Double Jacquard 2

The Passap Handbook for the Deco by Bernadette A Ernakovich was an excellent guide to exploring the qualities of changing lock settings on the hand, feel, look, and in shape alterations on the original design, a simple triangle, when using them. In knitting any fabric, distinctions need to be made between what is doable vs practical. Japanese machines are less tolerant than Passap for repeated functions on the same needles, and the numbers of stitches and of rows, if attempting to duplicate textures, often need to be adjusted or reduced. Some very interesting fabrics may be achieved by hand changing ribber carriage settings on the Brother KM, which are made far easier on the E 6000 because of  its collection of lock settings in conjunction with arrow keys on the back bed. I amended the “Passap” triangle to the smaller repeat below

electronic

punchcard (40 rows of punched repeat actually required for functional length)

This document DBJtest includes directions on using the design repeat as is, or separated for DBJ work by 2 different methods for both punchcard and electronics: color separations.  Swatch photos are below, this type of exercise shows how the resulting fabric may share a single design, but is changed sometimes surprisingly by changes in ribber settings

the front/knit side

its rear view

Added techniques: for vertical striper backing see subsequent May 14th post

Double jacquard1

Because of recent changes in my life, I may be in the position of attempting to explain to some new knitters how DBJ “works”, and to offer them some suggestions on managing  the making of it. Since the machine I will be involved with is a Brother electronic specifically, I am gathering notes that are pertinent to that brand. I thought I would share some of my working notes here. The set below was gathered more than 2 decades ago, so I cannot add a specific bibliography, and information that may be gleaned from manuals is not included. This is the start of an ongoing series: 1.some DBJ rules for 2 color work, Brother machines, some adjustments need be made for more colors or for use on other brand KMs

knit slowly, watching edge stitches to ensure that they are knitting off properly. If they are not, hang the side weights on the work, and move them up every 20-30 rows

clear the end stitches on every row, be especially watchful in wide pieces, failure to do so may cause mis patterning or dropped stitches at edges

listen for the click when changing colors. On brother machines the carriage must be  taken far enough to the left for the click to occur, lining up the connecting plate for the yarn change. If color is changed without going far enough, you may either knit with the same yarn or no yarn

thread all four yarn holders, then if the wrong button is pressed you will only knit a row in the wrong color instead of dropping your work to the floor

check your yarn change before you knit each row for correct color or the possibility of 2 yarns traveling together

weigh the work evenly

be certain selection row is in correct direction (with pattern locked on punchcard), or you may end up with stripes rather than a pattern design

if you need to stop work , leave with carriage on right, it makes it easier to identify which color was last used in your sequence

do not use fully fashioned decreases as this affects the pattern near the edge stitches

reduce weights to correspond tho the number of needles in use when decreasing

work multiple decreases ie at underarms with carriage on the right, this way both sides may be shaped at once using the main yarn on right, the next color on left, thus avoiding long floats

if the design is not an all over one, continue in Jacquard for remainder of fabric, using a repeat that has 2 rows marked/punched, 2 rows un marked/punched throughout

ribs in single strands of garment yarn may be foo soft or wide, for 1X1 ribs try adding an extra strand of yarn. When completed, pick up the heel of the adjacent stitches to fill in empty needles, and knit 2 circular rows before continuing in jacquard

2X2 ribs are better suited to single strands of yarn; at the top of the rib bring the empty needles into work, rack to the left and knit 2 circular rows, rack to the right and continue in jacquard

full needle ribs are usually wider than jacquard, as an alternative the piece could be started on waste knitting, and rehung on fewer stitches, then in turn knitting the rib

the lili buttons represent an every other needle set up, so an even number of needles is required; the needle position indicators on the  ribber tape and the corresponding space between them help track pairs/ even numbers of needles in work

racking handle on P: the knit and purl needles are point to point, directly opposite each other, on H the purl needles are are halfway between each pair of needles on the opposite bed, and the latter is most often the basic needle arrangement for doouble jacquard; check needle alignment before knitting planned fabric to avoid needle damage, etc

vertical striper backing on brother kms is possible, but needs a bit of added manipulation and its own specific directions for needle set up

for thicker fabrics the needle arrangement on ribber may be for 1X1 rib, 1X3, or other configuration, pitch on P. The larger the number of needles on either bed, the closer the tension on that bed to the tension suitable for that yarn in plain stocking stitch. In this instance, the ribber tension is tightened up by one or 2 numbers. If the ribber needles are in ever groups ie 2X2, 4X4, 4X2, etc, then the lili setting may be used. This sometimes helps if the effect on the knit side tend to show noticeable vertical lines along the sides/length of the stitches created on the ribber.

Working out the kinks in my drop stitch lace saga

Still geared up for accessories, I felt compelled to come up with an edging: the following is an end stitch release knit. Prior to binding off the “tape” end stitches are transferred to the knitting bed, and then they and the remaining stitches are bound off. The transferred stitches do not drop, and create a long stitch double knit segment. I am still working with the white acrylic

bound off and before releasewith the release startingafter release
after pressing: flat, edge stitches too shortattached to back bed before knitting pattern  (purl side)knit sidehow to get top and bottom joining to match?

alpaca and silk swatch

surprise: this baby knits up/steams fairly flat!

the most regular dropped stitches happened when the stitch ditcher was used at least as frequently as every 4 rows, the lock was too hard to push with it resting on the knitting bed before each pass. I thought I might break down and use a built in technique and my color changer to drop stitches: Technique 256 here I come, and figlet! this is a completely different fabric and there is one row of loops formed for every 4 passes of the lock

I now get why some people call drop stitch with this technique mock garter stitch, but that is so not what I was going for, so back to the drawing board for me! I have an idea….

if the repeat is twice as long, and 2 of the 4 rows are knit without yarn, then loops created on the first 2 rows should in theory be dropped. Tech 130 in essence doubles repeat length. Using it and the same back bed pusher arrangement and settings as tech 256 the fabric is much more like the original, but tension now needs to be adjusted, denser knit stitches are now too loose… time for a very long break!

you can’t always get what you want, do you sometimes get what you need? . Curses! triple the number of stitches and tension problems occur, stitches don’t want to drop in specific areas of knit, now using combination of empty lock and occasional hand ditching, different yarn, totally different look fabric than on first sample: here it is on machine

here is why any lace needs blocking

finishing on the Brother : bottom and top of ruffle rehung and cast off around 2 gate-pegs for length matching width of “pleats”; piece and “ruffles” also rehung for same type of join after 1 row of knitting through both layers

the finished piece measuring 17X60 inches after partial blockinga different stitch pattern (E6000 1130) in the white acryliccolor striping in the alpaca/silk blend, requiring dealing with yarn ends at color changer side

had the interesting experience while knitting the one above of both locks jamming in the color changer. So many ways to have fun! and … I still want some bubbles!

a thicker yarn, larger tension difference between the locks, a bit more bubble on knit side, but  too  much effort to knit

Knit bubbles and “stitch ditchers/dumpers”

I encountered a photo of a commercial sweater not too long ago while knit surfing the web

and a bubble blanket available at Nordstrom’s during 2012

I had already been considering laces other than transfer for yarns that have been too crotchety to knit in that particular technique, and my Passap has been knitting idol for far too long.  The fabric above seems to alter between purl and knit sequences that would would require transferring all stitches to opposite bed for every other pattern sequence: out of my range of patience and time. The number of fabrics involving “lace” produced using the ribber involves a series of names with sometimes variations simply being specific to the technique performed on a particular brand, though possible on all.On the list: drive lace, pick rib, summer fair isle, drop stitch lace, etc. The above commercially produced knits seemed to be good candidates for drop stitch lace.

Since I recently posted on knitting long loops/stitches single bed, it seems natural to follow up that post as well with creating long stitches using the ribber, and using automatic patterning as well. The following photo is familiar to most Brother users:

In this instance the fabric is produced as a hand technique, requiring racking and row counting. The process is easier if all stitches are transferred to ribber in Japanese KMs or back bed on Passap, and long stitches are then created by selected stitches knitting on the opposing bed, and in turn being dropped. Punching a card, drawing on a mylar, or downloading to machines makes it possible to do so in pattern much more easily.

Punchcard books have several useable examples for such patterns. Two methods of release are used. One is end release, where the pattern is knit until the piece is completed, and stitches are dropped then. This works in friendly yarns and continuous repeats uninterrupted by rows of stocking stitch. If the design is interrupted, then regular dropping of stitches whether at the end of the repeat or intermittently throughout is either required or preferable, depending on the design.

As for dropping those loops that will form the long stitches, one can do so “manually” with improvised tools. For more “automatic” dropping of stitches using knit carriage in Brother patterning, one may punch a card or draw a mylar with a method akin to color separation that will allow for  a pass of the KH carriage across the knit with no yarn in feeder, “color 2” is actually “no yarn/empty”, while establishing the proper needle selection on its return. Studio selects and knits in same row, so needle selection disruption is not an issue, and in Passap techniques are built into the console that allow for “free/no yarn” passes. Both instances involve extra “knit” rows per item. As another alternative tools may be used that help the stitch ditching process. Studio had their P carriage, and Brother their own “D slider” for the bulky KM.

The Studio P carriage pulls needles on the main bed from B tp C position  going from right to left, then returning them back to B position going from left to right. On the ribber it may be used to bring the needles up to C position for “safe knitting. (Studio needle positions are A, B, C, D, while Brother skipped the letter C, continuing with D and E). A video from Susan Guagliumi shows a later model than the one pictured below, used as well to bring needles out after hand techniques as opposed to pulling them out by hand after hand techniques, or to insure thicker yarn knitting.

The Brother Bulky KR 260 D slider only moves in one direction, from left to right, completing the in and out needle position operation in one pass. End needle selection needs to be cancelled. It is not used on ribber because of its double action. After operating it from left to right, it is simply lifted off.  Knit carriage position may vary depending on personal preference and whether the yarn changer is in use or not.

Studio/ Bro Bulky viewed from front

Studio/ Bro Bulky viewed from back

Passap’s need was anwered by an Australian woman: Faye Butcher,  who developed the item shown below. Such tools were often discussed in seminars and publications of the time, in conjunction with pile or “carpet” knitting, so “P” for such knitting in Studio, and “carpet stitch tool” for Passap, seen below

front view

rear view

in use on front rail

If patterning for long stitches occurs on the front bed, the Passap tool sits on rail where you see it in photo, it will release all stitches from needles in its path. Often directions for using it recommend its use  for 2 passes with locks on right. Passap preselects pushers for the next row of knitting as Brother preselects needles, pushers are below the rail, so in theory they should be unaffected by passes of its travels. Once things are up, going, and “working” I have found it possible to align the tool as seen in photo ahead of the next lock pass, so on right of lock from left to right, to its left from right to left, a bit of pressure will keep it in its place, and stitches are released each pass of the lock. This may result in having to operate the lock with one hand. There is also an optimum speed: if movement is not smooth and regular and needles are jostled, pusher selection may be altered in response, thus resulting in a patterning “mistake” on the next row. Challenging yarns may make this method impossible.

Some samples follow: the yarn used was acrylic, I attempted to press it on swatch completion, and this flattened the fabric considerably. Of note: the disparity in width between the stockinette portions of the swatches, and the dropped stitch segments

too open

a bit closer, much more so before steaming

a “mistake” that may lead to a future accessory, with some revising and planning

I am using Stitch Painter to plot out my repeats, exporting files as .cut files, using win crea to import cuts and download to console with a cable purchased from England. I replaced an ill tower dell with a 64 bit dell laptop half its age, and am now running windows XP instead of 98! My leaps into the present technologies/software are made using apple products. Technique 129 will work, color may need to be reversed using the alter loop, or within wincrea depending on how the pattern is drawn in the original graph, but that is a topic for another day (see april 2011 post: a bit on Passap for some information on Tech129). Back lock on N throughout, front lock on LX (slip/part on main bed for Japanese KMs). Single bed slip and tuck stitches may also produce “bubbles” of a different quality.

Coincidentally the 10th anniversary issue of Knitty has just been released, arriving in my virtual mailbox this am. There are 2 patterns in the issue that may be of interest, one is tin roof, the other employs ribbed/bobble/bubble for hand knitters. Another hand knit version by Kieran Foley may be found here