There is an excellent online resource for the Bond Machine. Techniques are applicable to other KM models for those who enjoy hand techniques. The round lace tablecloth series provides a number of “doily” charts. Here is a working graph for a Brother electronic 910 “inspired” by them. The stitch width total which forms the radius of the circle reflects the 60 max width on the mylar. Slip setting in both cam buttons is used on the KH for automatic shaping: end needle selection is canceled. It is critical that carriages be off the machine and on the lace extension rails while the alternate carriage is in use as they both engage the timing belt, and the latter can be broken if pulled in opposing directions at the same time. If drawing on the back of mylar, the image below may be drawn as is, and number 1 pattern case “A” reverse lever to up position. Repeat design principles are shared in creating edgings, ruffles, and more.
One of the critical differences when using 2 carriages to select patterns, is that with the electronics on machines such as the 910 each carriage pass advances the design repeat one row. With Brother punchcards, the first pass of the second carriage does not as it makes its first “trip” from the opposite side. Back in 02 exchanges with a fellow member of an Australian Yahoo Group, OzMKers, led to her final edit of the punchcard repeat resulting in the following (half actual card is shown).
This shawl has a rhythmic, simplified lace repeat allowing for consideration in making it as a limited edition production item. It begins and ends on live stitches, which in turn are joined in seam as you knit fashion as the border is created. The transfers in the border regularly switch directions creating a reverse bias that in turn may be blocked into pointed edges.
New working design as it is being knit, purl side is facing; textures created by crossover stitches is significantly more noticeable on knit side
as it appears at the end of knitting
on the blocking board
it is done!
When I taught, I felt the need to come up with a “clean’ expletive for moments that simply required one, mine was “figlet”. With nearly 60 inches of shawl knit, this “magically” happened.
I now have about 120 + rows of carriage transfers and knitting to undo to get back to a place I can hopefully repair/continue from. Am trying to convince myself it will be a meditative undertaking. Happiness is not doing this type of knitting for a day job: double figlet!
The lace pattern used in the last shawl is now re worked to eliminate hand transfers required every other pair of knit rows. A second shawl using the new version is in progress.
Some random tips after the journey so far come to mind.
KM: Brother 910 with mylar sheets:
For marking the mylar the Mirado Black Warrior HB2 pencil used on its reverse side produces good results for reader scanning.
It is helpful to have oiled, clean carriages: Hoppe’s elite gun oil (no silicone) rather than sewing machine or brother oils is safe for plastics, for use on Passap beds, and is the only thing I now use on my machines.
Dropped stitches can abound, checking gate pegs, needle latches and their condition can help prevent some of them. Familiarizing oneself with yarn and visually checking after each transfer row may actually save time in the long run.
I have had moments where I felt like Penelope udoing her work 24/7. If rows of stitching need to be unravelled it is easier to undo transfers before the unravelling, and repeats sometimes are corrected more easily if taken back to the beginning of transfer sequence.
The lace carriage must be taken beyond needle selection marks at either end of the machine prior to any “correction” to prevent selection errors.
If more than one lace pattern is on the mylar sheet the lace column or an alternate can be marked with colored pencils with different color assigned to each pattern repeat.
This baby blanket was a double bed knit on a Passap machine, inspired by the woven patterns found is early American coverlets. Blue, red and white are in use. Because of the knitting technique as colors knit one at a time the alternate colors “bleed through”, giving the illusion of more or even different colors.
After hand washing the piece, blocking wires and pins were used to help it retain desired shape while drying. Its final measurements in inches are 20W by 68L, its weight 3.25 oz . Steaming alone helped stabilize stitches for corrections and is often enough for many pieces in terms of blocking, but flattened the surface excessively in this case. Texture returned and became more apparent with use of the former method. In the image below the center, pivoting point of the mirrored pattern is evident.
The first half of the shawl as it appears on the machine in the process of being knit after several false starts. Gaping holes were typical of potential stitch “drops”. Yarn was knit at loose tension for the effect, in turn resulting in gate peg issues at intervals, but tolerated the lace transfers and hook up problems without breaking, an absolute necessity in a piece such as this. Studio brand ribber comb provided the best source of even weight.
MacKnit was a very short lived American machine knitting magazine (1980s). In Number 5, beginning on page 40, Susanna published a lace shawl pattern that included several transfer lace types. Garment shaping was achieved through an intriguing series of triangles joined during the knitting of them. Using her lace graphs, so far I have the resulting swatches below. There are 2 errors I need to sort out; the fabric is intriguing. The top pattern rows become the triangular edging. The yarn that finally “worked” for me was the Valley Yarns 2/14 Alpaca Silk blend from Webs.
purl sideknit side
The swatches were very quickly steamed. Lace is one of those fabrics that actually require “real” blocking for best results. Some hand-tooling is mixed in the repeats, stitch formation needs to be constantly checked. Will sort out problem areas, then see where that takes me while keeping any first project as simple as possible.