Knitting in pattern with 2 carriages, Brother punchcard KMs

I touched on knitting with 2 carriages in some previous posts:
http://alessandrina.com/2011/03/30/knitting-with-2-carriages/
http://alessandrina.com/2011/03/29/lace-meets-hold-and-goes-round/
http://alessandrina.com/2015/03/31/combining-tuck-stitches-with-lace-2-automating-them/

If 2 carriages are in use for patterning extension rails are a must. For this discussion we are excluding the lace carriage as the #2, the intent is to use 2 knit carriages with each set to desired cam functions. As one carriage is put to rest and the other one is set to move from the opposite side, the card does not advance, so the last row selected is repeated one more time. In one of those lightbulb moments today (any excuse not to do laundry) it occurred to me that starting out with an odd number repeat pre punched card, coming from the opposite direction at the end of each odd row repeat, an even numbered repeat would actually be knit. The card below is Brother issue with all standard knitting machines. Card number (2 in this instance) may vary, depending on year of purchase. Color changes here as well would have to be planned for an every even number of rows, so respective carriages can travel to and from each side.

punchcard

The swatch below begins with locked selection row on punchcard row marked #1 (standard location); tuck setting is used in first 2 segments, FI on third; pattern produced is “OK”, but not actually tucking for 4 consecutive rows; note how much narrower FI is than tuck. Tuck tends to be short and fat, slip and fair isle short and skinny when compared to plain knit in same yarns 500_326

500_327

Since Brother preselects for the next row of knitting, setting the first selection row one locked below the usual spot on in this case #48 got me what I wanted, each color now tucking for 4 rows

500_325

500_324

Then something a bit more exciting occurred to me; one is an odd number, so any card where single rows are punched could be executed in theory, changing color every 2 rows (remembering to start with first selection row one row below # 1 row mark on card). This sample was knit with 2 carriages, using a maze card, illustrated in a previous post , in which each row had been punched only one time, requiring for the repeat to be elongated X2 500_319500_320

the image from the previous postgrey_slip

Using 2 carriages allows for combining yarns using different tensions, cam settings, fiber content, or sometimes using materials that the single bed color changer is not “friendly” with. Also, there is no pushing the wrong button, causing errors in sequence, or dropped knitting if no yarn is picked up.

A punchcard carriage may be used on electronic machines. I work on a KH892, and a 910. The 910 is from a much earlier model year than the punchcard machine. The back rail for the KH to travel on, is a different shape, with slits as opposed to smooth, and a bit more raised. The electronic carriage set on KC locks on the belt, and advances the card appropriately, but the fit is quite snug, making it hard to push, while the 892 behaved well on the 910. If borrowing carriages and sinker plates from different model years or type of machine to use on another, proceed with caution and listen to your machine. Sometimes the span of time between model issues is irrelevant, even if model years are only a year apart, and the swap is not the best for successful knitting, may “work” in one direction, but not as well in the other.

sample back rails: 910 910892rail2

Pintucks or ripple 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

 

Charting shapes for short row knitting and programming

In machine knitting, stitches are usually brought into hold opposite the carriage. If multiple stitches are brought out to hold on the carriage side, floats are created. Triangles stacked vertically as seen in the previous post, will create a spiral curve along the line where stitches are held. The carriage needs to get to the opposite side and back after each ‘decrease’ or ‘increase’, so pairs of rows are used to execute and reverse angles in short row shaping. When multiple rows are knit independently from the rest of the knit, slits are created. In two row sequences these are generally similar to holes created in lace, in longer sequences much larger slits are produced. The latter are often used as planned design elements. The small holes being visible may not pose a problem for the knitter. If they do, wrapping the adjacent needles can help eliminate them, but the doubled yarn in the wrapped needle may create small, sometimes visible bumps on the knit side of the finished piece, creating a secondary pattern.

Reducing eyelet size: in traditional wrapping  required needle(s) are brought out to hold, the yarn is wrapped under and around the last needle in hold on the carriage side before knitting the next carriage pass

                        COR                                                              COL                                both

The “automatic method” for wrapping

Decreasing: if COR (COL), to hold 1 stitch at a time, set the machine for holding. Bring one needle on the same side as the carriage into hold position. Pass the carriage to the opposite side. COL (COR) repeat if shaping is 2 sided, or if shaping is only on the starting side, knit back to it, and with COR (COL) repeat process. Increasing single stitch : bring 1 needle always opposite the carriage into work position.

Decreasing:  more than 1 needle or stitch at a time: if COR (COL), place 1 needle less than required into hold on the opposite side as the carriage, knit 1 row to left (right), toward the needle in hold. When COL (COR), bring into hold the last, additional needle. COL (COR) repeat if shaping is 2 sided, or if shaping is only on the starting side, knit back to it, and with COR (COL) continue decreases on the single, opposite side.

Increasing:  to remove stitches from holding , COR (COL) place the desired number of needles into working position on the side opposite the carriage, knit one row, repeat with COL (COR) if shaping is on both sides, or knit back to starting position COR (COL) and continue increases on the single, opposite side.

Charting out shapes knitting or programming stacked equal triangles / spirals: the wedge illustrated in the previous post single spiral wedge“Air knitting” is often used to think out fabric issues before swatching using yarn. Drawing lines to follow carriage movement direction required to keep the knitting continuous, whether or graph paper or within software programs, can help sort out shapes that will work in short rowing. Holding needs to happen in 2 row sequences. Below, black lines and arrows indicate the direction of knitting for each row, in this instance beginning with COR. Blue = knit stitches, yellow = all knit rows at the completion of each wedge (2 or multiple of 2, depending on planned design). This repeat is suitable for knitting a continuous strip with ruffling/spiraling at various degrees, not for ‘pie’ shapes.

offset

Working out the repeat: the red line represents the starting, selection (KC), knit  row, the numbers at the bottom the width of the repeat, the numbers to the side its height. The first repeat A, results in the fewest punched holes, drawn squares or programmed pixels, requires being knit double length. The remaining repeats (B, C) are drawn double length, standard card rotation is used. Eyelets form at the held edge. C takes automatic wrapping to decrease eyelet size at held edge into account. When any sequences are programmed for knitting using slip stitch, the end needle selection is always cancelled by using KCII, or turning non needle selection cams in punchcard models.

A                                 B                                    Crufflethe start of a miter shape: blue repeat, extra knit rows in yellow, auto hold on bottom rightscreenshot_45

Going 3D: in many designs the original repeat may simply be mirrored to be executed. If this is done here, one can see there is no longer a continuous knitting line, directional arrows are moving in opposite directions or toward each other from center point

offset1restoring continuity offset 2shifting rows around to create a workable repeat offset 3one shape 3 different ways:  red row = KC II, all knitdouble spiral

An executable 24 stitch, 26 row repeat:  black arrows alone indicate movement of carriage on the first row of the repeat, black arrows on red line indicate starting point and direction of movement of carriage for KCII rows. A begins to knit repeat with COR, B with COL. whole repeatsThe triangle’s vertex can be squared off, the height of the repeat shortened, to make 3D shapes much rounder ball1X8ball1X8

Not just for electronics: some punchcard repeats to try (also suitable for any machine). End needle selection is cancelled.  Selection rows are always toward the first pair of rows knit in holding pattern, so for the first 2 cards they would be from right to left. Single rows are punched but 2 row sequences are needed, so cards must be elongated X 2; miter shaping repeat is shown on the left, spiral on the right. Narrower shapes may be created and knit on the appropriate segment of the 24 stitch repeat needle positions. Use needle tape markings as guides for placement. Selection row is from right to left, the pattern repeat begins with COL. All punched, extra series of pairs of rows of knitting may be added at the top. Note: just a few rows may not be added with a small a segment of an additional card with clips, the whole repeat may have to be split in sections to allow for the extra rows and its smooth passage through the card reader. As an alternative, more rows of all holes could be added to the original card when first punched, tested, and then trimmed if not needed. It is useful to try out the repeat as a hand technique first in any of these instances, to determine personal preference.

miter_spiral1

Going 3D: punch only actual holes (black pencils marks were originally used to mark squares that needed to be unpunched for auto wrap on right, not the best choice for B/W scans). Two row sequences are punched, so no elongation is needed for either repeat. Miter shaping is shown on left, spiral on right; mem <– indicates direction for KC row; decreasing angles are auto wrapped, increasing angles need not be as seen in the top of miter on left, where needles are returned back to work to create the reverse shape.3Dmiter_spiral corrected

Some ruffle possibilities: all knit rows were added to the card on left with snaps, and are composed of all punched holes. The number of all knit rows  between held segments determines the spacing between wedges and the degree of spiraling of final fabric. KC row needs to be R to L for A, left to right B. Holding sequences are now staggered, changing the angle of the resulting curves. Where 2 stitches are brought to hold on the carriage side, a short  float is created.                                                      

A: elongate X 2                              B: use as is         ruffle-pair-

The recommended minimum for punchcard length is generally stipulated to be 36 rows. Card A without the added rows is 28 rows high (last 2 rows are for card overlap when adding snaps), so the repeat below, with extra segment removed, would need to be punched twice

A single_correctedeyelet pattern reflects shaping500668

500_

500_676

B: dotted lines outline segment: yellow dots on purl side, the 1 needle floatsruffle_floatone possible card revision: red dots indicate punched holes, stitches in hold as carriage moves from left to rightruffle16_CORany difference in the swatch, in this yarn, was almost imperceptible; results would vary depending on yarn thickness and fiber content.

rufle not floatthe swatch as a “ruffle”ruffle_show

Working with generated mazes: GIMP charting 2

My previous posts on using gimp to generates charts and images suitable for knitting: 1, 2, 3, 4 . I am working in Mac OS 10.10 now, so there may be some variations in results from earlier OS or for Windows versions users.

the edited repeat from the previous postcropped

It is possible to knit this design in DBJ with the same separation as for knitting it as a maze, both are 2 color slip stitch patterns, the maze separation is less laborious. To process for use in DBJ, the image needs initially to be doubled in length. The easiest way to achieve this is to create a new gimp document, several times the size of the repeat, select and copy the corrected repeat , in turn pasting it in the new, larger canvas. I used 40 by 60; color 1 is red, color 2, white, most of my charting is done at 1,000 times magnification

copy and paste

drawing a vertical line in non pertinent color to border areas having several rows with no second color present, as seen below, may help define end or start of selections when attempting to invert colors. Color invert may be achieved in RGB mode, not indexed. Below the inversion occurs on “even numbered” every other rows. The program in my OS now showed the previously red squares in blue, the alternate squares in black.

screenshot_16
After using color invert, non pertinent color (blue) may be erased (using pencil tool, each square on grid is a single pixel) as well as those yellow “border” squares. In the image below the black squares on the left represent all holes that will be punched out in card. One drawback in this program, because of the scale using single pixels, is that no text to include row numbers, etc. is possible. The final repeat is 10S X 44 R.
screenshot_24_DBJ

If one wants to avoid using double length in the automated machine settings, the image of holes to be punched may be doubled in length. To do so color mode needs to be changed to indexed (4 colors) to retain image clarity.screenshot_19

screenshot_20X2

 fabric knit in DBJ, long stitch on left, bird’s eye backing on right 500_2355

Maze and mosaic knitting, my previous posts: drawing motifs, from design to pattern (Excel), from pre punched cards,  and references and pubs. The repeat worked out for slip stitch, and edited down to 2 colors. Again, the black squares on the left represent all holes that will be punched out in card.

screenshot_21-mazeTo further mark the repeats in blocks, making chart easier to follow in absence of numbers, the subject of drawing straight lines comes up. Most of the online tutorials for using gimp are for its Windows version. The pencil tool may be used. Normally, tool options are displayed in a window attached under the Toolbox as soon as you activate a tool. If they are not (Mac), you can access them from the image menu bar through Windows → Dockable Windows → Tool Options, which opens the option window of the selected tool. In theory “Ctrl:This key changes the pencil to a Color PickerShift: This key places the pencil tool into straight line mode. Holding Shift while clicking Button 1 will generate a straight line. Consecutive clicks will continue drawing straight lines that originate from the end of the last line.” On my Mac I worked out this method: first select color and pencil tool. Place a pencil dot where you want the line to start. If you press the shift key, a cross hair will appear, press the command key in turn as well for straight line mode, click where you want the line to end. Consecutive clicks will continue drawing straight lines that originate from the end of the last line. Pressing both the shift and the command one at once after the initial pencil mark will call up the color picker and require a color selection and an OK.

windows: dockable itemswindows_dockable dialogues

gimp lines

separation for maze knitting 10S X 22R, elongate X2
maze_needsX2 borderknit as a single bed slip stitch, changing colors every 2 rowsscreenshot_01as dbj 500_2361

The dropped stitches were a problem when using the ribber on one of my two 910s, that adventure can be the topic for another post.

Working with generated mazes: GIMP charting 1

Laura Kroegler shares an online generator for “mosaics”unikatissima offers them for mazes and cellular automata. Representations of such patterns have cropped up in relation to hacked knitting machines and electronic downloads such as those seen in the Claire Williams blog, and in published information by Fabienne, who of late also has a kickstarter project. Such patterns may be charted for hand knitting or for use on punchcard machines once the size of the repeat is taken into consideration. Mirroring either vertically or horizontally can make the image far more interesting, but that has to be a consideration in planning if the stitch repeat has a constraint of 24 stitch limit. A beginning unit 6 stitches wide will allow for the horizontal mirror to be repeated twice on the punchcard. The minimum punchcard length is 36 rows. The maximum scroll down to height in the Kroegler generator is 20, so for the least punching, an 18 row max would “fit”. The caveat here is that if the generated pattern is to be knit as DBJ or as single bed slip stitch, those 18 rows need to be color separated accordingly. For the design to be charted out easily, it may be saved, and then in turn gridded in Photoshop or Gimp with grid matching stitch size in the generated pattern preview (ie below note X and Y values are 5 X 5, so grid used would be 5 X 5 pixels as well).
After reviewing the tiled generated pattern, the image may be carefully captured from screen and saved. I worked with an 8 stitch repeat for my tests. Below are screen grabs of the resulting patterns after some of the various options offered were tried. Mirroring this repeat horizontally, makes it too wide for a punchcard (16 X 2=32).

38_400

40_400

42_400

46_400

44_400

using a 5X5 grid after capturing a portion of another generated image, using a simple 8X8 repeat, outlining single repeats, thinking punchcard machinescreenshot_34

checking the result tiled to predict possible knit “look”screenshot_28

If working with a 6 stitch repeat, horizontal mirroring becomes possible for punchcard machines, perhaps making things more interesting; the program can generate a single repeat as a png, and punching holes is a drag so maybe length remains on the short side in anticipation of the punching holes and color separating for knitting the motif as either DBJ or single bed slip stitch, so here goes: having the generated image produced so each stitch and row is represented by a single pixel allows one to work within any program preset to superimpose a 1X1 grid:screenshot_07

screenshot_08my saved png, supposedly for an 8X12 repeatnewgridded in gimp, revealed as  11W X 23 Hscreenshot_09

testing tiling: oops!screenshot_10

the trimmed repeat, eliminating double lines, 10 St W X 22 Rows Hcropped

tiled, looking closer to originalcropped_tiled

and then there is the knitting of it….

For the latest version of gimp use on Mac, version history may be found at gimp website, for Mac Yosemite and Mavericks’ latest information on version 2.8.14 .

More slip stitch experiments

Slip stitch fabrics are capable of creating interesting textures. When blocks of stitches are slipped, the floats that may appear on the purl side are considered problematic by some knitters. One solution is to work using mosaic and maze “floatless FI” designs. This was addressed in previous posts, including color separation methods for planning them, and a variety of knit swatches.   The images below have often appeared in knitting boards on Pinterest, I am returning to the slipstitch design thread.

source

missoni combo

source

lyst combo

I decided to plan a “square” shape to sort out the technique; it could easily adapted to a diamond one. By necessity, larger repeats need to be executed on an electronic machine whether via mylar or download program. The plan is to change colors by any means available, usually every 2 or every 4 rows, requiring a motif repeat that totals an even number of rows. In hand knitting garter stitches can become part of the resulting texture, but they are impractical here. Often commercial knits are produced on machines that can automate many more functions and textures per row. The Missoni sweater is a fine knit, and on a detailed examination, reveals lace eyelets in the some of the stripes in addition to plain knit and slipped stitches. Not impossible to do on a standard KM “home” electronic, but simplest way to add lace eyelets would be via hand transfers.

my starting chart

repeat start

 checking that that repeats line up

multiple repeats

possible mylar repeats

mylar repeats

I drew the top repeat above onto mylar for use on a 910. The sample swatch was knit using 2 carriages (and lace extension rails). I selected R 1 from right to left, with the carriage that was to remain on that side, and began knitting with the second carriage, placed on the right, holding the alternate color. There are a few ways to achieve the pre selection row, depending on the choice of start to the fabric, and whether a color changer as opposed to a second carriage is in use.  Contrasting colors help see and understand stitch formation. For the bottom of the swatch I used double length as well as color reverse, with color (carriage) changes every 4 rows. The top of the swatch is knit with color changes every 2 rows. Slip stitch is short and thin. Since there are more stitches slipped on the bottom of the swatch, the fabric is pulled in in those areas, making the knit on either side “bubble” in a way that the top of the swatch, does not, and resulting shapes no longer appear as straight lines horizontally.

striped slip ksidepurl side

striped slip p side

The single width blocks that form the stitch pattern are usable for tuck knitting as well. Whether the motif may be elongated on standard machines depends on yarn thickness used. Tuck stitch fabric tends to be short and fat, so the finished knit piece will be wider than the slip stitch version.

Taking this shape to a punchcard requires editing, and results are quite different. One sample idea, moving stitch groups around to fit a 24 stitch repeat:

punchcard repeatAll the white squares would need to be punched to form knit stitches, the yellow left unpunched, to form the slipped ones, the look of the fabric would be very different.

Previous blog posts on related topics: tuck and slip color striping , block stitch color separations 

As for creating “solid” block shapes: an initial repeat is charted below, 16 W X 24 H. Black blocks are drawn on mylar or downloaded, color reverse is used, no elongation. Knitting starts with base rows knit in the color that will form the “block” on the knit side of the finished fabric

block shape

the knit side

block_front

and the purl, note floats as wide as the “block”

block_back

Miters and spirals: visualizing, charting (and more) 3

SPLITTING THINGS UP leads to a series of quite different fabrics, sometimes creating interesting secondary solid color shapes when striping is added to any of the forms; repeats will need editing to avoid extra rows to keep the designs balanced, or have them added across their width for extending shapes, such as in creating ruffled effects. I have worked these charts using Numbers, image capture, and resizing and editing again in photoshop if needed. The images below are not intended as a “sit and knit” tutorial, but rather as a start for creating your own designs, on desired number of stitches, I randomly picked 22

some possibilities on method: SPIRAL original shape

splitting in 2 parts

changing positions and stacking, all knit row edited to bottom of repeat

a mirrored segment

added to first repeat, center line double row edited out for knitting

MITER: original repeat

split repeat

moving parts around

areas for adding plain knit rows in desired numbers across the knit (yellow), keeping in mind how this will affect color changing sequences if striping is used to create secondary patterns; repeat usable for machines with color changer on right

mirroring whole repeat horizontally for use with color changer on left

Changing colors at regular intervals including every 2 rows will yield secondary, geometric patterns; all knit rows may be added to the right or left of the shapes maintaining color changes, for different effects; if these are planned in extended “white areas”, the holding sequence needs to be maintained every other row; slip stitch setting may be used to automate, with repeats reworked for use on 24 stitch punchcard machines. I find when exploring any of this initially, working repeats as hand techniques helps me understand necessary sequences and editing before committing to punching holes, filling mylar squares or programming pixels. Swatches and notes, swatches and notes…

Miters and spirals: visualizing, charting (and more) 2

Visualizing the shapes (using charts in Mac Numbers)

A spiral gore is the first or second half of a miter gore, conversely a miter gore has 2 consecutive  spiral gores, knit in mirror image.

GOING ROUND: numbers 1-12 represent knitting sequence for wedges, thicker lines at segment edges = rows across knit width at end of each sequence, 2 rows or many more depending on planned design shape

Previous posts on related topics:

http://alessandrina.com/2011/06/18/knitting-math-and-pies1/

http://alessandrina.com/2011/06/24/taking-it-to-a-garment/

http://alessandrina.com/2011/03/29/the-doilies/

http://alessandrina.com/2013/12/28/short-rows_-balls-tams-3d-rounds/

Miters and spirals: visualizing, charting (and more) 1

Getting my thoughts together on topic I searched for any of my previous posts that may be related, here is a list

http://alessandrina.com/2013/12/18/holding-stitches-short-rows/

http://alessandrina.com/2014/02/24/holdingshort-rows-hand-tech-to-chart-to-automating-with-slip-stitch-1/

http://alessandrina.com/2013/12/28/short-rows_-balls-tams-3d-rounds/

http://alessandrina.com/2013/01/21/automating-pleating/

Even in my earliest days as a hand knitter, I liked charting out my sweater shapes ie sleeves, necklines, etc on graph paper and tracking my place by marking appropriate row or every other row on the charted image. Many of the formulas for charting math in garment shaping may be emulated by drawing a line on chart where each square represents a stitch and a row, connecting points, and filling in squares. Averaging out grid shifts is also the guideline to increasing and decreasing for shaping on pixel charts. Though this may be a bit of egg before the chicken, I got sidetracked playing with software yet again.

GIMP

Working premise: using holding to shape a wedge over 36 rows. Stitch multiples  are brought into hold opposite the carriage (floats will be created if they are brought into hold on carriage side), in the instances below each graph row represents 2 rows knit, my fabric width at the start is 100 sts

Set image size _ pixels equal stitches and rows required

Magnify X 1000 (this is what I prefer for viewing and editing, less magnification may be used)

Activate 1 stitch grid/ show grid/ snap to grid

Make certain whole image is within your window view

Using line shape: click on upper left corner, press shift key_a drawing line will appear with a + symbol at its bottom right_click on first square on the bottom right , a line will appear where black squares represent  # of stitches to be held each row

bucket fill in appropriate side of wedge to represent knit stitches

create a new, larger canvas that will accommodate desired multiple stacked repeats and possible knit rows in between shapes in new window; copy image from the first window, paste  into new window, move it and place in desired location on your  screen

return to first window, flip image vertically (image menu/ select transform and direction)

again copy, paste, move into desired location and insert knit or (patterned) rows (green) when and if desired. On electronic machines the final image would have to be doubled in length, so those “knit row” pixels/squares would have to be adjusted accordingly to half the desired number

Row by row charting for double height to represent each row of actual knitting: the process

starting with a repeat 6X6

convert image to bitmapped (repeat at upper right below is a different one, should match the one being resized)

scale image: click on locked symbol in turn to alter aspect ratio, change both pertinent numbers

the repeat twice as long, 6 X 12

going 3D, possible spiral

eliminating squares

shifting things around in order to add “automatic wraps”, begin knit with COL

in further progress

triangle-auto-wrap

stacked repeat

stacked repeat

save in image in format for downloading to machines via cable and knitting using slip stitch setting, or export or screen grab for printing and knitting from chart visually as hand technique. If printing images colored cues may be added for carriage/lock setting or color changes, etc.

the question: what about numbers and excel?

NUMBERS

using the line tool (shapes) will get the line in place, shaping is “eyeballed”

knit squares are filled in

so you want to double the height only? Apple for some reason when they  “upgraded” to the latest version of the program (3.2) has eliminated the split table feature, so the only way I can see is through using table: add rows above or below in the chart, new row will be a copy of selected row

EXCEL

the insert row option will add rows only below selected ones, I have not found a tool equal to the line shape in Numbers

Holding/short rows: hand tech to chart to automating with slip stitch 1

These directions apply to Brother Machines; designs could be used as they are and programmed into Passaps, other brands would require some adjustments. In these samples the holes resulting from holding for 2 row sequences are considered part of the design. Vertical strips in different colors could be knit and later joined. The final result is a “zig zag” pattern. Written directions may read: to begin, cast on and knit 2 rows. **COR: set machine for holding. Place in hold all except the first 2 needles on the right (carriage side). Knit 2 rows. Return to work  the next group of 2 needles on the left to work, knit 2 rows. Repeat until only 2 needles on the far left are in hold, return them to work, knit one row (color 1 in chart below). COL: pull  first 2 needles at far right to hold, knit 2 rows, repeat until last 2 are left in hold, knit 2 rows (color 2). COL: bring next 2 needles into work, knit 2 rows, continue until the last 2 stitches are returned to work on the right, knit one row (color 3). COR: pull first 2 needles on left into hold, knit 2 rows; repeat until last 4 stitches at right are put back into work, knit 2 rows**, and repeat from **. Knit 2 rows at end of desired number of repeats, bind off.

the sorting out hand tech sequences to achieve shapes sample

When producing my charts for using slip stitch to automate holding I like to draw what I would actually be knitting for each row, each stitch and row being a filled square, so the colored areas below represent knit stitches/rows on each row, the blank squares the stitches in holding. I test the repeat as a hand technique first, before in my case marking the mylar, then essentially fill in the knit stitches with color, keeping in mind the location of the knit carriage and the direction of the knitting. The colored squares are then programmed as punched holes, black squares or pixels, and the pattern may be knit using slip stitch <—>. Needle selection needs to be cancelled, otherwise the yarn will be knit on the side of non selected needles on that last stitch, creating a long float. The selection row needs to be toward the first 2 knit rows sequence. Here they are knit beginning on the right for 2 rows, so selection row is made from left to right.  Odd rows move, knitting, from right to left, even rows from left to right. At this point I prefer mac numbers for charting.

the final repeat, working chart

the mylar

the swatch

the  above repeat could be considered composed of 2 pairs of stacked, mirrored triangles, here is an instance of playing single “triangles”

the mylar

and accompanying swatch