf” requires hand techniques, working with multiple transfer tools. Dropped stitches in hand knitting may translate to ladders in a machine knit. My first trial swatch was made on the standard KM.  Casting off and on posed interesting questions. The lines where knit stitches meet ladders, as pointed out in previous posts, can result in the knit stitches aside the ladder growing in size

I do not enjoy time consuming hand techniques on the machine, so to speed things up I moved on to the bulky. As with any other knitting, the lengthwise sides of the knit are going to want to curl to the purl side. I deliberately worked with an acrylic yarn, anticipating that blocking it would be required to attempt to get the results to stay flat. Here is the resulting swatch, as first off the KM

after pressing with steam 

A couple of days later the fabric was still lying flat, so I decided to try to chart it out for slightly different results, while planning for a different turning angle and a consistent number of ladders throughout.


I began to use Excel 2008 in 2009, as well as Apple’s Pages and sometimes Numbers over time to produce my charts and illustrations. I keep learning tiny bits as time goes on. Some features may disappear in such programs or become added with upgrades. These are settings I prefer for backgrounds and borders in Excel

format

and for screen grabs or improved visibility, zoom comes in handy 

For links to online tutorial by others authors http://alessandrina.com/2013/10/29/charting-knits-in-excel/, a search in my own blog will lead you to my own explorations over time. Simple graph paper and color pencils may be used if software is not available to help work out proper repeats, etc. A single repeat of my leaves so far is shown in 2 segments for increased visibility, successful knitting, probably in another “killable yarn” tbd.

Thread Lace on Brother KM

Thread lace has also been called punch lace over the years. The “lace holes” are formed by knitting a fine thread with a significantly thicker yarn as the “second color”. When the fine yarn knits (B), a larger stitch in it alone is formed, with the thicker yarn floating behind it. The thicker yarn goes in Brother’s A feeder, the thinner in B.  As in FI patterning, the unpunched holes/ blank squares/ no pixels knit yarn in feeder A, punched holes/ black squares/ pixels are knit in B feeder yarn. In this instance however, both yarns  knit the unselected needles, corresponding to blanks in card or blank squares/ unmarked pixels. Tension may need to be adjusted due to this fact.

Test swatches for tolerance to pressing/ steaming to make certain final garment will bear blocking and cleaning. I had a sweater front finished using an industry “clear” thread, thankfully tried to iron it before finishing the piece, and discovered a lovely melting quality to the clear “thread”. In theory clear serger thread should be safe to use, there are 2 easily available manufacturers. YLI brand (nylon) is stocked at most chain stores that carry sewing supplies.  One “light / clear” is “whiter” than other; there is a “smoke” version as well, sold on cones. Both produce a bit of a sheen on the surface of the knit fabric. Sulky (polyester) clear is sold on spools, is superior for sewing pieces together, zippers, etc with no “sharp” when cut ends poking at the skin, but in a different price point and quantity.

This was my garment’s test swatch, the black is a wool rayon yarn.

img_3850-1

The fabric is much quicker to produce than traditional transfer lace. Cards can easily be drawn by filling in solid shapes over a mesh  ie repeat seen in the 1X1 card. Double length may produce an interesting fabric as well.  End needle selection needs to be cancelled. If end needles are selected because of the pattern repeat, push those needles back to B position manually before knitting the next row. The latter step insures that both yarns will knit together. Either side may be used as the “public side”, depending on personal preference. The thread lace option is also available in the 260 bulky machine. Here a very thin acrylic was used as the “thin” at the start of the swatch, monofilament for the remainder (bulky KM)

img_3851once again, with monofilament as color 2 img_3852

Taking it to a garment (standard KM): color 1 = wool/rayon blend, color 2 = sewing thread. Note the difference in color where there is no needle selection for pattern, and how one color is more prominent on one side than the other. Sometimes the latter may be used to advantage when the goal is a plaited fabric, but no plaiting feeder is available. Simply program in a blank row, and position threads using thread lace setting to produce the knit.

img_3855

img_3854

For more details for some unconventional uses for setting see post. I knit on a 910 electronic, with no option for such fabrics built into knit carriage. I was able however, to modify and use my punchcard carriage with the intent of producing yet another “unconventional”, ribbed fabric.

Added tips: the tension dial usually ends to be a bit tighter than stocking stitch. The fabric produced is also thinner and shorter than stocking stitch, as is fair isle.  The finished fabric tends to elongate when blocked.

The setting may be used instead of plating. A plated, solid fabric is produced by non selected needles. The thread lace thread tends to appear on the knit side, as opposed to the plating yarn, which appears on the purl side. The color mix may appear less even than in traditional plating. Simply lock the card or needle selection on an all “blank” row.

If the “lace” thread is too thick or too contrasting in color, the eyelet pattern may be lost. Simple geometric shapes are best. Some knit weaving patterns may also work well. In terms of altering the repeats using the buttons on the electronic models, double length or sometimes double wide as well as vertical mirroring may produce interesting results. Sewing or serger threads may serve as the thin yarn and match yarn color well if that is desired.

On the select/memorize row both yarns are fed into the same feeder (A) as the thick yarn, and the “lace” yarn is then removed and placed in the second feeder (B).

An option for drawing your own patterns: shapes can be superimposed on mesh designs as described in “filet crochet” posts, with no elongation of the motif. Punchcard machine owners may use tape over sections of card  number 2, or card 1 which in turn gives the option of testing the design elongation X 2 for both eyelets and motif as well. The tape may be moved to suit, and once the pattern is satisfactory, the final pattern design card may be punched.

Both Brother and Studio offer the cards in their standard  punchcard assortment with purchase of respective machines

A block lace pattern on KM 3 (punchcard, LC, HT)

This is the original lace working repeat as seen in previous post. It needs to be reduced in repeat width, with segments then moved to accommodate the required changes in height as well

original repeatgetting things down to 12 sts repeat width, eliminating sts and rows: easy task with software and virtual “graph paper”minus rowsthe segments, collaged together; black squares now to become  punched holesrepeat_cardmarking out borders to suit mylar or brand of blank punchcard makes placing the markings for transfers accurately easier ie.

every 5 squares every5                           every 6 squares                           every6

chart with actions of lace carriage included, the 14 stitch by 24 rows electronic repeat now reduced to a 12 stitch by 16 row repeat; see previous post for symbols keyLCactiona brief test of the resulting fabric: blue circles highlight a couple of the intersecting spots where the punchcard produced lace fabric looks different from the electronic version, because of its shortened and narrowed repeats marked

A block lace pattern on KM 2 (electronic LC, HT)

Sometimes I begin by analyzing the moves on large print paper to get a sense of the direction for the required transfer moves. This pattern is fairly straightforward, single moves to the right or to the left. What makes it different is what I have referred to as the knit side “chain” in the previous post. To achieve this, sets of stitches are transferred, doubled up, and moved back to the original position to create the proper eyelet placement.

Tension may have to be adjusted to accommodate the double travel of stitches. If it is just a tad off and occasional stitches sit on a closed latch, that may not be noticed, and runs in lace are no fun. Edge stitches get fussy as the knitting grows, edge weights moved up at regular intervals can help with that problem. Where 2 stitches need to move to their right or left, I have chosen to do so by hand rather than relying on the lace carriage to move them onto the single needle, and in turn back onto the center one of the group of 3.  My initial notes on paper:PAPER SKETCHAssigning colors for transfer, charting in excel: green to left, pink to right, checking where markings need to be for full KM repeat:FULL REPEAT

Expanding the repeat, adding 2 blank rows between pairs of transfers with the intent to white out square for “wrong” transfer rows places transfers to right on wrong chart rowwrong

all markings, shifted to proper locationfull mylar

symbols used: black squares = mylar markingschart symbols

The lace carriage begins on left as usual, makes 4 passes before each 2 rows knit. The first sequence hand transfer occurs on row 2 of the 4 LC passes. The second sequence hand transfer on row 1 of 4 passes. After the 3 onto one hand transfer, be certain all 3 needles line up in B position before the lace carriage makes its transfers as well.

the resulting fabric’s knit side 500_954

purl side 500_955