WordPress issues

Last April I encountered unwelcome text and characters within posts. The problem appears to have been resolved by intervention from my web host. There are still occasions of residual extra spaces or shifting of syllables and words within text content, and the omission of some of the accompanying images from the reader’s view. I have been reviewing and editing as I can. If the image problem especially is encountered by you, please alert me via email or post comment, and I will attempt to resolve it. TIA.

Earlier on I wrote posts privately over extended periods of time, and shared when to my mind I had gathered my thoughts on the topic and completed editing for the moment. “work in progress” headings came about to make the information available while in development so anyone interested may follow my thinking and see that it takes time, effort, swatching, and even periods of distance from the topic at hand to complete our goal fabrics or create new, related ones. Sometimes the text is composed outside this platform. I have now learned it best be plain text as opposed to rich to avoid character problems.

On occasion, there is a return to previous topics, with the addition of related new headings and content or simple text and new image addition within the body of previous shares.

New security measures are in place the latest WordPress software update. An excessive number of consecutive visits to the blog is likely to receive a gateway error message. The same measures may at times be limiting the number of edits I can make traveling through my history or successfully at any one time within a single post. Results were found in my latest one, leaving text or images in a place that were intended to be altered, moved or deleted by me until some time expired between my dashboard logins. I will work on sorting out how best to prevent such unintended content in the future and to develop operator habits to prevent its happening in the first place. Yet another opportunity for learning.

Ribber trims 2

WORK IN PROGRESS

This is an illustration of the #3 frill from the Ribber Techniques Book:

1. COR: knit a zigzag row to left, hang comb and weights, no circular rows2. knit second zigzag row to right3. transfer stitches as shown 4. knit to left 5. knit back to the rightrepeat steps 3-5 to the desired height

For another variation, knit 4 rows rather than 2 between transfers. My yarn is still a 2/24 acrylic. The trim would look quite different using a thicker yarn or even simply a tighter tension. I continued in rib. Ribber stitches could also be transferred to the top bed for continuation in stocking stitch In theory,  it is possible to knit lace transfers in Brother by dropping the ribber bed enough for the lace carriage to move across the beds while clearing the gate pegs. This remains on my “try someday” list. To my mind, hand transferring remains the best way to deal with lace/ ribber stitches combined.

Tuck patterns on the main bed (or slip stitch) designs can be used to automate and create patterns where holding is recommended in some sources ie. For a punchcard machine, the repeat must be a factor of 24 in width ie. 6 or 8 or  12 stitches wide. Electronic knitters can draw a single repeat, either the one on the left also using color reverse or the one on the right. Punchcard knitters need to punch the grey squares on the right across the card and repeating in height. An extra all knit row needs to be added at the top of each series of 4 rows tucked for the loops to be knit off automatically by the machine. Step 4 in the techniques book, resetting the main bed to N to knit a row after every 4 rows in a holding pattern is missing in their illustration above. The punchcard repeat: punch each grey square to match the illustration A few to try,  shown in repeat X2, as BW gridded .bmps,  and color reversed for knitting.  All but one are  12 stitches in width, suitable for punchcard machines as well Too much black? want to count those black squares more easily? pick your preferred grid color, it will disappear when the image is saved A screen grab from my iMac shows the original charts and the resulting single repeat .bmps after working in GIMP, ready for download with color reverse option and use on the electronic machines. Ayab knitters, in addition, would need to program the repeat in width to match the number of needles planned for use in the piece

Tuck stitch/ combination fabrics


Work in progress

I am presently attempting to knit my samples using a 910 with an EMS kit Ayab interface. When possible I will provide punchcard, electronic, and Ayab repeats for each.

White squares in the first chart represent tuck stitches, the dark blue row, the pass that knits every stitch, the lighter blue the pass that knits and in turn drops every stitch. The main knitting is happening on the top bed. Loops and dropped stitches are formed on the ribber. This pattern is not suitable for use with color changer since patterning for each of the 2 repeat segments occurs over an odd number of rows (7 each, for a repeat total of 14). Punchcard knitters repeat X 3 in height, electronic knitters use only one of the 2 repeats, outlined in red.
Preselect the first row of the pattern from either side on a punchcard machine or an unaltered 910, from left if using ayab.
*With the KC set to tuck <– –>, the ribber set to slip <–  –> knit 6 rows. The last row will be all knit (darker blue).  Cancel slip on the ribber carriage, setting it to knit  <– –>
knit one row on both beds to the opposite side (lighter blue, preselection will happen for the first tuck row in the next sequence). Disengage the ribber carriage still set to knit from the KC, take it across the ribber bed to release the loops. Reset the ribber carriage to slip <—->
move the carriage back to reconnect with the KC. ** Tuck sequence begins again. Repeat  * to ** ayab repeat for 30 stitch swatch, requires color invert the same repeat, not requiring color invert after loading into softwaretuck fabrics are usually more interesting on their purl sideTuck stitch combined with lace transfers
large scale mesh 
 large-diagonal-eyelets

Drat it aka “figlet” moments: knit leader mylar sheets +

Such moments may well have to be a new blog topic. In the hope of actually soon having enough time to return to knitting on a more regular basis, I have been reorganizing my supplies. This can be a good thing. I have “found” missing ribber comb wires, tools I had forgotten about, have drawer units that are helping with organization of all the “stuff”,  and that for a while will be contributing to my having to make regular searches for all sorts of things. Then there were all those mylar sheets for knit leaders with garment shapes on them for pieces I cannot even remember making with lovely multi colored lines all over them. One in particular had very fine lines, I guessed perhaps from ink other than that in my go to water soluble pens, so I thought to give removal a shot with some alcohol. Hence a warning: the lines did not disappear on the “outside”, so I flipped the darn sheet over to give erasing a shot on its reverse side and discovered quickly by the lovely blue on the cloth that the measurement grid was quickly and completely removed in any area touched by the alcohol. Another lesson learned. Perhaps an earlier one of great benefit might have been not to wait decades to erase knit leader mylar sheets, no matter what the marking tool as I now explore ” would I ever make this shape once again, ever?” and “what will take these lines off?” on other sheets.

Previously captured and “found” while exploring text issues in earlier posts, is now fondly remembered and shared

at 60 inch length of a lace shawl

Ribber fabrics with main bed tuck patterning

WORK IN PROGRESS


Tuck stitches on either bed will force apart the space between vertical rows of stitches in every needle rib, whether the tucking is executed on either or both beds, in one or 2 color knitting. The fabric lies flat, and depending on fiber and thickness of yarn used, the effect can be lacey and have lovely drape. In published repeats, often tucking does not happen for more than 2 rows, making knitting fairly “safe”. In thinner yarns elongation may be used to force the fabric even further apart for a more “open” look. Patterning in suggestions below occurs automatically, and on the main bed only. Needles out of work on the ribber may be planned within repeats to produce a fabric with knit textures on what appear as both knit and purl surfaces. There are designs in pattern books that are promoted as being specific for this purpose, but nearly any tuck pattern may be used once limitations are recognized.

The advice from the Brother Ribber Techniques Book and the KR850 ribber manual respectively is shown below. If a knitting with a very fine yarn, the close knit bar is recommendedAn often forgotten accessory: (I admit I have never used them)

Fine knit bar for using thin yarns

Typical patterns for the fabric from punchcard volumes

In electronic patterning a single isolated repeat will suffice. Punchcards illustrated above show the minimum required length for each. In matching needles out of work on electronics, it matters whether the default setting produces what is seen on the card on the purl or the knit side. Flipping the repeat horizontally may be required.  “Air knitting” with needle selection can help plan exact location on needle bed, as well as repeat width and in choosing of location and type of side edges. Again, having ribbed vertical stripes on each side will help the latter lie flat.

 

Brother/Passap: traveling between brands

WORK IN PROGRESS

This is the start of a new spreadsheet with between brands vocabulary. I will edit and replace information throughout the post as time allows 

A previous post on yarns info included these guidelines provided for knitting using Jaggerspun yarns. I have no affiliation with the company. I do still continue to use some of their “lines”, and have a great appreciation for all their yarns. I obtained permission from the company to share content. The bottom 2 yarns, superfine merino and zephyr wool silk are both 2/18.

Joella Knitworks was a publication in the 90s on Passap knitting. A ravelry question back in 2014 led me to dig up a copy of an article I wrote for the newsletter in 1998 on using tech 129 for adapting Japanese patterns for use on Passap, shared as a pdf, offered here as images

Brother dbj ribber settings

Two of my former  handouts on Passap lock settings and techniques

Punch cards to electronics: book symbols and samples

A number of variables need to be considered when adapting punchcard patterns for use on electronic knitting machines. These images pertain to Brother use, but the principles are shared between KM brands. I will add more information as time goes on. Online free downloads for magazines, manuals, etc. may be found at
http://knittsings.com/knitting-machine-manuals/
http://toyotaknitting.blogspot.com/
http://www.aboutknittingmachines.com/
http://s216.photobucket.com/user/Britlady52/library/?sort=3&page=1
machineknittingetc.com
https://www.knititnow.com/ManualAndDocuments/
some additions of late include designs in 12, 18, and 30 stitch repeats in addition to the familiar 24 and 40 ones, and to help with interpretations of symbols:  Japanese symbols for machine knitters 

For a later post including information on scanning and editing published designs electronically see http://alessandrina.com/2018/07/02/numbers-to-gimp-to-create-images-for-electronic-download/
As the transition was made from manual machines to push button, and then to punchcard selection systems, the early collections included diagrams of symbols familiar to hand knitters, and interestingly worded text that disappeared or was reduced in later punchcard books. I am presenting information in the order in which it appeared in this particular collection’s paper version, I have not found this volume in the above-mentioned sources for free download. Images are gathered from more than the one source, so there is some repetition of information


LACE KNITTING

Punchcards may be used to guide one for hand techniques, here a version of e wrap is used on selected needles for weaving effect, the diagram on upper left is for a different fabric. Punchcard may also be used to help track twisted stitches , cables , and racking This is a 2 carriages patterning operation, so lace extension rails must be used, with each carriage disengaged from the belt while the other is moving across the knitting and back to its resting place. 

SYMBOLS IN PATTERN KNITTING

Below each punchcard, the repeat the is identified in numbers for stitches and rows. The cards presented are the minimum length required for the card to roll smoothly within the reader when joined for continuous knitting (at least 36 rows). Electronic knitters may isolate the individual, smallest repeat, draw only the squares that appear as white in the cards, enter them via mylar or download, and use color reverse.

Skip is aka slip or part. These cards would work for tuck stitch as well, may even tolerate elongation, depending on yarn thickness.

Opposite cam buttons are in use, the fabric changes appearance depending on which of the 2 stitch types is forward, so if instructions with cards are to be followed, then the starting side for pthe attern in this instance should be COR. Both tuck buttons (or slip) may be used as well, for a different fabric. If the tuck or slip texture is created over an even number of rows (2, 4), changing colors for each paired row sequences can create some interesting color patterns with very short floats akin to planned mosaics and mazes. 

The fair isle patters below are actually poor choices in terms of float control, pushing its limits. It is usually recommended that floats be no wider than 5 stitches, and even then, they may have to be controlled to make the finished garment easier to wear. 

Brother only produces a transfer lace (as opposed to studio simple lace, where the carriage transfers and knits with each pass of the carriage). The lace carriage is the one advancing the punchcard. The knit carriage does not select needles, but rather, knits 2 (or more) plain knit rows

Lace card markings, including for fine lace. In the latter, stitches are transferred and shared between pairs of needles, best knit in a light color, with smooth yarn so surface texture becomes more noticeable.

Lace point cams may be used on the punchcard machine to create vertical bands of lace. This is also achievable on the electronic by programming for knit stitches between vertical (or horizontal bands).

Tuck (left) and weaving (right) may be combined with lace. In these fabrics both carriages are selecting needles, so extension rails must be used. The two column on the left of the cards indicate movements for the lace carriage on left, and the knit carriage on right. Straight arrows indicate single carriage passes, curved ones 2.

Yet another fabric using 2 carriages selecting needles for patterning

Here the “openness” is created by having the appropriate needles out of work, creating ladders in those spaces. Some interesting results can be obtained by transferring the recommended out of work needles’ stitches to the ribber. “air knitting” can help with verifying proper needle placement is in use

to match location of out of work needles to markings for punchcards, which are often given with lines delineating 0 needle position, the image will need to be mirrored horizontally

THREAD OR PUNCH LACE is possible only on machine models that have 2 buttons in mc position The thicker yarn knits along with the thinner one where there are unpunched areas or white squares, the thinner yarn knits alone where the punched holes or black squares occur, with the thicker yarn floating behind it more information on this fabric 

Suitable for tuck and possibly tolerant of elongation as well:

Punchcard machines mirror motifs when knit. This may not be noticed when copying small repeats, but it becomes more evident in larger ones. For knitting on the 910, the supplied motif would need to be mirrored when programmed to retain the intended direction. With other machine models, one needs to know whether the “image” on the card will appear on the purlb side, matching punchcard pattern and needle selection, or the knit side, thus reversing it. 

Here are 2 FI samples: the one on the left is fairly evenly distributed, so little if any difference is noticed, the one on the right sends the biker to a different forest

reversal of lettering


and when you think that that is all sorted out in your head, there are these in slip stitch, the direction of stitches matches, because the purl side is used, images reverse on the knit side 

the mirrored punchcards the punchcard change knob has selections for single motif and pattern knitting (KC)

the 910 has settings KC I and II, KC II cancels end needle selection, while in punchcard machines this has to be done manually if the pattern stitch requires it. One such example  is when any patterns are made with needles out of work. End needle selection would make the needles on each side of the empty space select forward and create a knit stitch. In tuck or slip, that would be an out of pattern knit stitch, in FI, a vertical line of the color in the B feeder would appear along on each side of the OOW needles.

Ribber settings and symbols for Brother machines 

Lots of swatches

I have unearthed some of the hundreds of swatches that managed to  move with me when I downsized. They were produced when I used when teaching, often during class experiments and demonstrations. The yarn colors were chosen so I could spot them a mile away as my own (there were shared/public use yarn shelves in studio), and “different” enough so as not to tempt their being taken at any workshops ;-). I am adding them to my photostream as and when I can, and in turn shifting them into albums. In case anyone is interested the link is https://www.flickr.com/photos/drina2/ I am not certain I will have any opportunity to teach again, am hoping if people see them they may be inspired to try some of the techniques in materials and colors of their choosing. I would gladly explain more on any of them if any questions come up when viewing them.

Life changes; Flickr album links

There seem to be times when “life interferes with art” (or at least with one’s wished for schedule) is acutely true. I am in the throes of downsizing, moving and selling my home of 43 years, so there is not a whole lot of knitting or blogging going on.

I will be demonstrating at a Machine Knitting Guild on the West Coast next Saturday, and this had led me to re organizing my Flickr photo stream. For anyone interested, images of my samples albums links:  holding and ruching