Revisiting knit “bubbles” brother KM

Sometimes months or even years go by before I revisit previous posts. As I review the information, it may occur to me to think about it further, and /or to present it in a slightly different way. I find it hard to believe how much time has passed since http://alessandrina.com/2013/09/06/more-knit-bubbles/ got published.  Here is another way to look at the fabric on Brother KM. Since I knit on a punchcard or a 910 electronic model, I will refer to pattern repeats in terms of punched holes or black squares.

Bubbles and drop stitch lace share some of the same principles, the effect is created by stitches that are larger than others. Slip stitch setting can be used to automate needle selection. Black squares or punched holes will knit, unpunched areas or white squares will not, with needles left in B position. Brother preselects needles for the next row of knitting, so when combining hand techniques with needle selection, one has the option to intervene before the next row in the design is actually knit. Using the card or mylar to read row 1 of the design helps determine where on needle bed to set up your repeats. In this instance the ribber knits every stitch, every row, with one extra needle on left (or more on each end if preferred) in addition to repeats # required to achieve the desired width. All needles are in work every row on both beds. Main bed knits in response to programming.

Working in multiple of repeat -1 on the top bed, plus one needle in work at each end on the ribber. Considerations need to be taken to align design properly. Markings on my metal bed are from a totally different project.The goal is this needle arrangement “air knitting” with carriage set to KC will help identify patterning repeats. Groups of 7 include a needle on each end which will be pushed back to A position in the body of the knit/ NOOW (needle out of work) indicated in chart for main bed needle set upthe first selection row a needle on either side of the groups of 7 is pushed all the way back to A position, remain there throughout  the piecean extra needle is brought into work on the ribber on either side of repeat ends. Machine settings: main bed set to slip <->, ribber set to normal knit
the ribber has now been set  up for knitting every needle, every row, with cast on and desired edging completed. The first row is selected on main bed for pattern knitting. since there are needles out of work and pattern knitting is involved, if KCI is used or end needle selection is not cancelled, the end needles on the areas being slipped will be selected to knitting position, so patterning errors will occur. First row knit on both beds is shown on remaining needlesBrother knits a row while preselecting for the next one. Here the needles in B would slip/ not knit on the next row, needles out to D (Brother skipped the letter C in needle positions) will knit. Prior to knitting that next row, stitches on the now non selected needles should be dropped across the bed this shows those stitches have been dropped, their needles are now empty, and returned to B position

end knitting with same treatment as it bottom (swatch was simply dropped off). An acrylic yarn was used: the first image is the fabric’s “relaxed view”

after steaming and pressing

the variation in width is due to adjustments in tension, the swatch folded over itself shows the difference in another way 

“Camino” bubbles, hand knit

I was written an email asking about the possibility of creating bubbles in hand knitting, this is my attempt, may serve as a starting point for DIY.

Below a small sample serves as illustration of my first attempt. It was knit in acrylic,  steamed to the point of death, but shows the type of elongation of the “bubble” stitches using this technique. To keep things simple I stuck to a “square” shape. Stitch counts and placements of shapes may be adjusted to suit. It is possible to knit or purl the yarn overs, unraveling the extra stitches before knitting the original number of stitches when the top of the bubble is reached, but the resulting look is a bit different. It is worth trying, depending on preference for type of result, or the way one is accustomed to dealing with elongated stitches and yarn overs in hand knitting.

So I now own a new Mac, no longer have Microsoft Office available, and am now working my way through charting diagrams using Mac Numbers.  Below is a  possible working chart with a different stitch count than above. I would suggest larger blocks of all knit stitches and rows between “bubble” repeats

The further step of taking the technique to a brick repeat follows. I have been experimenting with a varied number of rows and stitches. Subsequently I was happier with knitting or purling the yarn over as an extra stitch/ increase until I had worked the desired number of rows, then dropping those extra stitches, thus working once again on the original number cast on. The shape also seemed a little less square to me if a second row was worked before returning to making yarn overs. A border of more than one stitch on either side helps stabilize the shape edges.

This sample was worked in my “throw away” acrylic 4 ply. To my eye the most pleasing and effective bubble happened on the least number of rows of dropped stitches (diagram provided above). The top and bottom edge of the “bubble” looked the best when stitches were taken off the needle on one row, and not allowed to “run” to the yarn over row until after the next row was knitted or purled all the way across. That may not be the best idea, especially when working much wider pieces of knit. Dropping back to yarn over row as you work row 6, 13, etc. of chart provides a more controlled way of checking “runs” for individual stitches, making repairs for any errors easier. Dropping yarn overs with each pass seems to me to be the easiest way to track knitting as it progresses or gets wider, and counting bubble rows is far more easily tracked. Below, variation #5 matches the above chart.
the reverse of the fabric, lightly killed with steaming and pressing 

A last swatch: here a row is knit or purled as seen in chart above, after yarn overs and their treatment is completed. If the aim is bubbles which will not be flattened out, dropping the yarn overs on each row worked gives a flatter (bottom of swatch), less of  a “bubble” effect than knitting or purling the yarn over before dropping it at the appropriate point (top of swatch). If the fabric is to be “killed” as flat as possible, dropping the yarn overs each row may be good enough.


My machine knitting posts on this topic:  http://alessandrina.com/2012/09/21/knit-bubbles-and-stitch-ditchersdumpers/
http://alessandrina.com/2013/09/06/more-knit-bubbles/
http://alessandrina.com/2013/09/07/a-bubbles-cousin/
http://alessandrina.com/2017/10/18/revisiting-knit-bubbles-brother-km/

 

My new knitting projects

Back in 2015 I met a math teacher in a group setting, and as a result of some discussions I became interested cellular automata. Since my blog post  Fabienne has come a long way. For more information on her progress post her kickstarter see https://knityak.com

My own repeats on the Passap are limited in size by an early chip. The download happens using wincrea and a Croucher cable and switch switchbox. At present I work out repeats on my mac, share them with an ancient dell.

This is my first scarf, produced using a segment of an automata in repeat. When viewed vertically and from a bit of distance there is a movement created by the varied sized shapes that is interesting to me, and that I want to explore further. 

9/20/17 My new Mac is here. At present I am designing on the Mac, using a flash drive to transfer the patterns to my ancient Dell laptop, and going on from there. This is the second in the series. It uses the identical yarns to the scarf above, yet because of the colored stitch ratio distribution, looks to be knit using a charcoal shade for color 2

Here are the 2 fabrics side by showing the color contrast. The scarves are air drying after hand washing. The fabric is DBJ, so little blocking is actually needed, but the fiber is wool, and I am testing the waters to see if hand washing the pieces will soften them up a bit 10/7/17: a third in the series after some technical issues with pattern downloads to PassapThe plan is to continue with one offs, photography to be sorted out for consistency as well 😉one with a color reverse border on only one end

Unconventional uses for punchcards 2: thread lace cards for “filet” mesh


Mock filet crochet machine knit lace has surfaced in a ravelry blog of late. The sample in question was made by Tanya Cunningham, using a hacked knitting machine and software to download the repeat. Sometimes punchcard machines or early electronic users feel left out of creating particular fabrics. If one can settle for working with simpler and far smaller repeats however, one can achieve interesting results in that scale.  Several years ago I wrote a series of posts on lace meshes and lace patterns inspired by filet crochet, this link will take you to them. There also has been a thread lace  ravelry “thread”, and today’s avoidance of housework led me to thinking about pre drawn thread lace patterns to create filet mesh.

What to look for a first experiment (Brother machines only): large unpunched areas creating motifs, with no side by side punched holes, and no more than 2 consecutive punched rows. Some samples are provided in stock cards that come with machine purchase. One such

The lace carriage (LC) selects on first pass, transfers on the second. It advances the card with each pass of the carriage if is operated consistently from the same side. If 2 knit carriages (KC) set to select needles for any technique are in use in punchcard machines, as one is put to rest and the other one begins to move from the opposite side, the card does not advance on the first pass, so selection for the previous row is repeated one more time. If all lace transfers are made in the same direction the resulting fabric will bias. For balanced lace fabrics, the direction of the transfers needs to be reversed, whether in alternating series of rows, or with every other set of transfers. In a situation such as this, the LC makes one set of transfers operating from the left, with the next set of transfers operating from the right. For the correct set up, the first row selection with the card locked is made on the row jut below the one marked #1 (in this instance that would be row #40), then the card is set to advance as usual. If the first selection row is made with the card set to below the #1 line, the card needs to be already joined with snaps into a drum or the card reader will be selecting the all punched row which is normally part of the overlap that sits over the last 2 rows of the pattern repeat.

I began with my LC on the left for transfers to the left, and alternately placed it on the right after knit row(s) for transfers to the right. A “simple” lace is produced with only one row knit between transfers, a more complex lace if 2 rows are knit between them. The LC moves left to right, transfers back to left. If the knit carriage is used for one pass only, it stays on left. The LC is now taken off the machine and moved to the right, used for 2 rows, and will be removed from bed to ready it for its return to the left side. The KC follows with one pass from left to right. The LC is returned to left and operated for 2 rows, starting the sequence over again. The LC is always moving toward the KC to select, and away from it to transfer.

Brother knitters are used to knitting 2 rows after lace transfers. It can be done with this card as well. The problem here is that when knitting for 2 rows, the knit carriage consistently returns to the same side, so that when transfers need to be made from its starting side with the LC, the KC needs to come off the machine until after transfers are made. There is a lot more juggling of carriages and keeping track of what needs to be where. The elongation that occurs with 2 rows knit after each set of transfers, and the difference in the appearance in the yarn forming the eyelets (single/magenta arrow vs crossed/glow green arrow strands) for the respective methods is shown below.

another Brother card, more possibilities

The above shows long vertical lines of transfers are possible in design motivs (punched holes). Adding shapes to all over mesh may require some editing along edges where the shapes meet the mesh. Varying size swatches are recommended before commitment to any large piece. As always punched errors may be taped over. Red squares in the image below reflect holes missing in card if the goal is a smoother circular shape. When this technique is used, selection, transfers, and knitting occur in each single, completed row of the design.

note differences in circle sides
an amended, wider repeat 

The slight bias zig zag at the top of the swatch results from a missing reverse direction transfer before continuing with plain knitting and binding off. Ultimately whether the final fabric is worth the effort in making it is a personal choice. Sometimes small swatches work like a dream, and when large pieces are produced, problems multiply or the result is disappointing. In the past I have also tried to use thread lace inspired patterns for drop stitch lace (ribber fabric), but have found the result far more subtle than expected. As always yarn and color choice make a significant difference. The yarn used in these samples is a 2/15 wool blend, knit at tension 6.

BTW: Studio pattern books have multiple sections of published 24 stitch thread lace patterns. Not all Brother machines have the capacity for knitting this type of fabric, so not all of their publications include “suitable patterns”. If one understands what punched holes vs unpunched do, some of the Brother weaving and “pick rib” (perhaps another post’s topic) can be used as is or adapted.
electronic http://machineknittingetc.com/knit-in-punch-lace-silver-m…
punchcard http://machineknittingetc.com/pattern-library-for-punchca…

previous blog notes on thread lace http://alessandrina.com/2016/11/03/thread-lace-on-brother-km/

 

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

When more than one stitch tucks

A quick post to address another question:

Two cards that meet limitations on fabrics with side by side tuck stitches  when using Japanese machines

Side by side tuck loops create floats similar to those created by slip stitch; the yarn is held in the needles however, so they are longer than those in slip stitch, which are simply not worked and travel in front of gate pegs. In Brother KM, the non selected needles tuck

In the card above left, after tucking for 2 rows, the needles are all selected forward in order to knit across the next whole row (every square punched). This is the result as needles come forward, illustrating some of the potential problems and limitations with wider or longer “tucks”

fabric 1fabric 2

“Crochet” meets machine knitting techniques: working with “chains”

For the month of June, on Ravelry, a group of us are going to look at crochet like stitches produced on the knitting machine. This will be an evolving and growing post series as I have time to gather and share information. http://www.ravelry.com/discuss/machine-knitting/3631399/1-25#25

There are a group of single bed braids/edgings following horizontal chains produced on the knitting machine that have reminded me of crochet. They are based on frequent latch tool bind offs that occur with the fabric facing either side as it is regularly removed from the knitting machine. The bind offs by necessity will move in either or both directions, since a continuous yarn strand may be used unless one chooses to change colors. The bound off edge is rehung and worked further. It is a great way to get proficient at the technique, or to get some use from that linker that has been in storage (providing a loose enough tension producing big enough stitches for it to work smoothly may be used). For the purposes of this discussion, this illustration of a crochet chain shows places where the hook might be inserted and exit before picking up yarn to create the next stitch with a hook. I think of rear and front loops illustrated as creating a “chain”, and the one in the rear as a “bump”.

Below I have used an acrylic yarn that tests the 4.5 mm machine’s limit at the loosest possible tension. In a crochet cast on, the “bump” is sitting on top of the needles, the “chain” below them

parts of cast on structure taken off the machine: the “bump” “rear loop”“front loop”“both loops”

most of these fabrics start with latch tool cast on required number of stitches for chain +1 knit one row, bind off remove work from machine, do not cut yarn 

options for picking up and rehanging stitches: front loop of “chain”back loop of “chain”both loops of “chainroll work toward you to reach rear “bump”work turned over, rear “bump”rear loop of “chain” as shown in topfront loop of “chain” with rear of fabric facing you 

To keep the number of stitches constant for straight edge on both sides of piece, the loop at the end gets its own needle. A sample created picking up rear loop only, without turning the work over at any time. View of side 1 and loop consistently worked. Note the slight bias in fabric, due to its being worked always in the same direction. Turning the work over would eliminate the problem, in a similar way as transferring eyelets in opposite directions achieves that in lace.

its reverse side 

Such trims may be used for no roll edges anywhere on a garment. The number of stitches may be decreased following shaping ie in necklines. Starting with waste yarn, ravel cord, and a chain cast on row, one can produce stand alone trims. The look as always varies considerably with fiber used and its bulk. Other variations and tips:

  • knit more than one row between bind off (2 or 3) at maximum tension, the chained row will roll slightly, giving a different look; removing the work from the machine and turning it over before binding off, will get the chain to roll to the opposite side
  • keep the number of needles in use constant for straight edges, use math to calculate episodic count adjustments such as decreases if needed
  • reverse side is usually the one facing away from the knitter. That is a consideration in planning the look of the trims, depending on whether the body of the piece is to use the purl or knit side as the “public” one.
  • in Brother machines holding position is E (they skipped C), in Studio machines it is D. To ensure stitches’ knitting off properly, work may be brought to this position after each knit row
  • textures are further varied by using needles out of work or transfers within knit rows or rehanging concave or concave loops in varied sequences. Looking at stitch formation after 3 knit rows

Convex loops are what is picked up when hanging a hem or turning the work over. In sampling I tend to use any yarn at hand. Quality of material directly relates however, to quality of results. The white here is a 2/15 acrylic, the blue a 4 ply wool. I knit a long white strip, making a side available for rehanging on the machine, and continuing with a series of trial trims. All samples were made with purl side facing, but depending on preference and end use, the fabric could be returned to machine with knit side facing as well. It is helpful to have a neat selvedge. If the edge includes increases or decreases making them fully fashioned with provide one. Yarns with “memory” ie wool will retain the rolling effect produced by extra knit rows. Stitches are picked up on the finished knit a full stitch away from edge. I tend to keep my yarn continuous rather than binding off with separate threads. Pull a long loop out at the carriage side, avoiding tugging and distorting of end stitches when lifting them off the gate pegs in order to rehang them on needles after turning the work over. Adjust loop size prior to knitting the next row. Hang it on the first stitch on that side, or on the adjacent empty needle if you find you are a single stitch short (machine knitting magic)

Trim 1: stitches rehung on machine  all needle brought out to hold position knit 2 rows latch tool bind off (LTBO)

Remove work from machine, turn the work over (in this case the knit side was now facing me), pick up concave loops and rehang on km, keeping track of stitch count. Bring needles out to hold, making certain each needle has a stitch on it

knit 2 rows, LTBOI steamed swatch, some roll lost because of fiber used 

Trim 2: hang stitches on every other needle, thicker yarn 
bring needles out to hold, check stitches, knit 2 rowsLTBO
turn work over, rehang EON (every other needle) knit 1 rowLTBO, lift off

proceed as above, except after first hanging stitches on EON, bring all the empty needles out to work, check stitches knit 2 rows on every needle LTBO, lift off loop that gets picked up and rehung with work turned over, rehang stitches EON bring all needles out to hold, check stitches, knit 2 rows LTBO, lift off

Trim 3: stitches on EON, introducing tuck loopsknit multiple rows hook ladders up on empty needlesbring all needles out to hold, checking stitches LTBO, lift off machine, turn work over picking up grouped loops placing them on EONknit 2 rowsLTBO, lift off


Linker manuals: Studio , Brother 

Knitting in pattern with 2 carriages vs color changer, Brother punchcard KMs 2

After my recent attempt to resurrect my single bed color changer and frustration with my 910 behaving “flaky” when reading mylar sheets drawn using template marking pencils (perhaps, because over time of some of the marks flaking off the surface of the mylar, with changes their density as a result), I went back to the idea of using my punchcard machine. I pulled out an old friend, illustrated in my post http://alessandrina.com/2012/10/15/mosaics-and-mazes-from-design-to-pattern/ , had forgotten about my other post http://alessandrina.com/2016/08/25/knitting-in-pattern-with-2-carriages-brother-punchcard-kms/ and actually came up with a second alternative for starting to knit with 2 carriages. Here is a bit more description: I began with a card punched with repeats that are single rows in height, and would normally have to be elongated for use with a color changer. Since 2 carriages are used, starting side does not necessarily matter. With COR, color 1, carriage set to KC, card set on row 1 but not locked, but rather, set to advance normally. The first carriage then is moved to the opposite side of the bed (in this case the left). The second carriage is now placed on the extension rail on the right, cam settings set for choice stitch to be worked (in this first case tuck or slip). It is threaded with the second color, is used to knit 2 rows of col 2, returns to right. The carriage on the left now comes off the rail on that side and onto the needle bed, with cam buttons set for appropriate stitch type, it travels to right,  and then back to its starting point. Yarn weight alters the appearance of any fabric considerably. As always, slip is short and thin, tuck short and wide.

The same method may be used with any punchcard requiring color changes every X even number of rows. FI can be knit with 2 separate sets of colors in each carriage, or with one carriage set to select but with no cam buttons engaged for solid color stripes between motif repeats (it will plain knit, with color in A feeder, the card keeps advancing). Cam settings may be combined for different or opposing textures or stitch types without any manual changes to cam buttons. Of course, also helps if your punchcard is punched correctly to start with ;-). Problems in the slip stitch red and white segment were due to tension adjustments being needed for stitches to knit off properly. 

Lastly, there has never been a single bed 2 color changer for the 260 bulky. Extension rails for the bulky machine were manufactured at one point. If a second carriage for the bulky is available as well as the rails, working this way opens up a range of complex fabrics for execution more easily.

And then, buyer beware! I am still experimenting with a patterned ruffle. So I tried the card first with 2 carriages, but the design was different than one of my aged swatches using the same card.

I went back to the color changer, assuming this yarn pair might work in it, and it did, but here is the resulting fabric, so it would appear the above is technically twice as long. Frankly, when the color changer works, when only one carriage cam setting is used or very few changes are needed, and if you don’t do things like push the wrong button, have your yarns happily mating or causing loops in all your brushes as they travel from the yarn changer side, it may even be quicker than using 2 carriages. What is possible may not produce what you originally intended, but sometimes the surprise can be a very pleasant one. If not, then it’s back to the drawing board to accommodate for the techniques and yarns involved. Pictured below is part of the working repeat, whited out areas are not punched for these swatches, they are covered with cellophane. Denise Musk’s book on the technique of slipstitch provided the source/ inspiration for the experiments. For the second swatch, the card was flipped over vertically. 

Areas of the knit placement on needle bed may be changed to suit. I like working within the 24 stitch marking on the needle tape for this sort of work. Flipping the card vertically when using the color changer in this instance will allow that, and begins each row with knit stitches (every hole punched on right in image above), and patterned knitting and needle selection stops shy of the “slipped” stitches (unpunched areas on left). In using the slipstitch setting this may not make a significant difference, since the yarn threads stay in front of the gate pegs. This repeat is also suitable for tuck setting. The yarn gets laid in hooks as the non punched area of the repeat is cleared. While not knitting or necessarily affecting the pattern, this can cause added issues with loops and yarn tangles on that side (one may be noted in photo of purl side of swatch below). Seam as you knit can also now occur on the opposite side, away from yarn ends and color changer.

Purl side showing loop at non knitting (or punched) side, and edge curl on the left may actually be used as a “design feature”. The density of the tuck stitch helps keep it in place.

the knit side 

an “oldie” of mine, using the technique in a single color 

4/6/17

I am getting along better with the color changer by making different yarn choices, so I now have a WIP, and am going about a shawl design backwards: ruffle first, body later. Reasoning: seam as you knit should be easier if not taking place during ruffle knitting. If the latter is not bound off it may be continued with body knitting taken off on scrap yarn if needed to facilitate doing so. BTW, as with all knitting that uses patterning on only part of the knitting on the machine, end needle selection must be cancelled on the knitting undercarriage. Any reverse movement of the carriage will advance the card a pattern row, so that is an added possibility for errors as the knit grows in length. The pattern has 18 row segments, 36 for the full repeat. For 36 passes of the carriage, only 8 full rows of knitting take place. Every individual has their own design process. I tend not to sketch, but rather to make decisions as each piece grows. As for some math? 800 rows would actually take 3600 passes of the carriage, the shawl requirements tbd. (3276 on completion).

A previous post with notes on color changers: http://alessandrina.com/2014/01/26/some-notes-on-machine-knitting-color-changers/

Older model machines had no provision for a second yarn mast, and an accessory was available for mounting on their left side. Having the yarn in that position brings it closer to the changer and seems to help with undesired looping and sliding within the changer’s wheels. This shows the carriage traveling toward the extension rail, with auxiliary mast in place

If the ribber setting plate needs to be moved forward in order to balance your ribber when in use, setting it as close to the needle bed as possible or even removing it may be needed if it starts to catch and hold the yarn

 the “finished” ruffle; HK markers every 20 repeats to help track rows knitand being joined on with “seam as you knit” technique
the finished shawl after a successful truce with  my color changer 

going green the series grows 

A new “leaf” lace

I am often surprised when I return to visiting past ideas and discover how long I have actually been blogging. In 2016 Vogue knitting published what appeared to me to be an interesting pattern for a leaf lace variant combining dropped stitches and lace transfers. In looking back my leaf “phase” began in 2011. Here are links to my previous posts and process at the time:http://alessandrina.com/2011/02/15/beginnings/
http://alessandrina.com/2011/02/20/in-progress/
http://alessandrina.com/2011/02/20/on-the-blocking-board/
http://alessandrina.com/2012/02/25/back-to-lace/
http://alessandrina.com/2012/02/28/more-on-those-slanting-lace-leaves/
http://alessandrina.com/2012/03/08/back-to-leaf-lace-add-rib-and-take-it-to-the-passap/
http://alessandrina.com/2012/03/20/getting-there/
http://alessandrina.com/2012/03/27/the-joys-of-lace-on-the-km/
http://alessandrina.com/2015/03/22/ladders-with-lace-making-things-work/

Below, I am sharing my WIP swatches and notes. I am presently working on some production knitwear pieces, and it is unclear when I will return to more samples of this variant.

The “new leaf” requires hand techniques, working with multiple transfer tools. Dropped stitches in hand knitting may translate to ladders in a machine knit. My first trial swatch was made on the standard KM.  Casting off and on posed interesting questions. The lines where knit stitches meet ladders, as pointed out in previous posts, can result in the knit stitches aside the ladder growing in size

I do not enjoy time consuming hand techniques on the machine, so to speed things up I moved on to the bulky. As with any other knitting, the lengthwise sides of the knit are going to want to curl to the purl side. I deliberately worked with an acrylic yarn, anticipating that blocking it would be required to attempt to get the results to stay flat. Here is the resulting swatch, as first off the KM

after pressing with steam 

A couple of days later the fabric was still lying flat, so I decided to try to chart it out for slightly different results, while planning for a different turning angle and a consistent number of ladders throughout.


I began to use Excel 2008 in 2009, as well as Apple’s Pages and sometimes Numbers over time to produce my charts and illustrations. I keep learning tiny bits as time goes on. Some features may disappear in such programs or become added with upgrades. These are settings I prefer for backgrounds and borders in Excel

format

and for screen grabs or improved visibility, zoom comes in handy 

For links to online tutorial by others authors http://alessandrina.com/2013/10/29/charting-knits-in-excel/, a search in my own blog will lead you to my own explorations over time. Simple graph paper and color pencils may be used if software is not available to help work out proper repeats, etc. A single repeat of my leaves so far is shown in 2 segments for increased visibility, successful knitting, probably in another “killable yarn” tbd.