Long stitches meet transfer lace

Eons ago, when I was exploring long stitches I shared directions for a tuck stitch combination fabric At about that time I came across this image on Pinterest.
It combines transfer lace and long stitches, has characteristics that make some lace patterns unable to be reproduced on home knitting machines. Upon inspection, one will see that the number of stitches varies in different parts of the repeat. Aside from creating eyelets, the smaller triangular shapes increase in width, the fan shapes are decreased by half on their top row. Long stitches are created across all needles in work, then they are reconfigured so the center single stitch of the triangle and the center 2 stitches of the fan shape realign in the same position. The number of stitches at the start of the pattern and after the long stitches are created remains constant. Trying variations on inspiration sources can lead to success, failure, somewhere in between, but also increase learning and skill that will carry over into other knitting techniques, even if the results are never used for a finished piece.

The Brother ribber is used to produce the long stitches. A bit of review: the bracket lever has 3 positions:

Dropping the ribber down 2 mm on each side gives enough clearance for thicker yarns.  At a seminar, I saw Susanna use the position to create transfer lace in ribbed fabrics, something I have been threatening to try for decades, but have not yet. Here the lace carriage is shown in position, clearing the ribber’s gate pegs. My preference is to create a chart in order to visualize and plan an “attack” prior to any knitting. White squares represent needles emptied by transferring their stitches to the right and to the left respectively. One must remember to keep empty needles in the work position to form eyelets. I found making the transfers easier an the process more visible if I dropped one side of the ribber to the second, 17 mm. position

The ribber remains set to slip <– –> on all transfer rows, and any all knit rows on main bed only. The ribber is set to N <– –> for three rows. On the first pass, all its needles will pick up the yarn, creating loops on every needle
With the ribber carriage alone,  still set to N/N, free it and make two passes to and from its starting side. The first pass releases the loops, the second returns it for coupling with the knit carriage. Below the long loops can be seen. My needle tape is “somewhere”, has not yet been returned to the ribber after my racking handle adventures were completed.Return the ribber settings to slip in both directions, and repeat the process. Dropping the ribber to the lowest position at any point can verify goings-onHere one row has been knit on the main bed only, anchoring the loops, returning carriages to the opposite side prior to starting transfers once moreA word of caution: if loops are picked up on any single row that in theory was set to slip and was to be worked on only single bed, check to make certain the tuck lever has not been accidentally brought up to the tuck position. Although tuck <– –> can serve for a free pass on the main bed, having this setting on the ribber will create loops on all needles in work My test swatch had a couple of different# of transfer trials in horizontal segments and a few operator errors. It was knit in wool for the “spring” of the fiber, and unpressed formed pleats of sorts, while with a hard press it flattened out considerably, with not as much of a wave as I might like. My later effort led to a fabric that was different from the inspiration one, but far more interesting to me than the one above. I began with a schematic, originally planning only 4 eyelets, then adjusted for 5 (yellow line marks the change) I cast on 55 stitches 27 left, 28 right. A ribber comb and weights are required.
Having a chart with any numbering that makes sense to you is helpful.
I used a water-soluble pen to mark the center needle location for the start of transfers on either side, in this case, 18 left, 1 and 19 right. The 55 stitches include 2 full repeats of 18 plus a half (9) on each side edge.
Brother has 2 #1 positions, one on the left and the other on the right of center, separated above by the red line. The fact is something to be kept in mind with stitch counts for hand techniques where needle selection is not automated across the needle bed but is reliant on accurate counts by the knitter
A 3 prong tool was used to make transfers, the pattern could be translated for use with lace carriage if one desired to do so.
At the bottom of the swatch I stopped after 4 transfers before creating the long stitches, and then switched to 5 guessing I would like the transition better, also a clearer stopping place occurred when a single stitch was left with doubled-up ones on either side of it.
I did not find it necessary to drop the ribber at all to check on the progress of transfers. Below the swatch is shown on both sides, both relaxed (to my eye the more interesting) and after light pressing

It appears to me to be the sort of fabric that is worth revisiting after a break.  😉

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 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 each pass 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 acrylicDecember 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.

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


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

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

On far left below is the first BW processed single repeat isolated from its source. To its right it has been adjusted so the first row is a preselection row for the lace pattern, and the full repeat ends with blank rows (Brother KM characteristic). The latter in turn was saved as an image for download. Since the leaves change direction in the way they lean, the spacing between each pattern swing in the repeat is actually 3 all blank rows, not the “standard” 2, including at the top. The bottom half begins with the first row resulting in transfers to the left, while after the first 3 knit rows the transfers will begin to the right.  The plan was for me to use Ayab for knitting a proof of concept swatch.  In order to achieve that, the full repeat is first flipped horizontally (ayab will auto mirror it,  so starting with it this way it will be in the correct orientation when knitting). The mirrored repeat may be used in unaltered machines as is with LC operating from the right, KC operating from the left (not possible in ayab without adjustments). The full repeat consists of 16+14+18+16+14+18= 96 passes of the lace carriage, for every 12 rows knit. My sample was programmed horizontally for 3 full repeats, the width of my planned swatch. I added one additional needle in work on each side, with the LC end needle selection canceled, allowing for the full pattern as programmed with a single stitch all knit border on either side A tightly twisted cotton yarn did best in terms of handling the multiple transfers and not resulting in split stitches or breaking. I had occasional selection errors, seen in the center panel at the top of each repeat (my common experience with the interface), but the repeat itself appears to be sound.Lace repeats that have even numbers of rows for both and LC transfer and knit ones are easy to follow. Punchcards are also easily annotated and if knitting is interrupted needle selection is easy to return to or restore if necessary. In electronics, there may not be any memo to indicate row #  location for each carriage pass in pattern, or when to switch carriages. Because in this instance there are so many transfers (some of multiple stitches) between knit rows and dropped stitches are best corrected as noticed during knitting if possible, I created a “cheat sheet” of sorts to help keep track of actions. Each block outlined in red here represents one full repeat, read from their bottom-up, with blue borders at the center and red at the end of each half sequence. A visual check at the end of each segment’s # of rows in the series is well worth it to prevent unnoticed runaway dropped stitches and large holes. A check-in box next to # could indicate the completion of transfers. and a number added manually in that same row for that sequence, record the row on which knitting was interrupted ie. stopping on row 8 out of 16 to fix dropped stitches would be a reminder 8 more LC passes are required before the next visual check. 

9/23/18 In now have been experimenting on a 930, where each pass of the LC is actually tracked, akin to following numbers on a punchcard.  Built-in patterns also offer a memo window, which will alert the knitter as to when knit rows are due In testing the pattern with img2track I found the LC passes are still counted, but the memo window is absent upon download. I generated a chart in Mac Numbers, reads from the top-down, expanding on the one above. It illustrates the number of LC passes (left column) required to produce any significant length of fabric.  Patterns such as these are not for the faint of heart and require a friendly yarn. 2168 passes of the LC (33 full repeats, outlined in green; red line separates half repeats) are accompanied by 396 rows of “actual” knitting. In actual knitting, the pattern advances from row 1 to 96, and back to 1 again. A check-off list can be much simpler if one is desired. The numbers on left appear in the LC window in a 930, when reached 2 rows are knit with the KC. The numbers at the top reflect completed repeats. Boxes can be checked moving to the right as those rows are completed Another option is to download the pattern in img2track, and then enter memo information prior to knitting it. Two youtube videos that show how to enter memos in machine models that allow it, 930 included  https://www.youtube.com/watch?v=S0tXNT76v10    and  https://www.youtube.com/watch?v=nR8MheT5Bao. The number 2 may be entered after numbers on left appear in the LC passes count window, and provide an easy guideline to follow. And this is what testing lace patterns can look like. In this instance, a tighter stitch tension, a bit of change in weight, and visually checking after each row of transfers brought me some success. This is not a stitch pattern that lends itself to easy “repairs”. 

 

Lace edgings on Brother machines

The initial goal here is to produce a knit fabric using lace transfers in the familiar way, but the knit carriage will now be set to slip <–>, selecting needles with each pass. In routine lace patterning the KC is set for plain knit, does not preselect needles, advance the mylar, punchcard, or other electronic patterning.

If this image, where all blue squares represent knit stitches and white squares unworked ones, was provided with the intent of its being produced as a piece of knit on the machine, the initial approach might be to use a single prong tool to move the edge of the blue in one stitch to the right for a decrease, and out one needle to the left for an increase. When the decrease is made on the bottom curve, the needle from which the stitch was taken is put back out of work. When an increase is made, a stitch is moved to work on left, and the last stitch on that side is transferred onto it. As knitting continues, that now empty needle location will create an eyelet.

I decided to wing it for the first swatches. This illustrates the same knit shape. Blue rows represent all knit rows and stitches, the empty pairs of rows leave areas to insert lace eyelets in pattern.

Arrows indicate the movement of the lace carriage on left, knit carriage on right. Red squares now represent transfers to right, green ones transfers to left

A second transfer to the right is included in the pattern close to the left edge of the trim to create eyelets next to the decreases, matching those eyelets created by stitches moving out in the increase segment of the chart

A theoretical series of right and left transfers is then inserted, creating a shape in the center of the trim’s width

Now reducing it all to black and white squares or pixels for first preselection from right hand side using an electronic. This repeat is not suitable for use in a punchcard machine even though it is 24 stitches wide. Electronics advance a design row with each pass of the carriage when cam buttons are pushed in and with both carriages set to needle select. Punchcard machines in those circumstances do not advance when the alternate carriage is brought into work from the opposite side. This charted repeat is usable as is on an unaltered 910, with the first preselection row from right to left. LC operates from the left, KC from the right.

For use with Ayab software two other things need consideration. Ayab mirrors lace repeats, so either mirror the repeat of the original design, or choose action mirror in the software prior to knitting. This is a screen grab of the repeat used for my initial swatch test. I later changed the section where the diamonds cross in at the center of the eyelet repeats In addition: those first 2 rows need to be all knit, so the top row of the design was moved down to row 1 position.
KC preselects left to right, knits black squares to left, preselects same needle selection again to knit those same stitches traveling back to its home on the right, creating the two knit rows that in “normal lace” would be worked with the KC simply set to knit.  As the KC now knits the second row, it preselects needles for the first row of transfers, rests on the right
LC transfers to right as it travels to left, preselects the next row of transfers. As it moves back to left it transfers to left, preselects for first of 2 all knit rows, rests on left
The sequence is repeated  until the piece reaches the required length.
End needle selection is off on both carriages. As LC travels to left, because of no end needle selection, the first needle on the right is not selected. An option is to manually pull that needle out to insure it knits. I decided I actually preferred the chain created by those single stitches knitting only every other row, but was not happy with the elongated stitches on alternate rows edge stitches on the increase side. These would be the carriage actions To review: end needle selection is off on both carriages. As LC travels to left, because of no end needle selection, the first needle on the right is not selected. An option is to manually pull that needle out to insure it knits. I decided I actually preferred the chain created by those single stitches knitting only every other row. I had a serious yarn tangle on the right about halfway up the swatch, with some of the evidence visible in the approximate center of the swatch photo 

changing that crossing of the diamond outlines, still winging it

My fiber is now a crisp cotton, unmarked weight, tension 8, and it is much easier to observe areas that may still be a problem to me as the designer. Ideally I would prefer the lines created by the transfers marked in cyan to match the quality of those immediately below or to the ascending part of the diamond on their opposite side, that would require changes in the transfers sequences and space between knit rows. The LC non selected stitches on the straight creating an every other row slipped stitch are still something I like.  The difference on the edge stitches in the ascending angle are happening because with each transfer out, there is a single thickness of yarn on the new edge stitch and moving the stitch over a needles space elongates it. Longer loops btw are also created when single increases are made by bringing needles into work on the carriage side prior to knitting a row across all needles. In the trim’s decrease edges, the transfers in each new edge stitch have double the yarn thickness contributing to a different appearance, highlighted with magenta arrows. There are 2 rows that have no edge transfers programmed intentionally in the center before reversing direction, so that area has no resulting edge eyelet.  The last shot at adjusting the repeat, with improvement in those cyan marked areas. Plain knit rows may be added between each repeat, the edge of the knit will be different than in the remaining trim on each side

Going back to the wheel that has already been invented, how can pre drawn published mk lace repeats be used instead of “winging it” endlessly or not having the confidence to perform the necessary assigning symbols and proceeding with the required separation? Still trying to work with a pattern that knits for 2 rows, transfers for 2, a chart from Stitch World:marking the 2 all knit rows that will be plain knit by programming black squares The pattern is actually for an all over lace. All the transfers in the central diamond actually are happening in the same direction. If the repeat was programmed in the usual manner, beginning with LC on the left, those transfers on the first design row and in the whole of the center diamond shape would all be to the left. I can live with them all being to the right, and would be interested in more eyelets at the edge of the trim. Here is a new repeat, with the increased eyelets at the curved edge Remember if using ayab to mirror the above repeat (seen on right) prior to preparing to knit it There is a disruption for 2 rows in the very center of the diamond, where no increases or decreases occur on the shaped edge prior to reversing the shaping. It was there in the earlier sample marked with arrows as well, but not as noticeable where the edge was created with the addition of single eyelets on increase and decrease rows.

Not finding any other candidates to alter for this purpose in stitch world at the moment I am left with the option of going back to the Brother punchcard book collections, and reviewing what needs to be changed for those same patterns that work so well with the KC set to plain knit but are now to be knit with the KC set to slip <—–>……

3/7/18

a lace punchcard repeat with transfers in opposite directions Assigning colors to transfers: red to left, blue to right. In theory the same repeat could be used flipped horizontally for operating the lace carriage from the right. Yellow lines highlight the 2 blank rows in card that will be replaced by black squares/ pixels (remember rules are different for slip and lace in punchcard knitting)Since the goal is a trim, things are rearranged for knitting to begin on the full 24 stitches There are 2 ways to get the above repeat to work, one is by adding extra blank rows. I chose to reverse positions for transfers, moving left transfers upon row, and red down one row. With lace carriage operating from the left this is my new repeat, with edge shaping added for trim edgeKC is set to slip after the first preselection row, first set of transfers is selected on its second pass to the right. The first transfers with the LC are made to the right, the second set to the left. If knitting the repeat using Ayab remember the above is mirrored by the software, so choose action mirror prior to configuring

I knit a swatch using the thinner yarn again. The difference in increasing angle can be seen here as well, the pattern is short, so the outer curve of the trim reflects that 

This would be my test repeat for knitting the same trim in ayab with the LC operating from the right. The software would mirror it, no action needed. The last row is shifted to the bottom to allow for the knit carriage finding a home on the left. First row knit would preselect 2 needles only, with KC then set to slip in both directions, the next two rows should knit, preselecting the first row of transfers to be made by the LC operating from the right.

I am unable to test the repeat. I have had intermittent problems with patterning in the sofware from the time I installed the kit. In multiple efforts and restarts I am now getting no selection at all or wrong selection with LC operating from right, while rows advance in the software and beeps continue. I have knit lace with the LC on the right before, but not with the KC selecting needles as well. Possible solutions and causes to be determined. 3/8/18 I have been told upon testing by others the same issues have been encountered that I did when using the KC to select from left and the LC from right, and the problem appears to be the result of a bug in the software to be addressed in future updates.

3/10/18: an adaptation of Susanna’s automatically shaped trim for Brother KM, p. 223 of “A Machine Knitter’s Guide to Creating Fabrics”. This chart shows the first rows of the published punchcard. Please note: using my own lace carriage, when I tested canceling end needle selection, the problem was not solved. Brother setting recommendations made for a similar transfer pattern in an edging published by them, are given and repeat is pictured at end of my post.


Row 1: LC moves to right, no needles selected
Row 2: LC moves to left, preselects next row of transfers
Row 3: LC moves to right, transfers preselected needles to right (red dots), selects needles (if any) for next pass to left
Row 4: LC travels to and transfers to left (green dots), preselects for first row to be knit by KC In this particular pattern the direction of the arrows match the direction of the transfers with movements of LC operating from left
Row 5: KC from right, set to slip <€”  €”> knits all needles in D position, repeats the same selection as it travels to left (yellow marks)
Row 6: KC travels back to right, in the second shaped knit row, preselects for the next transfers to be made by the LC
Row 7: LC travels to and transfers to right, preselects for next row of transfers
Row 8: LC travels to left, transferring to left if any needles have been preselected on the previous pass, and the process continues

The numbers on the punchcard chart do not reflect actual row numbers in knitting because when row 4, 10, etc is reached, on the next pass (a blank row in the card), the card does not advance and the previous selection is repeated. For each carriage to make an even number of passes to travel to and from its original position, the total length of the repeat must be an even number of rows.

Here are the 24 stitch repeats adjusted for knitting on the electronic. A for an unaltered 910, B indicating direction of transfers (red to right, green to left). Arrows mark the problem row, and my solution to it C on the far right, along with the repeat adjusted for use with Ayab.the ayab screen image for working the edging  Both KC and LC are set not to select first and last needles in my directions. When the decreases start to happen on the left of the chart, because the end needle selection for transfer to right again does not happen in areas marked with magenta arrows,  there is an extra stitch that remains on the left that does not get transferred (orange dot) so it is not knit off and simply get held as subsequent rows of knitting take place. Restoring needle selection in the LC is not a solution for the problem, so the final repeat has been amended by me to get that edge transfer. The pattern starts on  cast on 20, not the full 24 stitches. Ayab knitters: use the LC to begin selection from left. The first pass will select for a knit row, push those needles back to B, and the LC will select for transfers to right on the next row as it moves to the left. When knitting is to take place there is a clear distinction in the number of selected needles (black squares). The KC will be set to slip <–  –>. Make certain to remember to return the remaining 4 of the 24 total stitches back to B so the full repeat is in work on the needle bed before continuing in pattern, otherwise there will be needles there to accept stitches moved over for increases to left.

The two extra passes of the LC in this method result in a 2 stitch border on the increasing and decreasing angles of the piece, creating a much nicer edge than that in the samples at the top of the post. The eyelet so close to the right edge stitch which also winds up being slipped every other row made for very messy loose stitches in the thicker cotton that I could not control. The sample did better when I pulled the non selected needles on knit rows out to hold prior to moving across them with KC. 

When working on electronics the 24 stitch limit in width for the repeat is no longer there, extra knit stitches may be easily added to the right of the pairs of eyelets along the non shaped edge. Having those extra stitches knit on the right side of the repeat made it possible for me to use my cotton again, giving me a controllable edge on that side without having to pull stitches out to make them knit. To my eye, I find the extra passes with the LC and those extra knit stitches on the right are well worth the effort and planning in the finished piece

the ayab repeat  

Something to try: I found instructions ascribed to Brother
for another version of an edging using a pattern that has the same eyelet sequences along the shaped edgings. Their recommendation for a 950i is to remove the non selection mechanism on the lace carriage, and mention was made of the “rubber wheels on the carriage” being uppermost, allowing the end needles to be selected. My lace carriage has fixed, old fashioned brushes, not rubber wheels, and my eliminating end needle selection did not solve the problem with that single stitch in the center of the repeat. And if there is not enough to keep track of, this also combines fine lace and traditional transfer lace, would work fine as just lace.

3/15/18 after more testing I have come to the conclusion that end needle selection cancellation on my 910 LC is working properly, but is not operative when I am working with the my Ayab interface.

Lace punchcards meet Ayab

1/8/18 It appears I now have acquired preselection from left to right on the first pass with my Ayab software, which I have been told is its “normal”. I am revising the information I have offered since I began working with Ayab if needed because of this, beginning with lace. This punchcard design is worked with each carriage operating for 2 rows, and all transfers in the same direction. The LC (lace carriage) on left, the KC (knit carriage) on right. An added note: sometimes punchcard designs as provided, not altering the repeat in any way, accidentally marking squares or pixels in the wrong spot, or deliberately starting with the LC on the wrong side, may still produce interesting fabrics. As always keeping good notes is more than well worth it. punchcard actions: transfers are all to the left (seen leaning to right on the knit side)With the first pre selection row using Ayab beginning with the LC on the left, the same transfer sequences occur as in the punchcard machine or a single repeat on a mylar

swatch knit with the LC operating on the left, the KC on right throughout

For use with the color changer, the same repeat may be used. Transfers, however, now need to occur with the LC operating on the right giving the knit carriage the opportunity to travel to and from the color changer in 2 (or more, even #) row sequences. Using a punchcard, one would turn a punchcard over before inserting it into the card reader to work with the LC beginning on and continuing from the right. To achieve the same fabric using Ayab, shift the top row to the bottom of the repeat, and either mirror your image prior to importing it into Ayab, or use its mirror action in the pull-down menu. The chart shows the repeat prior to mirroring, with desired actions described to its right. It is not possible to read the first row from beyond the right set line using Ayab, so the LC begins on the left, travels to the right on the first blank row, selects on the second pass to the left, transfers stitches as it travels to the right again and stays there, operating from that side for the remainder of the knit. All transfers are now reversed and made to the right, and seen leaning to left on the knit side of the fabric. After the first 3 LC passes, each carriage operates for 2 rows at a time, all transfers are to the right, lean to the left on the knit side of the fabric.

Possible striping choices:  the differences between areas marked A or B is in the location of the color change. In A areas the color is changed immediately after the single transfer at the top of the “triangle”, in B areas the last eyelet is completed in the same color used up to that point, and the color change is made after the first row of 4 transfers at the base of the “triangle”. More complex lace repeats create much more interesting variations in the direction and movement of the stripes.
 verification on a different day, LC on Left, repeat not mirrored 
The punchcard for fabric from 1/25/18 post. This fabric creates large eyelets, there will be 2 empty needles side by side for the duration. Some of the old pattern books referred to it as one of the “mock crochet” ones. 

operating with LC on the left operating with the LC on the right: the repeat is mirrored  

the original repeat (re-worked on 24 sts)Ayab for operating with the LC on the left, repeat is mirrored  Ayab for knitting with LC on the right, original repeat, rows split

The bottom of the swatch was knit with the LC operating from Left, the top with the LC operating from right after its third pass illustrated  in the “triangle” lace description above repeated testing, bottom LC operating from left, top LC operating from right

A sample of weaving and lace see discussion of a punchcard to mylar conversion 
for full details. The punchcard was originally designed for operating both the knit and the LC carriages from the right. If KC I is used resulting in end needle selection  on only the first and last needles in use, prior to passes of the LC push those needles back to B. If there are 3 empty needles on the edge on either side on rows preselected for weaving, bring the outside needle to work/ E prior to laying in the weaving yarn.  The image tiled for the width of my knit, in this case, 32 stitches, a multiple of 8I actually cast on an extra stitch on each side at the beginning of the piece with the intent they not be in pattern and create a single knit stitch border in areas of transfers. Here are the results, barring a couple of spots the weaving yarn did not get caught properly. The pattern as drawn produces a fabric that is interesting, but different than the intended

With the pattern flipped horizontally / mirrored, we now have the same results as in using the 589 punchcard

So to mirror or not to mirror? that is the question… I tested  643 and 650 from Pattern book #5, found mirroring was indeed required for transfer accuracy. I  verified that the “triangles” do not need to be mirrored to match the punchcard swatch. The notable difference in the latter is that all transfers are in the same direction and that each carriage operates for only 2 rows.

Two more to try, directions are not ayab specific: a large diagonal eyelet lace combining lace and tuck 

12/28/17: tuck lace meets hand technique 

For more lace samples and symbols and suggestions from punchcard books on knitting the fabric, please see punch-card-book-symbols-and-samples

A Fair isle sample with deliberately mirrored lettering proved the program knits what it sees, so my letters were still reversed, as drawn.

On 12/25/17 I shared my first try at lace using Ayab and the workaround for the first pre-selection row occurring from left to right. The LC is the one to select for transfers, the KC knits to complete the formation of stitches. Brother punchcards for lace usually begin with selection rows, end with 2 blank rows at their top. Because Ayab requires a first pass from left to right for the next row to be selected, to get the pattern to work one needs to split the 2 rows at the top, bringing one of them down to the start of the repeat. If knitting continues with the LC pattern as originally drawn, the transfers will occur in the opposite direction of that intended. To work around that, the image may be mirrored in the paint program before download, or use action/mirror in the Ayab menu before knitting. One nice added feature is that blank rows may be left at both sides, creating a knit stitch border, and eliminating the problem of paying attention as to whether end needles are selected or not, and what measures to take. This fabric creates large eyelets, there will be 2 empty needles side by side for the duration. Some of the old pattern books referred to it as one of the “mock crochet” ones. These repeats do not hold with first-pass preselection from the left.

the original repeatthe repeat mirroredthe resulting fabric, knit and purl sides

no mirroring, software patterning errors in one of the test swatches 
operating from the right, using the color changer

Woven Lace: a brother punchcard to electronic

This is actually a reworking of a previous post. I usually sit on any post for a while, returning to it, editing multiple times out of view, and publish when satisfied with occasional return visits. Thanks to comments from another Ravelry member, I realized after my first “quick” publication on 589 that I needed to take another look at my thinking on this particular card from the very start.  I chose to stay public during editing to show that no matter the level of skill or time spent knitting, sorting out issues for any particular design or fabric can take time, sometimes obstinacy, and that at times the simplest route is taking good notes during the actual process for the most direct results in terms of clarity.

I have been knitting a long time. Sometimes things seem so obvious to me as I work, that I do not take notes. I still have a swatch from my teaching days that fell into that category, and that I have never been able to duplicate. With the 910 and the limited availability of space on mylars, I sometimes erase too quickly, and now that my charts are being created in a new and not yet habitual and familiar to me programs (Numbers, in high Sierra and Pages) wonderful, “surprise” variables can happen. So tips to self: keep step by step notes to return to as a reference, choose order of steps top down or bottom up and stick to one or the other, try not to scrawl randomly and everywhere on any one sheet of paper (never mind keeping it legible), don’t recycle papers with such notes when you think you are done, and watch those autosaves and revert options in Numbers and Pages. Then there’re the added factors of occasional WordPress crashes during saves, taking what one assumes as familiar for granted, and of simply putting even single, lone black square in the wrong place on a mylar sheet. I found with this series merely editing information in the software was not enough. Some of the errors became easier to see when matching the software theory to actually taking notes the old fashioned way with each carriage pass on the 910.

Some information on punchcards, their use, and pattern repeats may be of help to any of you who have not used a card before. The previous post included a reference to this punchcard from a Brother punchcard book in its combining weaving and lace section. I began with the assumption that knit carriage would operate from right, and lace carriage from left, their traditional placement in most lace knitting

its supposed related swatch

Analyzing the card, sorting out possible repeats follows, since mylars or bitmaps for download often only require a single repeat of the pattern. If you are not used to doing this, sometimes beginning with recognizable vertical ones first is a bit easier.

the apparent width and card height repeat

Going from lots of dots to far fewer ones can be dizzying. The punchcard multiple vertical repeat on the left is double checked to insure that all marks are in the correct placement on my chart. Black dots for EON needle selection, red ones for lace transfers. Here things get checked off twice, particularly for lace holes. Lace cards are the hardest to copy and place pixels or black squares accurately, simply because their markings are so few. I usually begin on the left hand side of punchcards to  isolate my repeats. The number markings in the center image reflect those found on the far right of Brother punchcards. The #1 on the factory cards represents where the card reader teeth are reading the holes on the interior of the machine, not at the operator’s eye level on the machine’s exterior. That is also the reason why in any fabric, needle selection does not match expected design row. On the far right,  a single repeat in height is isolated further. The same sort of check should be done when punching cards from published images. Blowing up the source and printing can help with accuracy. 

Operating carriages for even number row sequences is is the most convenient. The assumption on the basis of the arrows in card 589 is that each carriage makes 2 passes, operating in a continuous loop. That simply did not work for me in terms of producing 2 rows of lace followed by 2 more in any other pattern when operating LC from left, and KC from right.

If punching a card, verify your final punching by holding black paper behind the punched holes. In this instance there is an obvious mistake on the third row of holes. I am at the end of a very long punchcard roll. Some of the new rolls are wonderfully sturdy material, but the roll can retain a curl that may make it easy for the card to roll back into the reader unless joined into a tube (resulting in patterning errors), and making it hard to feed its starting rows  into “punching machines”. The rolls are marketed for Brother use, and numbered separated into “standard” lengths with blank segments between them.  Those markings may however,  be for Studio machines use (seen here, at row 5),  with row one on the right actually being 2 rows too low for Brother, so as punched LC  first preselection row would need to happen on row 3.589 begins with lace transfers. A second option, is to begin with a weaving pattern, with the KC on the left for the first selection row, and beginning your pattern reading 2 more rows up from the lace starting line in the punchcard. Markings on the side of the image above have nothing to do with actual starting rows. Pencil lines are outlining individual repeats, have no other reference. Numbers and other necessary marks would require adding by hand. If hesitant, #1 marking on right may be double checked by overlaying a factory pre punched card over your own.

Beginning the mylar conversion : my adjusted repeat checking squares vs holes again

The end needle selection needs to be canceled on lace rows to avoid transfers or dropped stitches on the edges of the piece. If a needle is selected, manually push it back to B. If patterning ie tuck, slip, or FI is used on alternate groups of rows, then end needle selection is preferred. In weaving,  2 side by side stitches drop a float, so keeping the EON selection on both sides gives a better edge. Invariably, some operator involvement is needed altering end needle position, no matter the setting for it on either carriage.

Even with a lot of knitting and design experience results are not immediate. I ran into issues when I first tried to knit on the 910 with a later, “final” repeat selection being correct, but the technique failing, resulting in a loopy mess. In weaving, weaving brushes need to be moving freely, so check them, unscrew them, remove any fluff, and air knit, making certain they are down and turning at the same rate in both directions. Tuck wheels if movable, should be in the forward position, lined up with all other wheels or brushes on your sinker plate. To isolate the problems further: test lace with your knit carriage selecting,  but no cam buttons pushed in. The KC will knit for 2 rows across LC transfers, creating only the lace pattern involved. Your mylar markings get checked, also offering an opportunity to sort out why stitches may drop, and if you indeed have the patience to combine techniques for more than a few rows. It is easy enough with an EON needle pusher to test both weaving yarn and needed ground yarn tension. If that is successful as well, then issues occurring with patterning may be from other causes. They were in my case. I had to switch sinker plates in my knit carriage to get weaving to work properly. I failed, however, at combining the final repeat with tucking, even with the KC set to tuck immediately after the transfers and to knit every needle in the opposite direction.  I tested the carriage, sinker plate, and patterning with EON tuck only with different designs, and had no problem. At such a point I would abandon that fabric combination with the particular mylar repeat.

Returning to actions on the punchcard: the preselection row can be confusing in any translations. The last row in the card takes care of lining up repeats for us as it is rolled continuously in the drum, but there can be oddness to the eye when only a small repeat is singled out. Looking at the image of the repeats tiled allows one to choose a different starting row, rather than lace markings. The direction of transfers raises the quest to yet another level. This was my progression in editing and moving starting row for beginning the fabric with a weave start rather than a lace one: the numbers in my charts reflect carriage passes and direction, not completed row counts as they might appear on KM counter

Pass 1: COL, KC, N for knit row, slip ? for a free pass that selects only, move carriage–>
Pass 2COR, KC, EON preselected, set the card to advance normally, lay in weaving yarn, KC will move  <– will weave the first row, preselect  second weaving row
Pass 3: COL, KC weaves second row EON, preselects the first row of lace on its way to right –>
Pass 4: COL, LC transfers to right, repeats previous row’s selection, moves to
–>
Pass 5COR, LC no transfer happens on empty needle selected for the second time by the previous row, selects for the next row of transfers, moves <–
Pass 6: COL, LC transfers pre selected row to right, preselects first EON row for weaving, moves –>, release it, return it to left
Pass 7COR, KC, EON, lay in weaving yarn, KC will move  <– will weave the first row, preselect  second weaving row
Pass 8: COL, KC weaves second row EON, preselects first row of lace on its way to right –>
Pass 9: COL, LC transfers to right, repeats previous row’s selection moves to –>
Pass 10COR, LC no transfer happens on empty needle selected for the second time by the previous row, selects for the next row of transfers, moves <–
Pass 11: COL, LC transfers preselected row to right, preselects first EON row for weaving, moves –>, release it, return it to left.  This row matches design row 1 and is starting the repeat sequence again
Passes 2-11 complete 10 rows of knitting, as well as the first vertical repeat as drawn

My chart has had multiple drafts, which included using software to insert a row to allow for that repeated selection as the carriages switched sides. The goal is to keep the 2 lace transfers to the right, with LC beginning each sequence on the left side, ending on the right, matching the punchcard movements listed above.  Keeping things as simple as possible is something I at times forget to do. After several drafts, here is a simpler way to look at things. In D black squares with dots indicate stitch that will be transferred on the next pass of the LC, the yellow squares the location of the eyelets. All pattern repeats with the KC preselecting for the first row of knitting on the left, with the change knob set to either KC I or KC II

the 10 row repeat and its mylar companion

In actual knitting of this stitch combination,  since needles preselect for the next row knit, once the pattern is set up correctly, it is easy to recognize when carriage changes are required by looking at the number of needles selected. EON rows are for weaving, starting on the right. Few needles selected are for lace, starting on left. Lace transfers happen on the stitches selected the previous row, in the direction in which the carriage is moving, here transfers are all to the right. Grey squares indicate repeated selections, black squares with yellow dots indicate stitches transferred to the right on the next pass of the LC. The mylar repeat would only require the black squares

Below the repeat in the chart is used, knit first on my punchcard KM, then on my 910, but it misses the mark in terms of matching the swatch in the pattern book

This is the result I was still trying to get back to. The first lace pattern test swatch: gotta love dropped stitches in lace!

no tucking allowed in combo with lace, but not a carriage or mylar problemweaving test: fails were from a problem sinker plate weaving lever in one direction only, hand technique success was with the change of sinker plate lace and weave with 2 different weight yarns and, hallelujah!

Taking another look at the original punchcard and those arrows on the left-hand side, a detail I had originally missed. Both carriages operate from the right side, for 2 rows each, switching their place on the machine bed. Arrows for design row 1 begin above the red line. Transfers are all first to left, then to right. The card advances a single row for each carriage pass. With carriages operating on the same side, the punchcard advances one row for each carriage pass. Operating the LC from the left, and releasing it when it is on the right as in the previous fabric produces the desired results. The blank row on rows 3 and 8 allow the LC to travel to the right, making the selection for the transfer to left on the next row

the 10-row repeat and its mylar companion

the actions

the fabric, again!

Reworking the repeat in order to use the LC for four passes, beginning and ending on the left-hand side of the machine, its usual home

the now 12 row repeat and its mylar companion

the actions the fabric again, in lace only repeat 

For reproducing the fabric using Ayab software: please see http://alessandrina.com/2018/01/02/lace-punchcards-meet-ayab/

 

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 When using extension rails for lace or whenever using 2 carriages, beware not all rails are the same and that may make a difference with some KM model years

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 depend on the 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 the 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 the 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. The image above reversed, shows extra white at the bottom of the 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 the 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.Later model electronics included “stitch world” pattern books.  A usable mesh is # 103. Do not use 104, since it leaves 2 adjacent needles empty. If aspect ratio matters in the superimposed image, knit test swatches to determine gauge. Cell/ grid size may be set to knit proportions rather than square to make visualization of finished shape easier. The mesh created using 103 uses 6 pattern rows for each 4 knitted, so you must add â…“ to the height of the overlay design. Similar adjustments are needed if other mesh repeats are used. Simply scaling the image may require some clean up as well before the motif can be placed on the ground design.

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

8/9/18. From the Brother electronic lace pattern book, worked out in a much larger repeat 

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.