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 purl side of 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 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 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 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 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 chart) are not hooked up. This will produce a slightly rolled edge on each side. 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 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 occurs 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, 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 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 switch to P for transfers and knitting in pattern to be completed. With first row set up on 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 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 loop 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

Pintucks, ripple, and blister fabrics 1

Another ravelry question is bringing me to a new topic and thread. The information will be edited and added to as I have time and can gather corresponding swatches. Information, at least initially, will pertain to Brother brand machines.

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 yarn used. Bold patterns read better than smaller ones. Weights are usually helpful. The term is commonly used in reference to fabrics created in every needle rib and their variants. The Brother Ribber techniques book (now available for free online) addresses the topic on pp. 20-23.

page20

page21

page 22

I have added a few patterns from published sources in a flickr album , most take into account any one 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. Charting out ribber needle set ups requires brick layout graph paper. The images below may serve to illustrate needle set ups. Print and add needle arrangements by hand, or use image processor to add symbols for needles both in and out of work on either bed. The first series begins and ends with needles on the ribber (Passap front bed), the one below it with needles on the main bed (Passap back bed).

ribber needle set up

ribber needle set up

 

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

its reverse

and using the FI setting in addition

its reverse

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

its reverse

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

its reverse

going all one color in the middle

its reverse

all on one edge

its reverse

hooking up smaller numbers of stitches

its reverse

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

its reverse

as design bands

its reverse

going mini

its reverse

online samples by Kevin Quale

http://www.kevinquale.com/index.php?/knitting/swatches/

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