A return to short row shapings: bumps and slits meet entrelac

My recent revisiting of holding techniques led to my coming across handouts and notes from the late 1980s and early 90s, including the working notes below for an entrelac fabric. I sometimes read instructions I assembled long ago, and they seem to be in a foreign language at first. Entrelac was referred to as basketweave as well. On the knitting machine, it is usually executed removing part of shapes onto waste yarn. In these shared instructions it is knit completely on the machine. Blocks can be any size, knitting is started on a multiple of the stitches planned for each shape repeat. The number of colors used is limited by imagination and patience for weaving in yarn ends and dealing with issues at the start of each new shape, familiar to anyone who has tried intarsia. Weaving in those yarn ends may be performed during the knitting of larger “diamonds”.  It is helpful to understand the basics of short rowing prior to attempting this technique.

In a post in 2011, I shared a link to excellent directions found at howtoknitasweater.com , written by Cheryl Brunette. Here are 2 of my teaching samples, executed on 4.5 mm machine. In my teaching days, my demo yarns were in distinct colors, easily spotted, and not often preferred or even liked by students. They could be instantly recognized, so no one ever tried to use them in their class assignments, and colors were out of range for the comfort level of attendees at my workshops, so swatches tended to remain mine for the duration of those sessions and far beyond.

a rearview with ends woven in

It is best to start with a few rows of waste yarn, and the choice can then be made as to whether to cast on and go immediately into pattern, or ribs, stocking stitch, or other beginnings and endings may be chosen.
The blocks will appear square to rectangular depending on yarn choice and gauge, some writers refer to them as “diamonds”, they are joined together as you knit. My test swatches are all executed on Brother machines. My own working notes: Visualization: here pattern rows II and III are shown in repeat, along with the direction of the carriage movement, and the lean in the shapes created with the purl side facing This attempts to identify the shapes by assigning numbers, in their order of knitting. As mentioned, the fabric may also end with added rows of knitting on top of the last row of shapes as they are formed

These photos do not document each step, are meant as an aid in parts that may be a bit tricky when starting to experiment with the technique

The set up for starting triangles:  note the similarity to some of the surfaces created in the last post. When using short rows, part of the stitches in work will knit many more rows than others on the machine. Accessories such as the cast on comb will tend to ride up on one side and drop off When the end of the first row that row is reached, as contrast color is added, stitches need to be cast on on the far left in order to keep the work on the bed a constant number of stitches. The usual method suggested is e wrapping, this is picking up from the row below. I found either method produced looser, longer stitches on the far edge continuing across the row:reaching the far right: 

binding off across the row by transferring stitches when moving from right to left

The colors were chosen for contrast, the yarns are slightly different thicknesses, the white is a 2/24. The latter is usually used double-stranded when knitting on the single bed unless intended as a “thin”. Bleedthrough at joins and some of the other features ie eyelets at corners might be reduced simply by making a better yarn choice. As for those “wisteria” eyelets, they could become part of an intentional pattern between bands of basket weave. Once the principle is understood many other variations become possible.

Many details in any technique wind up relying on personal preference for use of or added editing. Studying results on swatches can help one determine whether larger pieces are worth the effort, and what habits and their results may need to be changed. Contrasting colors help with evaluating edges in patterns such as these. This method relies on transferring groups of stitches by hand on the needle bed. The process could get far slower and impractical if the “diamonds” increase significantly in size. At the intersection of the shapes, there will appear an eyelet (1), also seen in hand knits, which disappears if the fabric is not stretched or pressed. How stitches are rehung in any part of the process can change the look of what is happening there as well. Picked up finished edges if tight will draw in the shape on that side (2), holding happens in 2-row sequences, and small eyelets happen there as well (3). Consistency matters. Though the shapes lean diagonally in the finished piece, they are picked up along straight edges, forming a square to a rectangular piece of knitting, with the usual grain, allowing for the addition of other techniques within the blocks

Trying to imagine where stitches may need transferring to waste yarn or “off label” tool? Alternative shapings at sides: what needs to be cast on or bound off?

Troubleshooting ideas: a small weight might be enough to elongate those shorter closed edges to make them easier to rehang and to be a bit longer. Claw weights usually available with machines may be far too heavy, then DIY ones come into play. A common suggestion  at MK seminars used to be that of purchasing fishing weights, which commonly come in a variety of sizes often with openings or wire eyelets at their top, and using bent wire or even paper clips so one hooked end can be inserted into the hole on the weight, the other is used to hang it in turn onto the knitting. This is an exampleSuch weights are made of lead. That is a concern, there are products on the market that may be used to coat them. This one is easily found in home improvement stores and online

This round sample in the absence of the paint was covered in heavy-duty duct tape. It weighs 2 ounces, just half of one of my factory-supplied claw weightsIt does a good job of weighing down those straight edges along the bumps, making the stitches easier to pick up. When rehanging those stitches, uniformly hanging the loops, not the knots along the edges involved will give a smoother join.  Here a paper clip is used as the “hanger”It is easy to get into a rhythm and think you “have it”. A reminder: the shapes at each side are triangles, not the full shape. Row II starts on the right, begins with decreases followed by rehanging, row III starts on the left, involves increases and working stitches in hold to its right.  Losing track will produce the start of an extra shape, which may perhaps be a “design feature”,  but not a good thing if the goal is a straight edge on both sides. Unraveling is easy if the problem is noticed soon, but is problematic if more rows of shapes have been completed. Lastly, a swatch ending in all knit rows. The only remaining issue is the fact that those side triangles are formed by stitches that are looser than across the rest of the piece. This yarn is thin and a poor choice, but fine for getting the technique down and beginning to understand what happens to stitches, how one needs to move from one side to the other, and what happens along the edges of each individual shape In switching to a thicker, space-dyed yarn, the effect is lost to a degree because of the length between color changes. This sample begins to address keeping some slits, but the repeat needs further sorting out Following the same idea in visible colors: the yellow wool is another too thin wool (2/20), which makes the edge that will need picking up slow and tedious to deal with because of very small stitches. If I were to make a piece, I would work on the partial shapes in the magenta to make for a smoother color transition start. I used the foundation triangles and row II, with 2 rows of knitting when they were completed to help close the spaces at the top of the eyelets in the magenta. Some striping between repeats at the end of row II is worth considering in alternate colors, for more rows, or even in a thicker yarn. 

It is possible to develop shapes,to consider the number of stitches required and whether the fact that other than garter stitch knit stitches are not square,Then there is the world of making each section /shape as large or as small as desired, shaping them by increasing or decreasing stitches adding and subtracting them as needed by casting on and binding off, partially joining them, knitting and joining them when completed with seam as you knit techniques, changing color within each shape or at the end of every row/section of adjoining ones, working the piece in one color only or using a space dyed yarn for random color patterning. Quilting diagrams can be a boon for inspiration for seam as you knit.

I found this on Pinterest, it strikes me as masterful use of related techniques

Lots of hand-knit inspiration and free patterns: https://intheloopknitting.com/entrelac-knitting-patterns/#freepatterns

This book explores the technique to the maxSome of its swatch images are shared in this review of it , there is also a sequel

Three slip stitch entrelac pretenders using slip stitch patterning and holding

A return to short row shapings: bumps and slits

One is limited to imagination, skill, and patience when working short rowed fabrics. The techniques may be used in borders, on isolated areas, symmetrically or not, and the yarn, in turn, may be able to be pressed, stiffened, felted (which minimizes any slits), or otherwise processed to achieve desired effects. The scale of the shapes affects both the final look and purpose. Development for large sculptural pieces is very different from that used if one is aiming toward a comfortable, perhaps even flattering variable in a garment, but both can blend for interesting one-offs or even collections.

The usual conventions apply: stitches are brought to hold opposite carriage side, or floats will be created, indicated by yellow curved linesThat is a rule that may be broken when planned angles require decreases every row and a decision is made that such floats and their respective width are acceptable.

There are many more variations of the patterns I have previously referred to as “wisteria”. This is one, using different (2) width repeats in a systemic manner across a piece. I find myself going to a spreadsheet prior to any actual knitting nowadays. Low tech can achieve the same, and be as basic as colored pencils on graph paper. Representing actual rows knit would make for a very long chart. This is a compressed version with red representing rows knit on that portion of the needles in work, the other colors for each of the 7 and 9 stitch repeats respectively some sense of how repeats would line up, again not to proper scale To knit: cast on and knit at least 4 rows on the desired width for the planned piece. I prefer to end COR, but directions could easily be reversed for a start from the opposite side.
The row counter may be set to 0 and used for each segment, or the tripper for it can be turned off as preferred. With labor-intensive fabrics, I sometimes calculate based on a minimum number of repeats rather than row counts. The gauge can be even more difficult to calculate even if rows are tracked somehow. In addition, the choice of yarn, its weight, whether each segment is weighted down or not, the tension in masts and carriages all can make the result uneven or harder to predict. Use of claw weights is a personal preference. I prefer to avoid them whenever possible. They can help control the length of the slits at their side(s), but sometimes distort the length of the knit stitch on either side of them. COR: set the carriage to hold, bring all the needles to the left of the first group of 9 needles to hold, knit 12 rows (even number), returning to the right.
COR: push back to knit groups B (7stitches ) and C (9 stitches) to the left of A into work
Knit one row to left
COL: bring A (9 stitches) and B (7 stitches)  to the right of C out to hold, knit 11 (odd #) of rows on C, ending with COR once more (one row had already been knit on those stitches, so the total remains constant).
Repeat in groups of 3 as described in the last 2 steps across the row ending COL
Knit a few rows, ending COR
Bring the first group of 9 stitches on left out to hold, knit one row to left
Bring all stitches to the right of the first group of 7 stitches out to hold, knit 12 rows, ending COL
Bring the next two groups of 9 and 7 needles out to work, knit one row to the right
Bring the remaining stitches to the left of the new group of 7 out to hold, knit 11 rows (odd #), ending COL. Continue across row. At the end knit a few rows, ending once more on the right.
I found at least 3-4 rows were needed between sections of segments to achieve shapes that did not meet to create extended slits with threads across them and to achieve a look I preferred. The interim all knit rows could serve as the opportunity to add other stitch types or techniques including purl ridges on the knit side, which could be achieved easily enough with a G carriage, but may prove perilous with a garter bar.
The needle bed or the needle tape may be marked with a water-soluble pen between needle groups to help make tracking easier.

Proof of concept purl side knit sideslightly scrunched upwith a touch of steam and light pressing

Planning your own pattern in scaled-down numbers of stitches and rows is good practice, may also lead to pleasant surprises. As with any tests, keeping notes while in progress is well worth it. What may be obvious while knitting may escape recall after the fact.  Then there are “little things” that factor in as well. For decades I knit on a 910 or a punchcard machine. On the 910 settings stay as preferred unless changed manually. In my electronic default, the repeat direction was set to be as seen on the knit side, on the punchcard, it is fixed as seen on the purl. At one point I received an orphaned, frozen 930 that I was able to get moving following online video advice. I have often forgotten to set the number one variation button or to change the default isolation to an all-over one in knits where that mattered critically. If programming a repeat, the starting side for a preselection row matters and it will change based on which side of the finished fabric reflects your planned motif.
The start of an idea with points to be considered,  some observations and questionsWorking it out on a spreadsheet: arrows indicate the direction in which the carriage needs to be moving, I prefer to start COR, the image can be flipped horizontally for starting with COL. The repeat is outlined with a thick border, is too wide for automating for punchcard, but as hand technique variations can be endless. To produce longer slits and raised shapes, add even number of rows to the red colored blocks, for more distance between raised motifs, add even number of rows to the side to side all green areas, maintaining the directional arrows. This is the isolated repeat for converting the pattern to a file suitable for downloadand its mirrored version for knitting from the opposite sideMy test swatch was knit on the 930, using img2track. Because not every needle on the bed is in work throughout the knit, end needle selection must be canceled (KC II). The knit carriage after the preselection row is set to slip in both directions. Because only a few rows are knit on the red blocks in the chart, the result is subtle. The white yarn used in many of my tests happens to be a 2/24 acrylic, so on the too thin side, and likely to be well flattened if pressed.
Often, the edge stitches on the carriage side will tend to be a bit tighter than those formed away from it. The same repeat may be used to create very different fabrics. Eliminating the all knit columns on either side of center produces a piece with “ruffles” on either side of center as the outer edge of each shape is no longer anchored down. The principle was used in knitting “potato chip” scarves popular in both hand and machine knitting for a while. Having a repeat on one side of an all knit vertical strip creates a ruffled edging. Note the effect of the added all knit rows on the “wave” of the piece on the right.

Many patterns are published for hand knit variants as well, Lion Brand Yarns offers the opportunity for learning both knit and crochet stitches. Some patterns are free with login (website info access is also free). Here are 2 such designs with slits and bumps to the maxThe shapes for the “bumps” may be changed, moving away from rectangular formats. Small repeats are used for the purposes of illustration here, but they, in turn, may be scaled up, rendered asymmetrical, vary in placement, and more. My design steps began with this idea

Following the goal to achieve bilateral placement along a central vertical knit strip, with vertical knit strip borders at either side, here shapes point in the same direction
Aiming for shapes pointing in opposite directions, following those arrows for “pretend knitting”,  a repeat is highlighted with a dark border on the left, while to its right placement for extra rows of knitting is suggested (must be even numbers). The repeat is then isolated and “grabbed” for use in GIMP

 

 

 

 

 

 

 

 

 

In gimp the bucket fill was used to fill all colors to black, the image was converted to bitmap BW, scaled and then knit. This is the final repeat usedI ran into an interesting problem for the first time. I had entered the row and stitch counts on my chart, used those counts to scale the image used for my repeat down to size for knitting, kept getting floats where there should not have been any, could not understand what the error in the repeat might be. What was happening is that because of the wrong row number used in scaling, there was an extra pixel row in the first test swatches resulting in knitting errors. The final repeat is 29 stitches wide, 38 rows high. This is the resulting swatchOnce more, the repeat could be reduced down to eliminate side knit strips, or limit shapes to one side only for a one-sided ruffle. What about repeating the same slit horizontally across a row? Repeats become very long, arrows are once again guides in knitting direction.  An even number of rows (green) at the end of the outlined repeat will return the carriage to begin knitting it from the right side once more. An odd number of rows added at its top will prepare for knitting the motifs beginning on the left.Again, motifs may be brought closer together, laid out directly above each other, brick fashion, mirrored, or as otherwise desired. Adding rows at the center of the shape will make the “smaller” eyelets at the corner larger as well as the ones created by its outer edge. Possibilities are endless. If automated slip stitch is used, it is the selected needles that knit. This is my final test repeat, flipped because I insist on forgetting to turn on the #1 variation button on my 930, and I like to begin sequences from the right.BringingBPushing unwanted needle groups back to D position will make them knit rather than being held, is another way to vary the texture distribution across any single rowIt is possible to add color changes between or within pattern repeats as well as needles out of work. A free pass may be made to the opposite side by bringing all needles out to hold, and once there, returning the next group of stitches to be knit into work. If electronics are in use for automated patterning, the carriage may be removed from the needle bed and brought to the other side before continuing.  If a punchcard is in use, an odd number of rows will need to be programmed for one of the colors in order to maintain proper needle selection. Repeats in charts below are for illustration purposes, not fully worked out repeats. Adding color stripes, with or without ladders Needles out of work with lateral transfers alternated with needles returned to work will add eyelets to the piece and allow for every needle stripes of colors (or plain knit). If a lot of eyelets created from needle transfers are in play, it may be necessary to change the direction of those transfers.It is also possible to combine patterning and holding. As needle groups are brought in to and out of hold, the needle selection must be maintained in order to keep correct patterning. There also seems to be a sweet spot in most machines for how far back a needle needs to be pushed for it not to “bounce” to an undesired position, thus picking up and knitting in the wrong color or dropping stitches off. Some variations also found in as to how far the active knitting needs to be cleared with each carriage pass on each side. One row in my test swatch has obvious extra stitches in white, my feeder B color. I am not certain as to cause. Introduction of patterning adds yet another layer of complexity to track. Once again I am using 2/24 yarns.

“Wisteria” meets hems

I have previously posted on a series of fabrics related to this swatch, including suggestions for possibly automating some of their variations. The earliest blog post includes some of the history for this fabric, is repeated here. In the 80s there used to be a yearly machine knitting seminar in my area that was fairly well attended. There were droves of machine knitting publications for sale, demonstrators, and device creators with their wares. Susan Lazear, the founder of Cochenille, was just beginning to develop her knit design software ideas on Amiga Computers, DAK was getting off the ground as a competitor, and a fellow Californian, who happened to be Japanese (Yo Furuta), used to travel here with the Pandora box of foreign language knit magazines. At the time translating knits from one language to another amounted to guesswork and some leaflets. Subsequently, there were fliers, then articles, and even books on translating from Japanese to English and more than one on multiple language instructions for knits and crochet.
One year there was a “guess how this was done and you get a prize contest” for a technique appearing on a sweater with only Japanese instructions. The design was dubbed wisteria by some, has been reincarnated as a trim, insertion, bandings on sleeves and cardigans and is reappears in magazines and on the runway with some regularity. For more information see horizontal cable  (2012)wisteria cousin revisited: holding vs slip stitch,  wisteria 2, and fern leaf  A foreign language video tutorial with wider ladder spaces executed on a Silver Reed knitting machine

Recently I have been giving more thought to 3D knitting folds, and in an online search I came across the hand-knit designs by “Olgajazzy“. I became curious about developing a machine knit relative of the texture shown in her Kune Kune shawl and began my own search for a way to add hems to the above fabric.  I am sharing photos of the test swatches in progress and some of my observations, not intending them as a full tutorial. Before adding variations to any technique it is always helpful to have practiced the simpler version. Having needles out of work can help make certain the correct width groups are brought into hold each time. Ladders do change the look of the final fabric and soon the choice becomes as to whether they are unnecessary or used as a purposeful design feature.
As with any eyelet fabric, if all openings are created in the same direction the fabric will bias. To avoid that, the direction of transfers is altered in direction at the completion of each row of repeats. With transfer lace that is achieved by transferring in turn to the right and then to left, here stitches in hold are worked from right to left and then in turn from left to right to achieve a more balanced fabric. Cast-on and bind-off must be loose enough not to draw the top and bottom of the fabric in too tightly, and it is possible to make them decorative. Test swatches began and ended in a waste yarn of sharply different contrast color, making it easier to observe what is happening to the stitches creating the fabric. In this sideways view, missing a row of hemmed segments at its top, the difference in height on one side as opposite the other is quite noticeable. The reverse side shows the same issue. Areas can be identified where the held stitches have been hung up to create hems. Note that as the knit grows in length, at the completion of each row of repeats there is one segment with no hem on alternating sides. A longer test swatch follows
I created my hems on the carriage side, immediately prior to bringing the following group of stitches into work opposite it, and knitting a single row across that new group of 3 segments. The highlighted area indicates the stitches to be hung to create the hem.  The eyelet on the top, right,  will be smaller than the one at the opposite side of the stitches to be hung upStart with waste yarn and ravel cord if preferred. Work the first segment,  hang the first hem. First segments are generally knit for an even number of rows. The second hem is not hung until the third group of stitches has been knit. The process is repeated across the width of the knit Reversing the direction of segmentsWhat about a related edging? One to try: cast on with waste yarn and ravel cord (if desired). End with COL. Knit one row with the main color to right. COR bring all but group 1 stitches out to the hold position. Knit an even number of rows. COR: hang hem, bring the second group of stitches into work, knit one row to left. COL: bring the first group of stitches out to hold, work the second group for the preferred number of rows, end COR. COR: hang hem on stitches worked on the carriage side, bring next group on needles to their left into work. Knit one row to left, bring the now sealed hem on the group of stitches on the right to hold, and continue across the needle bed, working a hem on the last group as well. Reverse direction as illustrated above.
The same edging could be used and followed by other stitch types. The cast-off at the top might look better if done using a different technique but is not capable of matching the bottom edge because of the direction of the knit stitches composing the folds. These fabrics are time-consuming, requiring skill and concentration, especially when knitting large pieces. There is always the option of using such techniques in an isolated area of the final piece or in edgings and borders, keeping in mind the possible changes to gauge when combining stitch types.

Passap knitters are not left out of related explorations. Slip setting (BX) and pusher selection are used. The lock change to N overrides the pusher set up to achieve a row (or many more) of plain knit across all needles in work. It is the equivalent of canceling cam buttons in Brother while maintaining pattern needle selection. N tends to be king no matter on what bed or KM brand. Since both beds in Passap are fixed, the back bed (equivalent to Japanese ribbers) is set to slip (GX). An interesting variation is found in Passap #60 p. 24 (1995). Directions are given for both the Duo and the E 6000. The technique relies upon hand selection and changes in cam settings in both. Early magazines and manuals translated from other languages at times require additional interpretation. Shapes in many are “out of date”, but in terms of knitting techniques, they provide a boundless source of inspiration. This is one of my early graphics trying to imagine what is happening in chart form, which also references the repeat in the Passap garment, followed by plain knitting 

The sides of the piece bow in and out respectively, so when the sweater is seamed the curved areas will meet to create a fairly flat side seam. Choosing a yarn that will “lose memory” when pressed helps create a flat finish. Yarns such as wool will tend to roll toward the purl side, and this is likely to occur on the edges of the eyelets as well. Both can work depending on your goal for the finished piece of knitting. Ladders created by leaving needles out of work make for a more open, very different look. They also can be easily counted to check on how many rows have been knit.

This is a sweater by Patty Boutik, for sale on Amazon, introducing eyelet striping and selective use of the repeatFor use of the stitch family in a variety of scale see the work of Mary Callan

If one is a fan of straight edges or lines, they are not left out either, and slits can be placed at one’s discretion. This fabric is worked out differently, in groups of 2. After the first segment is completed, COR if the starting group 1 worked is on the right, bring group 2 into work, knit one row to left, immediately bring group one into hold, and continue across row. That “float” is created as the yarn traveling between the last stitch on the right now coming into hold and the first stitch to its left knits for many more rows gets pulled on as the piece grows.  If hems are added to the piece it can be done in many ways including in contrasting color, across individual pieces as in the edging shown earlier in the post after knitting one or more rows, and sizes of eyelets and any added hems can be varied as well. If the”float” is hung up at the same time as the hem it will be less noticeable. From Stoll Trend Collection Europe Spring/Summer 2012 a sample fabric utilizing the floats between repeat segments as a design feature

In a world of glitch knitting and asymmetry in design and fashion, random “ruching” may be applied here as well Hems in knitting can be created on any number of stitches, anywhere on a garment, by definition join segments of the knit together permanently. Folds are freer. Here is an attempt at a different wisteria cousin with organized repeats. More on creating it will follow in a subsequent post now that holding techniques are back on my radar

Ribber trims 3: one trim, four variations

I found this on a random sheet tucked away with references from some seminar or other eons ago, its origin is not known to me
I like to chart out my repeats and plans for executing fabrics, along with ideas for possibly varying them in ways other than suggested, this was my  beginningThe sequence in photos, beginning with the cast on, 2/24 acrylic yarn,  zigzag  row with inserted ribber comb,  halfpitch 1 row is knit across all stitches to complete cast onknit one more row to return to the opposite sidethe setting is changed to full pitch, stitches are transferred between beds to match  diagramsthe center needle in each group of 3 is brought out to hold for one row, knit one row to return to the other side center needles are pushed back to D position in order to be knit on return pass to the opposite side this tool makes that needle selection faster and easier when the 20 rows had been knit in pattern drop stitches on each side of center stitch transfer ribber stitches up to main bed I knit 3 rows rather than 2, to return to right side  for bind off here is the swatch, still on comb for “setting stitches”

I found the above results upon completion disappointingly wimpy, then tried the same steps in tightly twisted and slightly thicker cotton, achieved better results, but was still not happy. That set me thinking about an alternative way to produce a similar fabric with changes in needle arrangements. The full series of swatches is seen below. The yellow is knit in a 2/8 wool, the beige in the same weight cotton as the white on the right. All swatches were knit on the same tension, for the same number of rows.

The adjustments on the original pattern are as follows. At half pitch begin as above with zig zag to left, 2 circular rows, knit back to right. Set pitch to P, transfer between beds

knit back to the opposite side, transfer each of the side stitches on the top bed onto the center needle in each group,

bring those needles out to hold for easier knitting on the next pass knit one row back to the right,  making sure stitches  have  knit off  properly. When you have returned to the right side, set the carriage to tuck from right to left only (left tuck button), RC000loops will be formed on the center needles as they would have been formed over the needles as if holding was in use

when the 20 rows are completed the carriages will once again be on the right,  all stitches will have been knit on the previous rowtransfer all ribber stitches to top bed, knit 2 rows, bind off. None of my swatches were blocked other than by some tugging, particularly along the bottom edge. The spacing between stitches is narrower because ladders created by single needles left out of work are formed by yarn lengths that are shorter than those that happen when stitches are knit and then in turn dropped. The height of the swatch is also affected, and the half fisherman texture in the wool swatch, in particular, is more evident.

More variations to try in a multiple of 3+1: using either method or a DIY cast on, dropping (yellow) stitches marked with a * at the end, or transferring them to right or left and setting the main bed to tuck in one direction only.When the work is removed from the machine, stretch cast on outwards, then give each “scallop” a really good pull downwards. Steam lightly over the scallops to set them. Variations of the double bed trims may be worked on the single bed as well.

Ayab: short rows automated with slipstitch

I have recently been reviewing some of my ideas for using slip stitch to achieve fabrics normally created by hand pulling needles for short rows. The samples for most charts below are found in previous posts on topic. My hacked machine is presently being put to bed for a while as I work on some production pieces on KMs that allow me to produce predictable lengths of knit. I will not be providing proof of concept swatches for every chart.

A bit on defining short rows http://alessandrina.com/2013/12/18/holding-stitches-short-rows/

http://alessandrina.com/2014/02/20/wisteria-cousin-revisited-holding-using-slip-stitch/

The carriage movements are partially illustrated below, beginning with the first row pre selection from left to right (red line/ arrow), which happens to be the only option when using ayab. Ayab also mirrors automatically, so either mirroring the rendered repeat or using action mirror in software is required for the holding sequence to be correct. The lines indicate direction of carriage movement on each design row. Blocks need to be even numbers in height, and may be adjusted in width. The full swing of the fabric in each direction needs to be programmed.

http://alessandrina.com/2013/12/28/short-rows_-balls-tams-3d-rounds/
here the holding sequence works toward the center Ayab will mirror it if drawn as is, which will place carriages in position for first preselection row to start from left, decreasing stitches in work 

For increasing stitches in work rather than decreasing them, this illustrates the direction in which the carriages need to be moving. In this instance the image needs to be mirrored to erase the software’s automatic doing so 

Single bed pleats http://alessandrina.com/2013/01/21/automating-pleating/. This repeat is planned for each square representing both a single stitch and single row. Since the width of the knit piece needs to be programmed when using Ayab, this approach may be used for anything from ruffles to sideways skirts. Additional information on designing is offered in previous post, used as is  

With a bit more planning and even using a garter bar, this is executable as well
http://alessandrina.com/2013/02/28/garter-bar-short-row-trim/
For a possible all knit surface variant the repeat on the left is drawn, due to auto mirror no mirroring is required to obtain the knit rows in the directions illustrated the right. Knit as is, the resulting eyelets including the larger one at the center can serve as “design features”. Motif on left, mirrored as it would be by Ayab on right. With narrow pieces of knit, pay extra attention to beeps and flashes. Clearing the end marks on the needle bed may also be necessary to keep needle selection accurate, watch for yarn loop formation on either side as the result of  having to travel that far from the end of the needles in work. “just for fun” http://alessandrina.com/2017/06/11/crochet-meets-machine-knitting-techniques-working-with-short-rows/

Category search 
http://alessandrina.com/category/machine-knitting/short-rowing

 

Tuck lace trims (and fabrics 2)

Working between electronic and punchcard machines needs to take into account that repeats on a punchcard KM must be a factor of 24 (2, 3, 4, 6, 8, 12). An electronic tuck stitch repeat 

Since it is seven stitches wide, if punched accordingly it would occupy 21 out of 24 stitch units on a punchcard, so as is (unless those extra needles on the far right and left are left out of work for ladders) it would not be suitable for an all over fabric. It can however, be used for a trim. If the latter is the intent, only one series of vertical repeats as seen below needs to be punched. The numbers below the image indicate Brother needle tape markings. This is a 6 row tuck fabric, so thinner yarns should be used if the pattern is automated, as tuck loops build up in needle hooks. If you wish to experiment with slightly thicker yarns, decrease the unpunched areas to 4 rows, or execute using holding. Held stitches sit on top of the needle shank, tolerance is determined by how many rows it either takes for knit stitches on sides of the loops jumping off needles, or accumulated loops being unable to knit off consistently on the next all knit pass. To test yarn out, try the technique by using holding, then punch your card. Automating makes the process less prone to error and faster if great lengths of a trim are needed. 

Using the trim as the cast on edge for a garment: determine the length required after a technique test. Knit a bit extra and remove on waste yarn, so more may be added or some be unravelled if needed or you wish to change the configuration using it as your cast on. Rehang and cast on later when it is completed. The flared out portions of the trim will be used to “cast on” the edge of the piece, continuing with some needles out of work

an attempt at line drawing the “trim” sideways

Using the curved out edge of the trim, hang stitches half if possible, or one full stitch away from its edge as illustrated below. Knit 4 rows. With a tool pick up all ladder loops created by NOOW (RC 1-4) and hang on center empty needle. Knit rows (RC 5, 6), hang ladder loops on still empty needles, knit across all needle, continue with garment

needle arrangementpicking up loops 

The yarn is a cotton, and appears to have a tendency toward biasing on knit rows as seen in the tendency to lean in one direction in above photos. It has no stretch, so stitches that knit off several tuck loops remain  elongated. A look at the structure on the purl side:

In Brother knitting when needles are out of work, the automatic end needle selection  may interfere with the pattern, and this is a consideration in many knits. Intro to all over tuck “lace” patterns: one to try. Two 8 st repeats shown, suitable for all kms 

Single bed: arrange the needles as shown. Cast on and knit a few rows, set knob to KCII, knit one row. Push in both tuck buttons, and knit desired number of rows.

Double bed: OOW needles on main bed will now be in use on the ribber Set half pitch lever on H, racking indicator on 5. Cast on desired number of stitches, knit base rows. Set half pitch lever on P, transfer stitches between beds arranging them as shown with NOOW on both beds. Set change knob to KCII, knit one row. Push in both tuck buttons, knit in pattern for desired number of rows.

“Crochet” meets machine knitting techniques: working with short rows

Another Ravelry thread recently looked at knitting this pattern, from an old Knittax pattern book

I found this in a different manual, with similar structure, and “english” directions

symbols used in Knittax patterns 

On the purl side this creates structures that emulate crocheted shells. My first attempts at trying to knit anything like this were in thin yarn, and I had enough issues to give up for the moment. Things worked out much better when I switched to a sport weight yarn that seemed to like knitting at T 10 for stocking stitch. With NOOW set up, my sample was knit at T 9. Waste yarn and ravel cord are often a good way to start, but not always necessary, same is true of weight. I began with a crochet cast on, every needle, multiple of 4 st + 2, then dropped the alternate pairs of needles between the first and last 2 pairs of needles in work, pulling the needles back to A position, determining the width of my “shells”

Working from right to left, starting with COR; the first pair of needles on carriage side in work, remaining needles away from carriage are in hold position moving toward left, the adjacent needle in the first pair in hold gets wrapped; be sure to retain proper positions for knitting and holding the first wrap completed, needles in position to continue the process is repeated X number of times. I chose to wrap X 5, which requires 10 rows of knitting, making the row counter usable to track rows in easy increments. When wraps are completed, push wrapped needle and its partner into work, knit one row make certain all the loops have knit off , wrap the first needle to their left, bring pair on the right to hold continue for your desired number of wrapsreturn wrapped needle and its partner to work position, knit one row, wrap next single needle on left remember to bring needles to right of the pair just knit into holdrepeat to end of row. Reverse process moving from left to right (in progress photo). I found a single tooth from a claw weight on pair of stitches doing all the knitting helpful. 

The resulting swatch knit side its purl side

Variations can include the number of needles used for knit stitches or ladders width created from NOOW, yarn choices, etc.

here the technique is used for a trim, both sides shown  trying to imagine process  chart format 

online inspiration: a youtube shawl , and techniques that use holding while moving across the needle bed in similar manner, though not necessarily producing “crochet like” fabrics: https://www.youtube.com/watch?v=XR_7Ys9KIaU&t=4s    http://postila.ru/post/29275341  http://alessandrina.com/?s=wisteria

A shawl tale 2

Recent runway knits include lots of color/ technique patches, and ruffles galore. I no longer share that information here, for those interested they may be found in my pinterest boards http://pinterest.com/manydrina/

My “spider web” shawl has been