Translating Passap model book pattern/use on Brother 1

A facebook member recently shared this photo, followed by a “wish I could make it” comment, it is from the Passap #60 pattern book.I began a spreadsheet on my blog intending to update it over time that may be useful when traveling between Brother and Passap 
The style in the photo is that of a generously sized dropped shoulder sweater. I will not share pattern instructions but will try to interpret some of the possibilities for knitting it as written or for achieving similar textures on the Brother machines To start with, you will note the recommended test swatch size is 100 stitches by 100 rows. When gauge matters as in dbj or heavily textured knits, this is a necessity. In turn, math calculations also become easier in metric. If using the knitleader I have sometimes reduced the swatch size to 80 stitches by 80 rows. Even for scarves where calculations may matter less, when transitioning from smaller gauge swatches to larger stitch counts there can be surprises. What knits on 60 stitches may refuse to do so on larger stitch counts, requiring tension and gauge adjustments. Although Passap promoted that it knits easily with no weights, I always cast on with ribber cast on comb, and then, if needed, the addition of weights may be easily made.
Strippers, which push down on the knit from the lock as it moves from side to side, have no equivalent in Brother, where weight is an absolute necessity when working ribbed fabrics. Stripper handles come in varied colors: orange is for double bed work, black is for single bed work, blue is for very heavy fabrics. A suggested rule of thumb is that if you are knitting on both back and front bed in a stitch pattern where several needles in work are opposite needles out of work use black strippers ( 3×3 rib or cables and Aran work would be examples). Sometimes spacing between the 2 beds will make black strippers harder to use, other times 2 different types may be used concurrently for best results.
As the size of the piece changes ie. in shaped sleeves, any weight must be adjusted proportionately to keep the gauge constant in order to avoid sizing surprises.
The Passap is a true double bed. The image on the left is of the Passap locks and on the right, of a stripper. The position of the beds is reversed to the Japanese, the knit bed is in front, the “ribber” in back. The locks (carriages) pr select pushers, they, in turn, select needles akin to Brother pre-selection. That is the reason why the Passap needle set up diagrams include more information bits than those for Japanese machines. Additional details for any of the above are only provided in publications if they are necessary to create the particular stitch type. That said, one is free to add a knitting bed or alter lock settings simply based on the goal for the piece and an understanding of what black and white squares “do” in a pattern download. Looking at the Passap back lock, one can see the larger variety of the equivalent of cam button settings in Brother. The Passap buttons also referred to as arrow keys at its very rear make altering and automating patterns on the back bed easier and possible in a far wider assortment on any number of needles. The Brother lili setting, the equivalent of the #1 punchcard, must have an even number of needles in use on the ribber.
The arrow keys on the back lock reverse the Passap position of the pushers. Pushers that are down are brought up, pushers that are up are brought down. Arrows reverse when knitting in the direction of the arrow (think Brother preselection row), but cause needles to perform that function that same row. The O button releases any arrows, therefore pushers remain in the same position. N will knit disregarding arrow selection on the back bed. One arrow key reverses the pattern every 2 rows, 2 arrow keys do so every row.
Slip setting with pushers on Passap E6000 back lock is also BX, on the front lock it is LX. That differs from diagrams in the model and pattern books and magazines, which generally refer to Duomatic (Passap punchcard) settings. The assumption in the directions for the E6 is that the built-in techniques will provide you with LED prompts for any of the lock settings matching them to the right of schematics for the DUO, rather than that you would attempt to knit the pattern in some other way or on a different KM brand.
Scrolling down the pattern: Pintuck Pattern A: Deco card 77, E 6000 # 1130, technique 251No pushers are illustrated. Back bed (N) knits every row. The front bed is set to slip in both directions (BX on Duo, LX on E6), pushers will be selected in the pattern by the console. When using Tech 251 two rows are knitting on the front bed forming pintucks where there are black squares in the stitch pattern. Brother probably would reach its limit with the original 1130, might be able to handle a thin yarn in a repeat slightly wider and taller. The Passap repeat becomes twice the length but is unaltered in its width. My swatch has an extra repeat before switching to normal knit, the red line highlights where the trim would have ended. The blistered pockets will appear as knit textured shapes on the purl side. The knit side will show a pattern of elongated stitches created when those needles are slipped. The red line in the photo shows the approximate ending for the repeat used in the trim in the magazine, I was on a roll and kept on knitting.
Pintuck pattern B: Deco repeat is 20 stitches wide (Duo cards are 40 stitches wide)The directions at the time the model books were written for knitting with the console were designed to have the knitter work with built-in patterns and then to use the alter possibilities to manipulate them to achieve the same result as the punched holes might in the final repeat in the Duo. The Passap console had a card reader that operated with sheets that were in turn inserted into a sleeve and were drawn on with “special” pens. C6, proprietary early software that operated with a dongle, came a bit later.  There was a large factory built-in pattern library, and the manufacturer, Madag, supplied free files for the Duo pattern books in formats that could be used with the program for “easy” download. The 910 had variation buttons and instructions for combining multiple patterns using the factory-supplied mylar sheets. The intent was to allow the knitter to maximize the use of both. I honestly have avoided altering patterns that way intentionally most of my knitting career, finding I simply prefer programming black and white squares for the function intended, which for me is easier to visualize and reduces errors. The trend explains the E6000 instructions in the magazine, but in fact, the 20 stitch repeat as drawn can be downloaded and entered as-is, bypassing the alter loop manipulations. Technique 253: a pintuck is formed where there are white squares. For each row of squares, one row is knitted on the front bed. Pushers will knit for one row, rest for 1 row. 1124 is the console built-in pattern used in my test swatch and below it, its mirrored image tiled repeat to get a sense of the movement of the triangles:note: the direction of the chart pattern repeat for 1124 is reversed in the blisters. It appears as drawn on the knit side of the fabric, where stitches are slipped and elongated to create the pintuck texture on the purl side 

In the Duo HX setting the front bed normally knits or slips according to the design for one row, and slips the next row. Again, the chart illustration is for the Duomatic and the lock there takes over the function performed automatically by the E6 technique. The back bed in this instance knits every row. In the E 6000 the front lock is set to LX (slip <– –>). The fabric created may be referred to as blister or pintuck (nothing to do with tuck stitch/brioche). The bubbly texture appears on the purl side. Stitches that slip on the bed with needle or pusher selection elongate, pulling extra rows together eventually, helping to form pockets that are sealed periodically by all knit rows. With pushers down, no needles selected, the front (knit) bed skips/ slips associated needles. With the back bed (ribber) set to N, its stitches will knit every row.

Pusher selection is down when front bed slips (akin to no needle  preselection on Brother)This selection happens between each pattern row, as the design is advanced This shows the pattern as knit on the Passap, reduced to black and white squares Taking a closer look at the pintucks on the sweater body Going for the safe repeat on Brother machine: color makes a significant difference in how visible the pattern will be. Both yarns are supposedly the same weight, the white was hard to knit, and there was a needle that dropped stitches regularly. The blue yarn knit with no problem here the repeat is rendered twice as long, and the texture becomes more visible a sideways view:The last swatch in the series: I am now able to use Ayab once more, img2track is having issues for me with its use on the 930. My repeat, therefore, is planned for the maximum width I may wish to test knit on the 910 machine, emulating tech 253. Every other row there is no needle selection on the main bed except for first and last needle if KCI is used. On those rows the ribber only knits, there are more rows in the blister “pockets”. I knit the sample quickly, not checking every row, and in this instance had two dropped stitches on the main bed, and no breaks. Yarns with memory ie wool are the best for texture retention, acrylics such as my blue yarn would flatten permanently if pressed, resulting in a very different fabric. It takes experimentation to sort out whether the extra step is worth the effort or is problematic during lengthier knitting

In summary: Passap E6000 knitting techniques 250-255 are used to produce pintucks.  When using 250, 252, 254, the pintucks are formed on the back bed on the needles that are opposite those with the pushers selected down in accordance with programmed black squares.  The corresponding odd numbers 251, 253, 255, select pushers down according to programmed white squares (253 in the manual should say white, not black squares). Since the pintuck is formed on the back bed, setting it on FX (Tuck) may also be used, the pintucks then become blurred, producing a fabric which is wider. Width of the resulting knit may be significant when producing garment panels. One option in cross-brand might be to use every other needle selection on ribber, with its carriage to tuck in one direction, knit in the other, resulting in a spotted pintuck. My Passap manual is filled with scribbles, often including notes on alternate fabrics produced with same technique numbers.

Returning to the specific sweater pattern: below the back bed is set to GX in the first 2 instances, which is akin to setting the Brother ribber to slip in both directions, no stitches are knit. There are no pushers or needles illustrated on the back bed, so the implication but not necessarily the fact is that these are single bed fabrics. How to transition between them and the double bed would need to be considered (see notes at end of the post). The pattern is an elongated one, using slip stitch and color changes every 2 rows, carrying one color at a time. Again, on the E6 front lock Duo BX is LX, arrow key function on the front bed is replaced by the technique console instructions. The E6 front lock has no buttons or arrows.
Tech 176: knits one color selection for 2 rows, then the alternate color selection for 2 rows; Pattern 1100the Brother equivalent in the next sample the same repeat 1100 is programmed via the console and enlarged  <–> X2, which means in the number of stitches onlythis is what will be knit, translatable to Brother, also with color change every 2 rows

Tech 183: long stitch backing, back bed knits every stitch, every row. Brother would require the separation to be made for the elongated triangle to match the Passap knit where each design row color knits twice in succession. Ribber or back bed settings could be altered to suit if preferred.
The shawl is what some may call a scarfThe above is the first illustration showing pushers on the back bed in alternate positions of rest (down) and work (up, toward the front of the machine) in groups. The pushers here at the end on either bed create the colored border on each side. The selection is opposite to the one on the end needles on the front bed. When the latter pushers are up, the back bed are down (slipping/not knitting), when they are down (not knitting the color in the yarn feeder), the back bed are up. This is an instance where to achieve the same, hand selection would need to happen on the Brother ribber on every row, or 2 sets of paired carriages, each carrying a color, could be used. Tech 181: is used for double bed fair isle with background color only on the backside. To seal the edges usually the first and last pusher on the back bed is brought into work, here 2 are used, creating a 2 stitch contrasting color border. Color is changed every 2 rows. To me this is an instance of because it is published, you may still not want to knit it. This is the first-row initial needle and pusher position on the front bed It is altered every other row (same is true on the back bed with the arrow key in use). My blue yarn is the body color, the white the border one. I only knit a very few rows, but that is enough to observe what is happening:  the blue knits everywhere but on the stitches intended for the contrasting border when the border stitches knit only on each side, floats are formed the width of the needle bed between border stitches for two rows they are then enclosed by the next row of blue every needle riband there is considerable bleed-through of the white on both the knit and the purl side of the fabric

Tech 183: is double bed fair isle with striper backing. It essentially knits the elongated pattern 1130.

One then comes to actual knitting and putting the pieces together. Instructions are not always clear. There are several transitions in this piece. The trim at the bottom of the front, sleeves, and back is a double bed every needle rib that transitions easily from one textured pattern into the next. Its purl sides face the outside. The same is true for the back and sleeves, both are both knit from the trim on up. The front top portions are knit sideways as are the button bands, and they are in turn joined to the mixed stitch type “front border”. The “front border” is puzzling.  Since the geometric pattern shows on the “knit” side, the trim by default then would have the slip stitch front bed pattern showing on the outside in order for it to transition directly to DBJ, not the pintuck. Looking closely at the photo there is a clue that that is indeed the plan in that the edge closest to the cast one has the triangles at the start facing in the opposite direction of that in the test swatch purl vs knit side.
I also see extra colored hems in addition to patterned “FI” ones. The back bed can be set to slip (GX), the patterned section knit on the front bed, then the back bed returned to knit to seal the hem. This is not indicated in the schematics or the written directions. The same can be done with added solid color changes (purple and blue in the photo), knitting several rows on the front bed, then sealing it with a return to N on the back bed. That same row can also be planned as a selection row for DBJ. I am still knitting my swatches in 2/24 acrylic, which is also not always the best to use. If I were to knit the piece, the cast on would get some work on it, as well as the tension adjustments for each fabric segment.

Pattern 1130 is also used in the same issue # 60 in the body of a man’s sweater. In using Tech 250 pintucks are formed where there are black squares in the stitch pattern, for each row of squares 2 rows are knit on the front bed, elongating the pattern X 2

The Passap magazines generally also included a strip of heavier stock paper with samples of the yarn recommended for the particular pattern ie this one from another issue, which facilitated substitutions and provided a better sense of color than the garment photosBrother ribber and DBJ settings reviewed  including for solid color backing.

Because of the Passap capacity for heavily textured stitches, many of their early pubs included several patterns for use with tuck or slip stitch settings. This issue is dated 1990, may be found with accompanying pattern instructions in French online, the sweater on the right uses a pintuck pattern with appliqued pockets in a  different knit structure the repeat is 20 by 20 stitches wide, E6 Tech 253 is suggested, white squares form the pintucks, the same technique used in my sample knit using console design 1124Working with simple shapes such as triangles can be an easy way to help one begin to understand how various techniques build up stitch or row counts, altering the original. Several of my DBJ posts are written using a cousin of pattern 1130 and include images of corresponding swatches executed on the Brother machine. In Brother, with rare exceptions (such as when needles are left out of work while in pattern) black squares (punched holes) knit, white squares (unpunched areas) slip. Slipped stitches are held until a black square or punched hole is reached, getting longer while the stitches on the opposite bed knit every stitch every row with that bed set to N/N. It is helpful to be using a yarn that does not break easily. Pockets are created of varying depths. As with any knitting, the color reverse option may produce an interesting variation or a “disaster” depending on the original motif. In the above chart, if knit as is, white squares would be slipped for 1-9 rows. Blisters of knit stitches will appear on the purl side. Tiling helps visualize the movement of the design in repeat.

In the color reversed image the number of consecutive white squares is now increased along the center lines from 9 to 11 its tiled viewthe expanded view of the original repeat emulating tech 253 now increases the height of the pattern to 40 rows from 20and its color reversed equivalent

In both expanded repeat variations of the “pinwheel” black squares create knit stitches. In double bed knitting, this seals the layers created by each bed together. The original design would create large pockets/ blisters, while in its color reverse version white areas would slip for one row, keeping the pinwheel effect, but the fabric will be predominantly sealed together. Thin yarn use is best, I used a 2/13 wool.
The original 20X20 design is shown on the knit side Left, its color reversed result on the knit side, Right. The elongated slipped stitches are noticeable on both purl sidesUsing the expanded 20X40 repat I did not have a slipped stitch issue such as yarn breaking, but because the pockets were so deep and so many stitches on the ribber were knitting for so many consecutive rows, the ribber stitches began to refuse to stay on their bed. I got this far: large knit area can be seen, as well as slip stitch loops Can the same expanded repeat be used in another way? The color reversed version results in a subtle large scale pattern that might be quite interesting in a shiny rayon or other fiber To review: Passap E6000 knitting techniques for pintucks are numbered 250-255. When using 250, 252, 254, the pint tucks are formed on the back bed on the needles that are opposite those with the pushers selected down in accordance with programmed black squares.  The corresponding odd numbers 251, 253, 255, select pushers down according to programmed white squares (253 in the manual should say white, not black squares).

On any machine, the size of the pleat creating the ripple/ pintuck depends on the number of rows that can be knit on the all knit bed before the fabric begins to ride up and becomes difficult to retain on the needles in work. Tolerance depends on knitting machine brands as well as the type of yarn used. Bold patterns read better than smaller ones. Weights are usually helpful. The Brother Ribber techniques book (now available for free online) addresses the topic on pp. 20-22.I have added a few patterns from published sources in a flickr album , most take into account any single stitch not being slipped for more than 4 rows. Doubling the length if using electronics is not recommended. These fabrics may be created in combination with needles out of work.

 

Pretend/ mock cables 3

A facebook group query brought up the possibility of creating cables in an “easier, quicker” way than by crossing stitches by hand. Over the years different authors have suggested a “sewn” method for pulling stocking stitch columns together in order to achieve the cabled effect. The illustrations are usually of the work done on a ribbed fabric, but it also may be achieved in simple stocking stitch, with ladders marking the edges of the mock cable, and providing a visual line to follow and count spaces when smocking the fabric up. The width of each column, the yarn fiber content, and personal preferences will determine the success” of the results.

I was reminded of “magic cables”, a technique made popular years ago in a copyrighted pattern series by Ricky Mundstock, ie this one from 1969 (illustrated online). The concept originated in a Japanese publication years before, relies on hooking up tuck loops to create the cable like effects.

I tend not to knit from published patterns, set out to understand what makes the fabric work in theory, and then sort out whether I have other preferences of my own for creating it. I began to experiment with a totally random tuck card. Tuck is chosen for the background because it is short and fat, giving the taller all knit rows for the “cables” the possibility of an additional gather, adding to their depth. I chose a purely random repeat, which is a good way to start for DIY if hesitant on the process. White squares will not be selected, will tuck for 2 rows, have a knit stitch (black dot in card) on each side of them. Max on Brother, unless using very thing yarn would be white bars single square in width, 4 rows in height (yes, there can be exceptions on rare occasions)

The card is cropped to the 24 X 44 stitch in width and height for the repeat to be worked in electronics. The area colored blue on the far right indicates possible all knit rows for hooking up “cables” during knitting, mustard color indicates ladders created by an out of work needle on each side of the central, all knit column. The ladders make it easier to identify each all knit column. The tape over holes idea does not work for masking a punchcard since that blue area would need to be all punched holes. The tape over would result in “unpunched” ones.

This takes the revised card single repeat and indicates some quick possibilities for altering itI added 2 more stitches to establish a slightly different pattern. The grab form my work in Numbers was then opened in gimp and scaled to 26X44 for the possible knitting pattern. If working with black and white squares, the image will need to be colored reverse for knitting. I abandoned this repeat for my final swatches in favor of keeping markers for hooking stitches up along the all knit column inside the ladders as opposed to the knit body of the remaining shapes.Here the non-selected needles are placed along the knit column itself, on alternating sides. The final repeat after correcting a pixel error I discovered while knitting:Ayab does not repeat across the horizontal row, each stitch in the width you are planning to knit needs to be programmed. For a test swatch, I decided to work with programmed 72 stitches (knit on fewer). This would be the downloadable file

magnified and gridded to visually check again prior to knitting itThis is what is seen by the knitter when the image is loaded,but any image loaded is automatically flipped/ mirrored horizontally by the software. Direction may not matter in the overall pattern, but here we have needles out of work, which if selected on the basis of what is seen as opposed to what is knit, would be in the wrong location. First preselection row is also only possible from left to right. The easiest way to empty the proper needles is to do transfers after that row, to either side, restoring needle selection prior to continuing to knit. Also, since there are needles out of work, end needle selection is canceled (KCII).

In my first swatch, I tried the idea of hooking up stitches in opposite directions, but was not pleased with the result, wanted to reduce the amount of hand manipulation involved. In the later swatch, I hooked up every other selection onto the same side. Arrows here indicate direction, not proper needle position.

Alternating side hooking up with some yarn and needle change issues.Hooking up to one side only was quicker to execute and appeared more pleasing to me. Both swatches had blips from an errant pixel.Steps in knitting the above fabric. The actual knitting will happen with what is shown as the repeat with white pixels on the dark ground, seen looking at the center vertical all knit column of the repeat when knitting the fabric. Allow the non-selected needle on the left side of the column to tuck, providing a marking row for picking up stitches, knit until the needle on the right side of the column is not selected. Prior to knitting across that row pick up the tucked loop and stitch on the left side
Lift both loops up onto the non selected needle on the right side of the column, bring that needle all the way out to hold (three yarn loops in hook)

Continue knitting until the next non-selected needle in the column appears once again on the right, pickup fromm below left marking spot and repeat. For DIY insert all knit columns on your chosen repeat, and proceed as above.
Visualizing possibilities: chart for side by side columns actions on purl side is shown. The black columns with arrows coupled with photos show the direction of the hook ups in the back, purl side of the fabric, and potential “cables” as seen on the knit side using the column repeat illustrated above.This is a garter stitch version found on Pinterest

Bowknot/ Butterfly stitch on the machine_ WIP

A recent Pinterest post got me searching out some of the fabrics in this group. In hand knitting, floats creating the butterflies/ bowknots are usually apparent on the knit side. For two such patterns please see http://www.knittingstitchpatterns.com/2014/11/butterfly-bowknots.html

http://www.knittingstitchpatterns.com/2015/04/butterfly.html

https://handlife.ru/vazanie/obemnyy-uzor.html caught my attention. Here we have a combination of knit and purl stitches, with floats formed on the purl side, making the fabric or a “cousin” of it possible on the machineThis is my first experiment with gathered slip stitch floats on the purl side of the knit. To begin, this chart indicates one punchcard pattern’s full repeat in width.  Four repeats in length would be required (the punchcard minimum repeat in length to achieve smooth continuous card feeding is 36 rows). Punch out blue squares, leaving white ones unpunched. A single repeat (outlined in black, 8 stitches by 12 rows) is for use in electronic patterning, where one may alternately draw or program white squares, then use color reverse. Red line represents 0 needle position in Brother KM

Pitch on H5, ribber needles are centered between main bed ones, so the “knot” width, represented by white squares, can be even in number. Begin with first needle left of 0 (red line) in work position, continue across ribber bed with every 4th needle in work

The main bed knits in slip stitch pattern for 4 rows, then knits 2 rows across all stitches. Floats are created every blank row throughout, composing the knots or butterflies. The ribber is set to knit (N,<–>N, will pick up stitches only on selected needles.
The fabric is a slip stitch one, so it will be short and narrow. That is something to be considered when planning cast on, bind off, and beginning and ending edges of the piece.
In Japanese machines, a ribber comb is recommended. If casting on the single bed, start with waste yarn, poke the comb through that, and proceed as you would for any other rib fabric.

My sample is knit on a 910, with white squares drawn. This is what happens when you forget to color reverse. The all blue squares now became “white”, so those 2 rows were slipped, not knit, bringing float repeats closer together the result with color reverse working out a mylar, electronic (unless DM 80 40 stitch width is in use) repeat for a variation of the fabric knit single bed. The stitch count is odd,  allowing for a center stitch manipulation. KCI is used to make certain the first and last needle knit on each side. Floats created close to edges may be left without hooking them up. The fabric separates slightly along the “bowknot”  edges because color reverse is used, blue squares in chart slip, create floats  when Rows 6 and 12 are reached respectively, that single square becomes a non selected needle, pick up those floats with any preferred toollift them up and onto that single non selected needle, push that needle out to hold
with the next pass the single needle and loops knit off together and become part of the alternating all knit block in the design
the swatches are knit in a 2/15 wool, the fabric might be better served using a thicker yarn. Here the “blocks” creating  “floats” are side by side

For another single bed cousin in different weight yarn, please see the previous post 

Fabrics worked single bed with groups of pulled up stitches on the purl side will have some distortion of the stocking stitch side depending on the weight of yarn used, the number of rows hooked up, and stitch type. Working on the opposite bed to create the floats produces a more balanced fabric.

My charts often evolve. This may be done on graph paper if there is no access to the software. I began adding a space between between each block, thinking about those knit stitches I want to create on the purl ground, hooking stitches up on red squaresadding border stitches and more theory on placement of stitch type
the result actually places “knit” stitches in center of butterfly (magenta arrow), not at its sides, and I see and extra purl stitch (green arrow). Multiple stitch wide borders create unwanted floats on one side
back to the drawing board and working things out first as hand technique

I began with my carriage on the right (COR), after setting up the repeat on a multiple of 6 stitches +3 as indicated above. The last stitch on either side on both beds is never transferred, and the short loops every other set (rows 5 and 17 in the chart) are not hooked up. This will produce a slightly rolled edge on each side. The larger number of border stitches become problematic. The photos were taken while knitting 2 different swatches, so needle tape markings are not the same in all photos. To produce the circular knit, opposite part buttons are pushed in so with carriage on right (COR), the settings would be

Cast on in any preferred method, ending with all stitches on the ribber Configure main bed needles as illustrated in stand-alone set up row at the bottom of chart With carriages traveling from right to left, the main bed knits on those single needles, creating floats between them and the ribber slips. When carriages travel from left to right, only the ribber knits, the main bed slips. Here the carriages have traveled to left, and back to the right 
With row counter (RC) set to 000 at the start if knit, hand techniques occur on RC 5, 11, 17, 23, 29, and so on. Hooking up loops and transferring stitches between beds always occur with carriages on the left (COL). On those rows, the floats are hooked up on the center needle of the 5 empty groups. In this photo, the ribber is dropped to show what is happening on each bed. The last stitches on each bed are not moved, and those short floats, when created on completion of alternate repeat top halves, are not hooked upafter the three floats have been hooked up, with COL each time, the in-between main bed stitches are transferred back down to ribberCOL: be sure when hooking up floats that all in the series are picked up. The space between the beds is fairly narrow, the tool used is purely preference based. Shifting main bed needles forward will provide a visual check for loop count as you go. I bring needles with multiple loops out to hold before transferring to ribber, and then also the transferred stitches on ribber out to hold to insure they will all knit on the next pass from left to right. Patterning occurs on every 6th needle on both beds, with the exception of border stitch groups

this is the needle arrangement/position in my final swatch, knit in 2/8 wool, COR

So what can be automated in the process? The knit bed needs to work the stitches that form floats every other row, while the card or mylar need to advance every row. Trying patterns out as an all hand technique helps determine tolerance on the part of the machine and degree of patience available. With thinner yarn, the fabric would be more compressed, and maneuvering stitches more frequent to achieve similar finished size knits, so I switched to a thicker yarn. I found more than 3 rows of floats was too hard for me to manage successfully.  “Air knitting” to determine placement of knitting on any bed prior to patterning helps determine the number of needles in use, especially if edge needle placement or count matters: here is the first pass using my mylareliminating needles to any desired width, leaving only one needle in work on each side of selected needle each bed for this fabric reducing main bed count so only one needle is left on either side of a selected onethat needle (green arrow, gets transferred down to ribber now the number of needles involved on both beds is evident on both beds

While knitting in pattern the ribber pitch is set on P (point to point) to keep stitches on opposing beds centered (P pitch also makes it easier to transfer directly from one bed to the other). If the cast on is for an every other needle rib with stitches then transferred between beds for pattern knitting set up, the cast on and any all rib rows need to be knit in H pitch, with a switch to P for transfers and knitting in pattern to be completed. With the first row set up on the selected segment of needle bed, there are additional steps to take.

This is my working repeat. Since it is 6 stitches wide, it could be worked out on a punchcard, punching out all black squares. On my mylar, I marked yellow squares only, with no color reverse
To work consistently with the method described in the larger chart, the first row was manually set up on both beds preparing for pattern with COL: change knob set to KCII (cancel end needle selection, not every needle in work on main bed), KC set to slip <–>, so non selected needles slip with each pass of the carriages, advancing the mylar or card one row. The ribber set to N/N or as below will knit from left to right. Pre-selection row is made traveling to the right, ribber only knits

With COR: set RC (row counter) to 000. Make certain proper part (slip) buttons are engaged. MB knits in pattern based on selected needles, ribber knits when moving from left to right. The fabric is tubularHand techniques will now also occur when carriages are on the left, on RC 5, 11, etc as described in hand technique chart, on rows with no needle selection. As in hand tech, transfers and multiple loops containing needles are brought out to hold before moving the carriages from left to right and selecting the needles for the next set of floats with that same pass.

This is my resulting fabric, hand tech shown, short mylar test above was cropped 

A no longer “mystery pattern”

A Ravelry post  was followed up by my first , untested interpretation of the repeat here the center stitch selection in center of knit blocks is eliminated partial repeat for punchcards electronic repeat X 2

reviewing idea after a few days I realized the repeat should be edited; orange squares need to be knit stitches

Slip <-> creates floats to be hung on center non selected needles of blocks of 5. Before next row is knit, bring that needle out to hold to insure groups of loops  in needle hook will knit off with next carriage pass.

When I sampled this repeat, I decided three all knit rows between loops were too many, and this became my final repeat, tiled X 4 (suitable for punchcard)

multiple tuck loops, side by side  do not even stay in hooksslip stitch sample, purl side a bit closer knit side

Ruching 2: more working with stitch groups

Going straight up: color blocks in the chart below illustrate needle groups that get picked up and transferred onto the next colored row on the machine, not specific references to needle tape or any other markings. When repeating the operation in the same needle locations, having NOOW, thus creating ladders, makes it easier to keep track of groups. The yellow lines represent needles taken completely OOW at the start of knitting.  Any of these fabrics may be made in a single color, or varied color sequences. Sometimes changing the color in swatches, and using sharply contrasting ones in tests helps one understand the structure of the resulting fabric a bit more easily

an illustration of what part of the stitches to pick up

the result, knit side

its purl side

playing with spacings and rows, no ladders, knit side

purl side

playing with ladder spacing

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and using the FI setting in addition

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Some tips on ruched FI knitting: fabric will shrink considerably in length, so most motifs will need to be elongated to accommodate that. Having a pattern that may be tracked easily by watching the floats on its reverse is helpful as may working in bands where the colors swap spaces (changing yarn feeder positons). Because the fabric bubbles, knitting rows in only one color at intervals may track hook up row, while not visibly disrupting the pattern on its knit side. If small groups of stitches are to be picked up and rehung, markers with segments of nylon thread or yarn may be placed on the corresponding needles and be temporarily knit in. In addition the needle tape or needle bed may be marked with water soluble pen to indicate locations for rehanging. Depending on the pattern, number of stitches involved, and personal preference in terms of floats, needle selection in brother machines may have to be restored “by hand” to keep the design uninterrupted.

A few more: playing with striping and segment sizes

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in this red squares indicate row of additional ruching in center of solid striping

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going all one color in the middle

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all on one edge

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hooking up smaller numbers of stitches

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going part way, gathering one side, using thick and thin yarns

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as design bands

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going mini

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Ruching 1: fern “pretender”

Ruched or manual pull up effects can be created by rehanging stitches at regular intervals in a straight, diagonal, or random arrangement on plain knitting or patterned fabric. The pattern below could be considered a “fern pretender”, but is considerably quicker to knit. Again, for any textured fabric a yarn with “memory” is recommended for texture retention over time or after pressing, washing, etc.

Depending on how far over whether in this fabric, cables, etc, or how many stitches are moved on the needle bed, adjustments may have to be made either in tension or in the number of stitches moved. Adding striping and changing its sequences or combining different yarn weights may vary the look of the fabric considerably, and because it is a hand technique, motif repeats may be varied in size, scale, or location of hooked up stitches. The working charts represent the side facing one on the machine, so by default, all stitches are purl. Dark grey represents needles out of work, which will create ladders in the final fabric. All other squares are knit stitches. Green illustrates location of needles where the top purl bar of the stitch will be in turn picked up (in this case with a 2 prong tool), and where the tool will rehang those same stitches to create the desired texture. Red lines outline the repeats.

smaller repeat

the larger

The swatches are pictured below as they came off the machine, no pressing or steaming. The smaller repeat curls considerably, the larger lies much flatter. The longer ladder “floats” bear watching when rehanging the marked stitches to insure free gate pegs and stitches knitting off properly. I prefer to knit nearly all fabrics without any additional weight, using my fingers to pull down on what needs it as I move across the knit. The larger swatch required a tension change of + 2, in addition to the longer span of knit rows.

knit side

the purl side, with notable curling on the smaller repeat sample

In any fabrics requiring needles OOW, unless waste yarn and weights are a necessity, one may simply do a crochet cast on across the required number of needles, then drop off cast on stitches where NOOW are needed, pushing them back to A. In binding off using the latch tool chain bind off, treat empty needles as though they had stitches on them, and top and bottom edges will match in width.

Working with larger stitch groups and color changes:

The pattern stitch is in groups of 5;  knit 9, 10, or 11 rows (depending on yarn and tension). Beginning on the left hand side pick up 5 stitches from the first row, and hang them on the next group of 5 needles to their right on last row knit. Skip the next 5 stitches, pick up the next 5 with a transfer tool, and hang then on the next group of 5 needles to their right, repeating across the row. After the whole row is hooked up, repeat process, reversing the direction of hooking up. Starting side may be based on personal preference, consistency throughout is helpful. This pattern may be worked on an inset, resulting in ruffling on either side, or on a fixed edge as well, with ruffling on one side.

The groups of 5 colored squares indicate each set of stitches and needle placement, the arrows the direction and order in which the stitches are moved.

the swatch, knit side

purl side

same technique, used as a band rather than all over pattern

its reverse