Revisiting adapting Studio punch card simple lace cards for use on Brother.

Ways to modify electronic and punch card published transfer lace designs looked at some ways to achieve lace designs on Brother models with single knit rows between transfer segments, which influences the number of total knit and lace carriage passes, changes the appearance of the spaces between the resulting eyelets, the height of the finished piece, and the aspect ratio and gauge of the original pattern executed as intended.
This post revisits a source of pattern inspiration for such knits that explores cross-brand patterning repeat development.
Links to historical blog posts on the topic are listed at the bottom.
There are so many sources for free, published volumes of all sorts of brand-specific knitting techniques, that finding inspiration in them for execution or DIY designs is endless and production-ready.
That said, as with punch card volumes for Brother machines, in Studio equivalents, not every type of possible stitch type is represented, and names for each may vary not only between brands but sometimes within the same brand, depending on the time of publication.
Testing techniques using simple geometric shapes and knitting with light-colored yarns makes it easier to understand what happens in the process and how stitches are formed, informing the choice as to whether to invest in DIY variations.
Perhaps not ideal to pursue in large pieces, some of the working through of issues to translate designs cross brand can increase understanding of how stitches are formed, and aid in developing personal preferences and patience limits in seeking out something specific or “new and different”.
The method for charting out the transfers by assigning colors to the left and right transfers aids in translating hand-knit charts for machine knitting.
Of note is that the yarn lines formed between the eyelets can take on multiple appearances.
The first exploration below uses a triangular motif taken from this hardbound edition, which is still readily available for purchase and offers a section for lace carriages that transfer and knit in single passes, as seen in Studio simple/plain lace patterns. Repeats are the standard 24-cell width, but row counts are not provided. A 24X52 repeat, IX.8, and its associated PNG. The arrow markings on the left of the cards do not necessarily indicate the direction of the transfers, simply the direction of the movement of the carriage, able to knit and transfer in a single pass, or plain knit.
The punch card advances with each carriage pass.
Blank rows on the card result in rows with no transfers, only knit stitches,
which can vary in numbers.
In traditional transfer lace on Brother, only the lace carriage passes are programmed. The knit carriage does not advance the card, unless for some reason, its cam is set for needle preselection in it as well.
If multiple knit rows are to be planned between lace segments, it is for the knitter to track where to place them.
If extra blank rows are present, they are usually intended for the lace carriage to advance the design before changes in direction, i.e., following the ins and outs seen in diamond shapes.
For proper needle selection, the lace carriage electronic trigger must move past the turn marks on either side. When testing on a small swatch, if the carriage is replaced on the opposite side inside the mark, there will not be proper needle selection.
A reminder, although these repeats may remain 24 stitches in width, the adaptations are suitable for use only on electronic models when operating carriages from both or alternate sides.
Punchcard models repeat selection with each carriage side change.
Electronic models with patterning engaged, i.e., using the LC, or the knit carriage set to KCI or II, advance a design row with each respective carriage pass.
These repeats do not require mirroring when programmed.
These spreadsheet-generated charts identify the direction of left and right transfers by assigning cyan to transfers to the left, magenta to transfers to the right, and the repeat is expanded to use the method described in the previous post, with the LC making 2 passes in the direction of the arrows, followed by a single knit row and a move of the LC to the opposite side for the next pair of rows.
In this instance, knit and transfer rows alternate with all white knit rows throughout the design.
24X52 (L), an increase of 4 rows to 24X56 (R)

The lace shapes are quite compressed. The same, 24X56 repeat, a different approach, analyzing the carriage actions on the single repeat height, 24X28.
T&K = Transfer and Knit. Noticing that each transfer/knit row is followed by a second, plain knit row, so that 2 knit rows follow each row of transfers, until the point is reached where 4 transfers have been made at the top of each triangle, resulting in 4 empty side-needles,   remove the lace carriage, knit only one row to the opposite side, and place the LC on the opposite the knit carriage again,  beginning transfers followed by two knit rows until the next set of 4 transfers at the top of the mirrored shape are made, then knit a single row, begin transfers once more from the side opposite the knit carriage. Comparing the purl sides of both for scale and similarity to the swatch image pictured in the publication. There are other arrangements of transfer and knit rows in the published sources.
Here they are staggered alternating transfer and knit, T&K,  to the left, followed by T&K to the right, up to the all blank row, which is an added plain knit row between repeat segments.
The repeat, expanded into a chart using Mac Numbers, adds lines marked in red for the execution of 2 consecutive knit rows.
On those rows, the LC remains on the same side, the KC makes its 2 passes, and the LC moves toward it again, alternating sides followed by single knit rows, until the next 2 knit rows sequence, and the process repeats.
The 24-row design is easy to track for the paired knit rows. If preferred, or for longer repeats, some machine models allow memos to be set, with beeps reminding the knitter of locations for specific actions. 12X24tested on 36 stitches.  A design with no blank rows, with the initial plan to move the LC again to alternate sides, followed by a single knit row after each LC pair of passes, IX.16. The original repeat, 26 rows in height, expanded to 52 rows. 8X52tested programming on 32 stitches made for an interesting design, but very different from the original.
Looking at the related expanded chart, each T&K row is followed by a knit row, so there are pairs of rows for the alternating to the left and the right transfers, requiring a different row expansion.
On the Brother, the LC and KC remain on their respective sides, with the LC making 2 passes for transfers to the left, four passes for transfers to the right.24X78 is also suitable for punch card machines since the respective carriages both travel away from and back to the same side of the knit bed.
The resulting swatch was tested on 32 stitches.  The difference in yarn thickness can make the match harder to recognize; here, the result is compared to the working repeat for the original. This last design is from an electronic Studio pattern book.  There are no blank rows; the left and right transfers alternate, offering an opportunity to treat the repeat in yet another way. The starting 28X24, rendered double height, 56X48, takes on a structure similar to thread lace designs, except that the eyelets are not placed in straight horizontal rows; they alternate.
Patterning begins with KC on the right,
LC on the left makes 2 passes, is removed to be brought to the opposite side,
The KC makes a single pass to the left,
LC makes the next two passes from the right and is removed,
KC makes a single pass to the right; the steps repeat.
With each second pass of the LC needle selection of stitches already transferred, repeats, and empty needles are brought forward before the next KC knit row pass.
The test swatch: So many machines…lace punchcard knitting  4/11
Lace punchcards_use on the Brother 260 Bulky 5/11
Studio transfer lace knit on Brother 910 3/14
Studio multi-transfer lace punchcard use on Brother punchcard machines  3/15
Studio simple lace on Brother electronics  9/13
Studio simple lace punchcards used on Brother  3/13
Revisiting the use of lace patterns Studio vs Brother machines 2/19

2D, 3D shapes and more on their possible automation

IN PROGRESS

Revisiting “wisteria” 3D shapes and their possible automation, reviewed a collection of blog posts, including repeat options that formed open, highly textured knits, with ladders, eyelets, and sometimes added patterning.
This repeat forms a more compact, textured surface with none of the large, open spaces in those knits, only the eyelets that form when short rowing designs in two-row sequences.
The chart could be followed in hand-selecting short rows, and can be expanded in height for wider stitch counts. The single repeat is 50X90. Depending on your machine model and download software, i.e., with my 930, it may require mirroring horizontally.
The first preselection row is from right to left.
Claw weights will be needed as each shape forms to keep stitches from jumping off.
This sample was knit using 2/8 wool, aiming for maximum texture. Even with a switch to thinner yarns, the attempt to introduce a second color did not get far with yarn and stitches “refusing to cooperate”.

 

 

More fabrics with knit bed tuck patterning 2

Tuck lace knits require specific needle arrangements to form properly.
Tucking on needles intended to be empty will keep building up loops in fixed locations, potentially resulting in interesting carriage jams and yarn formations.
End needle selection is canceled.
The following are typical published illustrations as found in punch card volumes.
The same repeats intended for tuck lace may be used in double bed work.
Cast on every needle, transfer stitches in the OOW locations down to the ribber, and proceed in pattern.
The reverse process, using patterns already established for double-bed work, can be tried for a more open single-bed tuck-lace knit.
Depending on the electronic machine model and the download software used, the pixel repeat match to the published punch cards may need mirroring horizontally.
Air knitting can be useful in determining needles to be taken out of work; they will not be selected in the same positions continually. Cast on every other needle, i.e., by chaining on every needle and dropping the chains in OOW needle locations, cancel end needle selection.
If the goal is to evaluate what happens with frequent color changes, a start can be made with the first preselection row from right to left toward it.
An alternative way to plan the designs is to repeat/ mark the same selections once more aside them in all blank needles out of work columns, making their use independent of needle placements on the machine bed. The smallest, altered repeat, tested every other needle on 48 stitches, and produces a fairly dense, reversible knit. Any of the following arrangements can be planned for asymmetrical or random arrangements of all components as well, once the stitch structure is understood.
Returning to one of the repeats shared in the post on more fabrics with knit bed tuck patterning (1), which originated with the starting published design, 24X48,   then modified by adding blank cell vertical columns for an isolated 10X24 repeat, the related chart and PNG. A chart with the intended transfers down to the ribber represented by magenta cells, and the tested 63X48 PNG.  The yarn used is Merino wool. This is a modified needle count and arrangement with tuck columns 7 stitches wide to accommodate ladders represented by cyan cells in the chart; extra black cells were added for knit stitch side edges. The 62X48 test PNG, used in the top swatch below. The repeat, adjusted for 5 stitch tuck columns, and its 61X48 PNG, knit-tested in the bottom of the image.  A repeat knit test of both, showing the transition in the needle arrangements in a different colorway. This yarn is a 2/18 alpaca and silk blend.
The part of the swatch with stitches transferred to the ribber measures 2+ inches wider than the ladder sample following it, 9.5 inches, as opposed to 7.25.Previous blog posts with added single-bed-related techniques and repeats:
Tuck trims 4 and other edgings
Tuck lace trims and fabrics 3
Tuck lace trims and fabrics 2
Tuck “lace” trims and fabrics 1
“Crochet” meets machine knitting techniques: tuck lace trims and fabrics 1
“Crochet” meets machine knitting techniques: tuck lace trims or fabrics 2

 

Ways to modify electronic and punch card published transfer lace designs

Recently, in the Machine Knitting Facebook Group, a post by Jeannette/eKnitter describing her method with an associated YouTube video on Transforming a Brother Stitch World Lace Pattern sent me down a new-to-me, what-happens-if-rabbit hole.
Results for any lace designs vary considerably based on the yarn used and the number of rows of plain knit planned between design segments.
My opinion on the altered lace patterning is in the closing comments.
The appearance of the yarn crossing the open spaces created by eyelets can vary from single strands to twisted double ones.
The blog post Revisiting the use of lace patterns, Studio vs Brother machines includes a range of samples, including this very early analysis of the differences, and associated links.
The method of using any carriage engaged with the belt to select from opposite sides will not work in punchcard models, as the carriage switches sides, the same needle selection repeats.
The process for achieving the new repeats can likely be AI-assisted vibe-coded for ease and speed in altering the original repeats containing an even total number of multiple pairs of 2 blank rows, alternating between transfer segments, adding 1 row to one pair for a new total of 3 rows, while removing 1 row from the next pair, reducing it to 1 row. The convention for commands is to start in reverse order from the top, with the conventional two blank ending rows converted to one, and progressing, changing sequences moving toward the bottom of the design.
My tables, visualizing the steps required, are worked out in a spreadsheet using Mac Numbers, adding and deleting single rows alternately in the body of the table where needed.
The total number of rows programmed remains the same.
My first effort began with the same SW 121 repeat in the video.
Working out the changes that need to happen in the design itself in a spreadsheet, things to notice:
The repeat is 44 rows in height, an odd multiple of 4
The LC in the original, 12X44 design, moves for 4 passes from and back to the left, followed by 2 rows knit using the KC from the right throughout, an easy-to-track sequence.
In this method to alter the original, passes of the LC still happen in 4 row sequences, but they are followed by single knit rows rather than pairs with the knit carriage, and the LC is moved to the opposite side for the alternate groups of 4 passes.
When no cam buttons or KCI or II are used, the knit carriage does not engage the belt, and the pattern is not advanced with its passes.
The technique shortens the height by half the number of knit rows, compressing the finished pieces in the number of passes to the finished height ratio.
In the top half of the 44X2/88 row repeat, there is a shift in the LC starting side that results in a change in the knit structure, seen in the chart with only the altered rows shown on the far right.
The first pair of blank rows between lace repeat segments is changed to 3 rows, with the next pair reduced to one row, repeating the process.
The height of the original repeat does not change. The samples were knit using 2/18 wool. Not paying full attention to the task at hand resulted in the extra knit vertical columns in the test of the original on the left, along with the joy of dropped stitches that can occur in lace knitting.
The amended design, 12X44 pixels, was used on the right and knit for 132 rows, checking the vertical alignment.  A new repeat, SW 128, 18X64, again is intended for operating with the LC from the left,  with two knit rows using the KC from the right, following each repeat segment. The sample from the pub is shown on the left, and a cheated copy and paste X2 in height of the new knit repeat is on the right.
The 64 row height is an even multiple of 4, resulting in a more symmetrical arrangement of eyelets and threads traveling between them. The design is tested on 36 stitches, twice in height.
On one side, the transfers were made close to the edge, while on the other, a several-knit-stitch border was taken for a test run. Side edges are another consideration when planning finished pieces or seams. A planned try at another SW design, my last on this topic. It is 13 stitches wide and 44 rows in height, as published, another odd multiple (11) of 4 again, the spreadsheet manipulation,  the new file, also 13X44, knit-tested on 39 stitches.The side-by-side comparison. There is a degree of unpredictability in the final result in DIY pattern drafts; one must trust the process, and progress in the actual knit length is slow.
All these samples in this post used original design repeats with recommended 4 LC passes followed by 2 rows knit throughout.
In theory, the technique should apply to other Brother transfer lace with variable numbers of LC passes between knit rows.
Brother published electronic patterns do not require mirroring, while if starting off with a punch card design, mirroring may be required, depending on the machine model and download software.
Users of knit from screen programs have the added advantage of clues as to when to change carriage sides.
Without the benefit of such clues, remove the carriage from the machine as soon as the 4 rows are completed to avoid making another set of transfers from the same side.
Check needles with 3 stitches on them after transfers, making certain that they have knit off properly after the single knit row, and periodically also check that no loops or stitches are hung up on gate pegs.
If a second row is knit after the LC passes, it can easily be unraveled.
It is possible to add beeps in some models, or to generate DIY reminders on switching carriage sides, i.e., for an 88-row repeat or more.Before committing to using the technique in finished pieces, knit a large swatch to test whether the necessary steps are maintainable without error, block it, treating it the way you would the finished project, and let it rest hanging.
With so much open space in some of the other repeats being offered in FB, if a predictable gauge is necessary, it may be a hard thing to maintain even after blocking.
Tiny stitches require a larger number of needles in work; experimenting with thicker yarns and tensions that tolerate the transfers is worth it when planning beyond test swatches.
I completed a lace scarf in a very thin cotton at one point, which I discarded simply because it was too limp when finished.
For me, the results from this process raise the question as to whether one should simply because one can.
The lace designs may be new and different, but as to whether they are better and worth the effort? The ultimate choice and preference to pursue this type of lace work or not, as in the use of any other techniques, remains a personal one.

After seeing Emanuela Mammarella‘s FB comment on the thread discussing the electronic patterns and her Instagram feed mentioning achieving a similar concept with a single row knit between transfer lace segments in Brother punchcard machines, I gave it a try.
The card used for my swatch was randomly chosen, 19S. It met the requirement of the recommended 4 passes of the lace carriage, followed by two rows knit throughout, and came in the basic pack of cards included with my punch card machine purchase.
I prefer to use yarn color and thickness that allow me to identify stitch structures easily.
This sample is knit using a 2/18 wool, with modified LC selections at the bottom of the images, and traditional ones at the top. The effort is worth a try, and helps inform the decision as to whether the results are to one’s liking, and again, if one should simply because one can.
The bottom of the swatch is knit in the new technique, the top in the traditional published method.
I found it easier to disregard row numbers and counts.
After the second series of transfer was completed in each group, with the lace carriage on the side opposite the carriage again, sometimes after a required additional pass, I removed the LC, knit a single row with the knit carriage to the side opposite its last place, returned the LC to the bed from the side opposite it, and began moving toward the knit carriage making transfers as needles were selected once more.
There were many rows with carriage passes, and no needle preselection, added to the sum since each move and start from the opposite side does not advance the card, but rather, repeats the last preselection. And then, trying to get a PNG for the same repeat, you notice one of the 3 vertical repeats in each half is an odd duck. Just when I thought I was finished with all this!
Comparing the factory-supplied punch card to the amended “correct” design repeat,    for a very different, more symmetrical result.
The PNG for the amended repeat, 24X48, can only be used in the traditional method, not to achieve the modified version.  This yarn is also a 2/18 wool; the blue yarn used in the other swatches has reached its end. Studio machines and their published simple lace patterns are by far the easiest way to achieve eyelets with single rows knit between them, unless otherwise indicated by extra blank rows in the cards.
My closing advice? If the effect is really liked, and there is interest in collections of production items without the involvement of additional carriages, borrow a Studio km and cards from a friend. 😉

That said, there are other hacks for achieving the look of lace with single rows knit after transfers, rather than pairs of rows.
On electronic machine models, one method is to use select tuck or thread lace designs, such as this 24X40 design, doubled in height to 24X80, so each needle preselection repeats twice,  and tested on 48 stitches. The programmed design starts with LC on the left,  the first pass to the right, toward the knit carriage, selects needles, while the second pass makes the transfers to the left.
Remove the LC; it will make the next pair of passes from the right.
Knit a row to the left, KC stays on the left.
LC makes the first pass from the right, preselects needles on its first pass to the left, and transfers stitches on them to the right as it travels back to the right.
Remove the LC.
Knit a single row to the right, the KC stays there.
Return LC to the left, and repeat the process.  The same design knit as thread lace.   A similar inspiration knit in 2011 as a mock filet mesh with traditional LC operation from the left side, the image was rotated sideways whwn shared. The partial card repeat shared at the time,
and the full 162-row punchcard, located more than a decade later, was rotated to view factory row numbers on the right.  Taking it to a PNG, and modifying the result: the full repeat, 24X162.
The LC makes 2 passes for transfers to the left, 4 passes for transfers to the right.
Punch cards may be rolled forward manually in the reader to any chosen spot, locked into place, and released after the first pre-selection row to modify the start of the design.A 24X84 segment was in turn isolated, drawn in brick repeat, 24X168, visualizing both files drawn in repeat, easy to achieve with present software.The swatch, tested on 60 stitches, helps to determine whether other DIY arrangements, i.e., widening the repeat or altering the edges of the shapes for use only on electronic machines, should be made.
For some reason, the yarn used, which had posed no problem in recent swatches, was particularly cranky in transfers today. The swatch has several dropped stitches. The original repeat, used in one of my limited edition shawls, with a coordinated border. Using a Studio card to achieve a similar knit on the bulky, #18 was randomly chosen from my stash. Lock the card on row 3. The Studio card reads the first design row 5 rows below the #1 marking on the right, Brother 7 rows below.
Cancel end needle selection on the knit carriage, which is set to select pattern needles, but for plain knitting, with no cam buttons pushed in.
COL knit one row to the right.
Release the punchcard.
COR Transfer all preselected needles away from the knit carriage, to the left.
Knit one row.
COL Transfer all preselected needles to the right, away from the knit carriage.
Knit one row, returning COR.
COR Make transfers to the left, and continue alternating transfers consistently away from the knit carriage after single knit rows to the opposite side.
This test swatch, containing a couple of operator errors, was knit on 28 stitches, using a random 4-ply wool on tension 5, and measures 8.25 inches in width, at a gauge of about 3.4 stitches per inch.

 

 

Geometric shapes in drop stitch lace 5, combined techniques

Whatever the goal in DIY, when automating designs, black pixels or punched holes are selected and knit, while white pixels or unpunched holes are not selected, and used to produce textured, color-patterned knits, or serve as guides to added actions when combined with the knit carriage cam settings.
Depending on the structure, there may be rules or limitations to the pixel distribution that are at times also combined with specific color separations.
Downloads to machines using assorted methods allow for programming up to the width of the bed, 200 needles on the 4.5 mm machine.
Slip stitch programming can be substituted for hand selection when planning short rows.
My first electronic machine was a Studio model. A few mylars from that time are still in my present inventory. This scan shows two repeats used in what would become a sideways knitted skirt.
I tended to scribble on mylar sheets as I did later on my Passap technique Manual printed pages.
Testing smaller repeats helps to troubleshoot possible issues, our tolerance or patience in planning and executing the imagined results, and deciding whether a larger trial is worth it.
My first experiments with the automated short row technique were in producing sideways knit garments, a batwing sweater, and a calf-length skirt.
Depending on the distribution of pixels, it is sometimes easier to fill in areas with black pixels and invert the color if needed, using built-in machine functions.  The skirt was knit using the top repeat, doubled in width, color reversed, with the speckled rows slipping for one of the horizontal stripes, tucking for the other, forming permanent folds.
There are many previous blog posts on automating “doilies” and circular shapes.
Other slip stitch patterns may be brought together in the programming for sideways shaping (presently avoiding the math involved when gauge matters).
3D printed slider, drop stitch lace review introduces a racked shape repeating in continuous sequences on a fixed number of needles.
There are ribber guides, not always necessary to use, but at times useful in tracking the process correctly.
The previous racking sequence in the planning stages:  the shapes are formed by manually positioning needles on the ribber.
Automating the potentially circular shape, which, after angle and gauge calculations, may be extended to form a sweater, skirt, or other item.
The test repeat: 44X22 may need to be mirrored horizontally, as in my 930, depending on the machine model and the download software used.
The knit bed produces the background, and the ribber picks up loops that will result in the enlarged stitches when dropped.
Considering the short row method and small stitch count, while the shapes were retained, racking positions were reduced, thus reducing their size. Air knitting, practicing racking movements as they relate to the top bed, before actually proceeding with the knit test, ensures the process starts with needles on both beds in the proper placements.
End needle selection is canceled, since the slip stitch setting is used on the top bed, where there are needles out of work.
Half pitch is used, placing needles on both beds between each other.
The first preselection row is to the left, with pairs of rows shaping the knit from left to right, starting with needles on the right pushed back to B away from the carriage every two rows until the process is reversed and they are returned to work.
For pattern knitting, the knit carriage is set to slip/slip.
The ribber carriage is set to N/N to pick up loops, at rest on the left when the sequence is completed, and uncoupled from the knit carriage if used to drop the loops for two passes. On its return, it is paired with the knit carriage again and is set to slip/slip to allow rows of knitting only on the top bed, 5 in the swatch.
Racking happens every row, while the top bed performs its own programmed thing.
In progress, if racking has been performed, the stitches will appear slanted to one side or the other, like normal rib, if it has not.
Ribber needles may not be brought above the B position combined with racking; they would collide with needles beside them on the top bed.
Light colors make it easier to see and identify successful stitch formations.
The best yarn to use is a smooth one that will retain its shape with blocking.
This yarn is a random off-the-shelf wool from an unmarked cone.
Because there is so much happening in a relatively small area, the surface bubbles. In some cases, that bubbling can be the intended design feature.
The racking indicator was used as a guide to determine when the point was reached to drop loops, change settings, and knit X# rows on the top bed alone, followed by setting the ribber carriage to knit once more, reversing racking positions, and repeating the process. Using the same slip stitch repeat on the top bed, simplifying the drop stitch shapes to 4-stitch 4-row blocks.
The yarn used in this case is a 6/15/1 rayon, knit at tensions 7/2, one that may be killed with no spring back with blocking, as opposed to wool, with a very different result.
The ribber on N/N forms loops for 4 rows, they are dropped, and the carriage is changed to slip/slip for 2 rows.
The stitches can be selected and brought into work manually; if so, a needle tape may be of use to guide the hand selections. A piece of tape, as shown on the left, keeps edge needles from mistakenly being brought into work.
Racking can be used to move the group of 4 stitches into position, avoiding hand selection, with a start at position 10, to 4, and back. The ruffled effect with the knit at rest. Horizontal lines or stripes of dropped stitches can be combined with other stitch types, i.e., tuck or lace, for various end uses. Combining the horizontal lines with automated short row shaping: these images show some drop aka long stitch designs which were developed and used in a group of limited edition items.  This Passap Duomatic pattern was the source of inspiration. I do not have notes available from that time.
Here is a present approach for automating the repeat on a Brother electronic.
Again, starting with a small swatch, testing for the tightest tension possible.
Using a familiar yarn eliminates the possibility of any issues occurring due to only the new fiber choice.
Patterning occurs in pairs of rows for an even number of total design repeat rows.
Here, 34 stitches produced a width of 6.75 inches; there is a 5-stitch vertical border on the straight side edge.  The repeat can be programmed for any width or only for the number of needles in use by adding all black pixels on the right.
End needle selection is canceled, and the first preselection row is from right to left.
The 30X16 PNG required horizontal mirroring on the 930.
To avoid dropping the stitches on needles that are skipped on the top bed, or accidentally bringing up extra needles in work on the far right, a piece of tape can be placed on the ribber bed above the butts of needles directly below them.
All other ribber needles will knit for 4 rows, loops are dropped, the ribber carriage is switched to slip for 4 rows, and only the top bed will knit on all needles. The process is repeated.
As the knitting progresses, needles continue to be preselected across the piece except where those rows of white pixels occur, with them remaining there in the B position.
On the first row that happens, the ribber is set to knit and pick up loops.
When all needles are preselected again, the loops on the ribber are dropped using any preferred method or tool.
The carriage is then set to slip, with all needles returned to the B position, and the top bed alone will knit on all needles once more.
The needle setup.  The swatch was knit on 20 stitches, 6L to 14R, reducing the border on the right from 5 stitches to 4, and measures 4 inches in width at the curves.

A cumulative list of the blog posts related to this topic may be found at the bottom of the 3D printed slider, drop stitch lace review.

Single bed slip stitch vs ruching 2

IN PROGRESS

Single bed slip stitch vs ruching included a highly textured sample with a 64X96 repeat that could serve as the start of subsequent explorations. The plan was to introduce FI or FI-like patterning to the fold areas of the design. However, those areas must be knit in slip stitch as well, otherwise the fair isle setting will knit the white pixel areas with the color in the A feeder as opposed to slipping those same needles.
The EON pattern selection in the related swatch is familiar to users of the birdseye backing in DBJ, which the ribber executes when the lili buttons are used, where two passes in a single color complete a one-row horizontal stripe.  Textured knits involve large numbers of rows and carriage passes. To reduce them, use the option of placing them as borders or striped segments interspersed with all knit rows in the same colorway or in added colors.
Working in ArahPaint, how tos for its use in DIY knit design are available in several former posts.
Simplifying the inspiration repeat while returning to other previously explored shapes offers the opportunity of observing and understanding how the programmed pixels relate to stitch formation on the knit bed:
work with a consistent color pattern, i.e.,  colors can be protected temporarily while selecting other colors for pattern fill,  committing to working with multiples of 4 for repeat height, and a 4X4 BW pattern fill, 4X4, 2colors.    The steps, in brief, from left to right, include visualizing repeats, with a final selection resulting from filling colored rectangles with black, setting the number of colors to 2,  for a BW knittable image.  The 16X32 file.  The design, drawn in repeat, was cropped so the edges of the slipped areas would include some knit stitches as well, and sampled on 48 stitches. Because the slip stitch setting is used throughout, those block areas recur in the same needle locations and form vertical lines as colors 2 and 3 in those gathered segments are changed every 2 rows. Color 1, the dark color, knits for 4 rows, is easy to identify since every needle in work is preselected before the related color change.
The swatch shows a part of the initial exploration, starting with the dark color knitting for only two rows, and toying with blocks vs stripes in the patterned folds. Moving toward distortion of the shapes in the slip stitch areas, returning to 2 rows of all knit stitches in the dark and patterning to produce horizontal stripes in colors 2 and 3. The new brush fill, also 4X4, 2 colors. The new repeat, 16X28, with all color changes planned every 2 rows,   and modified, removing black pixels in the knit rows, resulting in the center distortion. The adjusted 16X28 repeat was tested programming 48X28.  Adding to the slip stitch/hem family: The staggered design repeat is 32 rows in height.
The hems are composed of 5 rows, followed by lifting stitches on the 6th row, an all-knit row to seal the hem, 10 rows of contrast, and repeating the steps.
The 16X32 single repeat. The design was tested on 50 stitches.   I preferred the appearance of the slipped stitches meeting the subsequent hems on the right.  The work in progress: when no pattern needles are preselected, the hems are formed, and sometimes multiple stitches can be lifted at a time. When that is completed across the row, move all stitches out to E for sealing the fold.
As knitting resumes, the other color(s) skip needles and form floats behind the skipped stitches. The floats themselves can be manipulated. Before knitting the first row of the next hem, pick up stitches from the skipped groups of 4. Doing so on the row above the join produces the added space between the folds.This swatch, from Adding hems to varied knits was knit using held stitch groups; the concept could be used without the third color for a quicker knit, but the height of the shapes between the folds may be limited.
Another adaptation retaining some of the above qualities: the spreadsheet start,  the ultimate single repeat, the magenta dots mark a possible addition of a white pixel to mark spots for hooking up floats 14X28,  tested on 38 needles.  When the row with no needle preselection is reached, a hem can be hung. To save time, the first attempt was to lift every other stitch, as seen at the bottom of the swatch; a return to lifting every stitch was made on subsequent folds. After the process is completed, all needles are brought to E to knit the sealing row of the hem. The color is then changed to the one chosen to form the enclosed shapes.
The slip stitch sections formed floats, and these were manipulated as well in the center position, at first after closure of the hem, seen at the bottom, and then after the all-needle preselection row on the same color yarn before returning to changing color for knitting the hem stitches. Expanding patterning in the folds, increasing their depth, and still planning vertical stripes in consistent locations.   The 16X40 repeat was test-knit on 52 stitches.  When the resulting swatch was lightly steamed and pressed, it retained bubbled textures. Visualizing the potential landing spots for 2X2 block patterning when using slip stitch with color changes every 2 rows. Missoni inspiration.
Ruching involves selectively rehanging stitches to form hems, with folds usually forming on the knit side.
Reviewing single bed ruching offers samples and previous links exploring the technique.
This swatch was executed as a hand technique, with markings on a custom needle tape serving as guides.
The starting concept in a spreadsheet: For the white eyelet stripes, knit 2 rows, transfer every other needle to the left. In a long piece, consider alternating the direction of the eyelets to avoid the stripes favoring a lean to one side. Mine were all to the left.
The rows requiring actions before the next carriage passes are unmarked in the chart.
Knit two more rows
Change color, knit 10 + or – rows.
Before knitting the first row of the next eyelet stripe, lift 3 stitches from the top of the previous one onto the hooks of the needles as shown.
Knit 2 rows, transfer stitches, knit two more rows, change color, knit 10 rows, lift stitches in the alternate locations, repeat the process. Groups of 3 stitches were selected from the previous white eyelet stripes, and then from every other color stitch.
The dominant, dark color is knit for 10 rows.

Fair isle experiments 2

Present software makes it easy to explore designs, in color or BW, meeting download or punching requirements, before any actual knitting takes place.
The digital explorations, and printing them tiled in a larger format than on our screens, can help to visualize whether the results, when tiled in repeat, meet our preferences or require further editing.
My latest blog posts do not include step-by-step instructions for using any specific software; rather, they illustrate some possible results, with files that can be downloaded and used as they are, or edited further if desired.
The blog index start helps to search and navigate previous posts, often in reverse chronological order, with added pertinent how tos. It offers more details than a topic search in the blog’s sidebar.
The previous post, Fair Isle experiments, offers a large collection of design repeats and samples.
This repeat was isolated from a weaving draft found online, adding to the collection of other weaving-draft -inspired designs.
The 38X8 electronic isolated repeat.

Cropped to 24X8 for use on punch card models.  Using 24X8, mirrored Y, 24X16,  making choices about what to keep or add, and adjusting the final height in the result, producing a 24X14 repeat.
There is a recurring, very wide 11-stitch float on the purl side, and the swatch image on the right shows variations in hooking it up on the same color stitch on subsequent rows.
Other ways to manage float control .The pattern may be positioned on the machine or programmed/ punched with a shift in the centered motifs. Using the even numbered 24X16 repeat in brick repeat, 24X32.  The tiled repeat produces an easy-to-see horizontal effect, and long floats at the center of the oval shapes merit shortening by adding white pixel(s).  It is easy to select alternate 24X8 bands and to test color inverting the contents.  Electronic machine knitters have the option of a half-drop design, 48X16 Identifying its long float areas, 10 stitches in width,   informs the choice as to whether to continue with the design as single bed fair isle, or switching to DBJ, which changes pattern definition and aspect ratio.

One repeat explored in many ways 2, single bed tuck stitch

The spreadsheet plan, 24X56 cells,  with colors edited to yield a brick repeat suitable for tuck stitch, 24X112test knit on 48 stitches using a 2/8 wool. Adjustments were made in the spreadsheet to increase the tuck texture while blunting the diamond shape, configured for a brick repeat, 24X120. Larger repeats require proportionately larger swatches to visualize the effects. This version of the design was test-knit on 72 stitches. My available yarns had to be plied in pairs to try to match the effect when using the 2/8 thickness wool. Adding stripes of all knit third color, for a 24X144 repeat, knit-tested on 68 stitches. The yarns were plied to mimic the results obtained in the 2/8 wool swatch, which led to some problems with singles jumping to the adjacent space in the color changer or mating with other yarns in the tension areas of the yarn mast. For long pieces, it may be worth twisting the yarns onto a new cone or ball, or using one of the accessories, purchased or assembled from containers found in the studio, that will allow for feeding the yarn from one cone through the center of and with the yarn from a second cone (or more). The yarns used in the bottom third of the swatch came to their end, so there is a slight difference in texture and size as a new pair was chosen with a goal of retaining the same degree of texture if possible. Pushing the limit, with double strands tucking for 3 rows rather than 2, the shape at the center of the tuck stitch areas now has straight vertical edges, 24X136,    knit tested on to 70 stitches with a slight pattern center shift. Double strands were used in this case, tucking for 3 rows, with some loops getting caught on gate pegs as seen in the image on the right.
Spots with loops not always perfectly knitting off are harder to see on the purl side during knitting.
Four threads in needle hooks is often the limit on 4.5 mm machines for tuck stitch, unless the yarns used are very thin.
Pins placed temporary folds on the knit side led to yet another repeat and test swatch. The last adaptation, 24X80, was knit on 70 stitches.  The light-colored yarn refused to knit tuck for 3 consecutive rows, with loops not knitting off properly, and getting frequently hung up on gate pegs.  Switching yarns and colors led to smoother knitting. 

DBJ, more than 2 colors per row 5, color separation software

A PS: while editing and reviewing content, I noticed some of the language I have used in describing what is happening in color separations here and in the past may be confusing.
When the separations are completed, each color, including one when absent in any design row, will be carried for two passes, traveling to and from the color changer.
Traditional separations for DBJ require color changes every 2 rows and rely on starting files with the height of the repeat adjusted to meet the requirement, depending on the intended use and technique.
The selection for each pair of rows of color can be separated to be the same, thus repeating it twice, or to have the pairs of rows split, in theory producing knit surfaces with an improved overall aspect ratio.
For constant sequences in color changing to be retained, on any rows with the absence of a color, no needle selection occurs on the top bed, but even with no stitches forming there, the carriages still travel for two passes, knitting the color in the specific sequence only on the ribber.
When statements are made as to each color in each design row repeating only once or twice, it is in reference to how the colors are placed in the original design, before any rendering of the repeat to double its height, and the separation begins.

Although home knitting machines, depending on their brand and model year, have clear limitations, especially in punch card models in terms of suitable repeat size and the amount of texture that can be formed without problems, a huge range of knit structures can still be produced, including mock imitations of industrial knits.
Electronic designs can now be generated and downloaded to machines with a range of methods and software.
The post Cables and software for electronic download to knitting machines includes some of the pertinent hardware info.
My last Ayab explorations were in 2018.
As of that same year, the  Ayab shield mentioned was no longer manufactured, but information on it can still be found
https://wiki.evilmadscientist.com/AYAB_KH-910
https://www.ayab-knitting.com/ayab-shield/
Other interfaces are presently in use; there is an active, moderated FB Ayab group.
The discussion group on Ravelry has been locked as of 2018; activity for the group can now be found in Discord.
3D printed covers are now producible.
Options for 910 models remain limited.
More on the interim development of the eKnitter can be found in their FB public group. There is a clear online installation guide, that includes a  910 user caution at the bottom of the document.
After, and continuing an association with Ayab, later with DAK, now there is an eKnitter app in development. It is described in addition to standard image handling as offering color separations for multiple color designs in sizes up to the full available needle width, where each color in each design row is knit only once.
img2track is a straightforward means for downloading self-chosen designs. Issues with the lag in development for the FTDI driver for Macs with M1-M4 generation chips using the latest OS have been resolved with the installation of a wrapper. It has become my exclusive tool for downloads to my 930.
In March 2026, the first FTDI driver since 2019 was published for Mac owners using the latest OS. I am happy with the installed wrapper and am not dealing with this at the moment https://ftdichip.com/drivers/vcp-drivers/
April 13/26: Download from my Mac to the 930 failed repeatedly. After restarts and cable connection checks, switching using the program to download from my PC worked seamlessly. 
My strong post 910/Ayab/interface ownership personal bias and preference is not to eliminate a functioning, original, factory-installed motherboard when possible.
There is an active and informative, moderated img2track FB group, and a significantly less active one in Ravelry.
Garment design can be met without purchasing specific software.
Many design aids are based on default curves that would often require modifications in custom knits.
Published motif repeat access abounds.
The availability or files as BMPs or PNGs renders them usable as provided, except in the case of the DAK universe with its proprietary file format and limitations.
Machine knitting books are now being published again after a very long hiatus. Some offer extended previews online that can aid in making the choice as to whether to purchase them; they may not turn up quickly as references for browsing in public libraries.
With experience or by allowing ourselves to take the time to explore new to us knits, what appeared as yesterday’s “why would I?” or “torture” may become tomorrow’s success and even a repeated production item.
That said, on my avoid like the plague (though survival of such is now proved possible), full garment complex cables on the machine are still on the list, along with knitting any piece larger than a swatch for a related post that contains more than 2 colors per design row.
Double jacquard inherently increases the number of rows knit, and they, in turn,  increase exponentially depending on the number of colors in each row.
Along with that, the greater the number of rows for each design row, the thinner the yarn for stitches to be formed properly.
When working double bed, several inches need to be completed before one can use creative methods, i.e., mirrors and lights, or crawl under the machine to actually see what is being produced, sometimes ducking from falling ribber weights if they are not first removed.
Color separations are required for some knits, both in single and double bed work, and can, in turn, be converted ultimately to black and white pixels
Two-color designs are the easiest to separate.
In double-bed work, in addition to the backing methods and knit carriage settings, the type of separation involved helps control the aspect ratio in geometric or representational designs.
The method, where only 2 colors are in use, and each color in each row knits only on one pass, is automated in Brother models with the KRC selection, and traditionally starts with the first preselection row made from left to right. That can be changed in DIY designs if the file for the separation is available as a PNG.
Swatching helps to inform and trust the process.
Fixed color change sequences are easier to track than mixed ones.
Testing yarns first on small designs helps establish tension, cam settings, preferred backing, or hacks, and whether the results meet our expectations or even our taste.
Added complexity does not, by default, improve results.
This review of blog posts, in reverse chronological order, tracks the result of my efforts to understand the process when the available function is automated and unseen.
The illustrations of the process here are abridged and do not show step-by-step how tos.
They reference using repeats with more than 2 colors in the overall design, not necessarily occurring in every row,  with samples of content in each.
The accompanying PNGs are free to use. When copied/ downloaded, even though they are posted here as BW PNGs, the step converts them to RGB mode.
Open the files again in any paint program that will allow for a change in mode to indexed BW (Gimp), by color reduction (ArahPaint), or any other familiar tool, and save them again in BW indexed for knitting.
Some notes on machine knitting color changers.
DAK DBJ color separations, templates, and other software
includes software comparisons:
img2track by default knits each color in each row twice.
From the user manual: “Multicolor patterns will be knitted double-length. To accommodate changing yarn at the left side of the needle bed, you must knit two passes of the carriage with each color. For each row in the pattern, you will cycle through all the colors. For example, if your image has 3 colors, you will make two passes with color #1, two passes with color #2, and two passes with color #3. This completes one row of your pattern and two full rows of the knitted fabric.”
There is a workaround for this described and proven in other posts to have each color selection in each row knit only once, while knitting for 2 passes. Dak, a working repeat: Passap reader technique. Revisiting Ayab, multiple colors per row DBJ 2
Knitting each color in each design row twice, compared with the heart of Pluto result on the right, where each color in each design row knits only once.
Revisiting Ayab_multiple colors per row DBJ 1
Color changer sequencing identification, palette choices.
Img2track_multiple colors per row dbj, each color knitting only once, compares 3 methods for controlling design aspect ratio. DBJ: more than 2 colors per row 4 
The sequence for when each color in each row knits only once: The accompanying illustration in Dak, method B.
A single repeat where each color occurs only once in each design row results in error messages,  the amended repeat    DBJ: more than 2 colors per row 3
early manual separation methods
DBJ: more than 2 colors per row 2   img2track, using published designs
DBJ: more than 2 colors per row, 1  Mac Numbers, Gimp, and more
When separating for 2-color knitting with the KRC function or a DIY matching color separation, the first pair of rows in the design is split, with the first moved to the top. The overall height remains the same.
The first preselection row is from left to right, and the choice needs to be made whether to take steps to eliminate an all-knit row stripe on the top bed that is not part of the design.
A solution is to shift the last row of the repeat to the bottom instead, which also allows for the first preselection row from the right.
Testing the idea on a previously knit, and swatched 3-color separation that is also usable on punch card models, the magenta cells show the shifted placement of the last row below the first in the repeat on the right of the chart, 24X36. Knit tested using 48X72. Yarn tension was as tight as possible and kept fixed.
Sections were knit in matching numbers of rows.
Some tips: test color contrast and sequence first in knit/knit both beds to determine the best tension for proper stitch formation.
The red in my test swatch replaced a different color yarn that absolutely refused to knit properly on the ribber.
If the colors don’t meet expectations or preference in stripes, they are likely not going to when mixed in a pattern. Also, be prepared for the fact that sometimes what you can get to work on 60 stitches can turn into a problem when one approaches the width of the needle bed.
Keep an eye on where the yarns are after a color change, sometimes 2 yarns will be carried in the yarn feeder, and that is easily remedied if knitting has not already begun.
If there is no disturbance in needle preselection, electronic carriages can be moved while still engaged with the belt; punchcard ones cannot without a row being advanced with each move. To compensate, lock the card, make any adjustments, check settings, and remember to release the card before continuing.
Not moving far enough to the left is one cause of double pick-ups.
Check the changer to see that the yarns are in their proper placements, not jumped to another location, as seen on the right. If selection is fixed, ie, 1, 2, 3, that still allows for personal choice and disregarding the clues in testing, or even when knitting from screen. In my swatch, the first pattern color used was 2, followed by 3, and then by 1, 2, 3, etc.
The bottom of the swatch is knit in striper backing, with the first and last needles in work on the ribber set to N/N. The total number of needles does not matter.
The top of the swatch is knit with birdseye backing for the same number of rows. When lili buttons are in use, the number of needles in work on the ribber must be an even number.
If an odd number of needles is used on the top bed, the first and last can be on the ribber and will knit with alternate changes in direction of carriage movements.
Close-knit bars, also called fine-knit bars, are sometimes supplied with machines.
They slide behind the gate pegs, helping to shorten the length of the knit stitches on the top bed, and are intended for use when using very fine/ thin yarns.
From the KR 850 manual,   and a view of it in place on the machine.
The needle latch positions when the knit carriage is set to KC are different with, L, or without, R, the bar in place, accounting for the difference in stitch size formation.  Using the bar should not be the first go-to when dropped stitches or some of the other errors occur, but it may be worth considering in situations such as with this striper backing, if it were the preferred or only available backing option.
There are clear differences in the results in terms of fabric height, width, and pattern definition as the ribber begins to slip/knit EON patterning using lili buttons. There are many other DBJ backing variations; birdseye is most likely the best choice for these knits.

Adding color to 2 color tested repeats available in BW to illustrate what happens with color separations differently: for manual color separations to work, pairs of rows are color-inverted throughout the repeat. To manually achieve this, if anything other than black and white pixels is used when performing the separation with free programs, color inversion will alter palettes, faulting the process.
When the goal is to produce an image for download to the machine in BW PNG format, for use in models or with software that requires it, the process can vary.
The color separation methods described in my blog, except those resulting from vibe-coding, are achieved manually using Mac Numbers, ArahPaint, and Gimp, separately or in combinations.
The final PNG files are programmed as Fair Isle, using DBJ carriage settings.
There is a distinction between design rows and knit rows when discussing color placement.
In this first 8X8 2-color image, each color selection in each design row occurs only once. For it to be knit as DBJ, it needs to be doubled in height, to 8X16.
Each color selection in each design row must be selected twice.
Each color need not appear in every row in the chosen original. They are accounted for with no selection on the top bed rows while the ribber still knits, thus adhering to the color change sequences.
If any colors are present for an odd number of rows in the repeat chosen for separation, there will be errors in the knit result.
The minimal number of rows knit is achieved, where each color selection/number of pixels in each design row knits only once, retaining the 16-row height.
The first pair of rows is traditionally split between the first and last rows in a new repeat that is the same size.
The first color selection will knit for only one carriage pass.
The first preselection row is from the left, with that color knitting one row in pattern from right to left.
Color changes from then on are made every 2 rows to and from the changer on the left. Rendering the repeat 8X8 double height to 8X16, reversing the shift and moving the last design row to the first in the repeat, and color-inverting BW alternate pairs of rows, produces a file with the same repeat height,  but knit with the first preselection row from the right. The easier separation to achieve is the one where each color selection in each design row is repeated twice.
More carriage passes are required.
The original is quadrupled in height to 24X32 rows, and the resulting knit image will be elongated, no matter the backing technique.
This is the default separation when using more than 2 colors with img2track.   The work on the needle bed or the repeat itself, if it is available as a PNG, can be manipulated to have each color selection in each design row knit once, moving away from the color changer, and skipping all needles on the main bed, moving from the right back toward it.
Manually, needles selected for the second color pass can be pushed back to B to be slipped on the top bed.
The equivalent of this can be programmed. It is a relative or the Heart of Pluto separation available in Ayab and Dak users can explore the long stitch separation F. The aspect ratio improves with the result, which may be used for traditional 2-color DBJ with birdseye backing, or for other double-bed knit fabric structures.
The Brother Ribber Techniques Book, the KR/ ribber manuals, and color changer manuals describe how to set up for and use punch cards designed for DBJ, referred to in them as multi-color rib. Technically, however, DBJ is not the only fabric knitted double bed in multiple colors. The latter are outside of the scope of the early instruction manuals.
Electronic model manuals provide instructions for using the built-in KRC function.
The approaches are similar when using a separated design with more than 2 colors in the starting image.
The 11X10 repeat, with 2 passes required for each of the 3 colors, is multiplied by X6 in height to 11X60, and can be separated, akin to the KRC method. My latest tests begin with the last row of the design moved down to below the first, the opposite of the traditional order of first to last, allowing the first preselection row to happen from right to left, toward the color changer. The very abridged version of the separation. The rows with no color on the main bed are marked with purple cells. The original design is clearly elongated. The extra stripes at the bottom happened when I forgot to set the knit carriage to slip.  The method proposed in the blog post DBJ, with more than 2 colors per row 4 produces the result where the same selection for each color in each design row also knits the same selection twice.
The abridged steps: the original 11X10 repeat is multiplied in height by X3 to 11X30.  The results are combined in a repeat that is still 11X30.
Before knitting, the 11X30 separation is rendered in black and white, and doubled in height to 11X60 as a new PNG before download, or used as is, in combination with the double-length selection in the knitting machine.
Removing black cells from the second row in each pair of matching rows will lead to each color in each pair of carriage passes knitting only once on the top bed, when moving from left to right. The rows with no color on the main bed are marked with purple cells.
The swatch: Returning to present experiments, the repeat was reconfigured to keep the sequence of green>1, red> 2, blue>3, continuing to use the same yarns and tensions; there is a noticeable increase in preservation of the design’s aspect ratio.
With ribber number settings unchanged, stitches formed were smaller, making it harder for them to always knit off properly; there were a few dropped stitches toward the top purl side of the swatch.   This is a side-by-side comparison of this last result, on the right, with the swatch where pairs of rows were split on the left, in theory emulating the KRC separation. Repeating the separation for knitting each color occurring for pairs of rows.  Here, the resulting swatch, on the right, is compared with the one that used the split pairs of rows, on the left, and appears to knit with less elongation of the design. There are some missed, dropped stitches on the main bed, but no problems with the ribber stitches.  For illustration purposes, a different colorway is used.
Each color in each design row is separated, appearing only once to produce a second 11X30 file.
To knit as DBJ with color changes every two rows, the 11X30 file is doubled in height to 11X60.
The results are compared to those achieved by working on the 11X10 file multiplied in height by X6 to 11X60. Both convert to the same, final BW PNG for download to the machines.  A close-up of the first 30 rows in charts corresponding to manual separations for the 3 methods. All three are knit with the same number of total carriage passes. When working in slip stitch designs, both single and double bed, the stitches on the needles being slipped get longer until they are knit off again.
By varying the sequences in color changing, the total number of carriage passes can be reduced, i.e., in this instance, by 14. Reducing carriage passes by eliminating pairs of rows with no color in them is an interesting concept.
Keeping track of fixed color change sequences, i.e., 1, 2, 3, with ease and avoiding patterning errors may more than make up for any of the time saved by reducing carriage passes. Food for thought, as an example, my DBJ limited edition scarves usually were composed of at least 1200 knit rows.
The difference in the length of the stitches in the rows where fewer colors are represented may be visually noticeable, or make gauge in garment shaping less predictable.
Large tests, i.e., 100X100, are good indicators in determining personal preference in method, result, potential effort involved, and whether one should because one can.
Small areas of yet another added color can always be dyed or duplicate stitched, keeping the remaining fabric constant.
Variable color changes may rule out the option of using a motor when knitting large pieces or production series.
The same process can be repeated with designs containing 4 colors per row. The manual separation can begin with any chosen color in the first row of the design. In considering software separations, consistency can be established, i.e., starting with the first colored cell on the left, or the color represented by the largest number of stitches/pixels in the first design row. Defaults, depending on the program chosen to automate the process, can be different.
Switching out colors may make the knit from screen clues less meaningful in tracking changes.
The abridged 4-color manual separation now begins with a new 11X10 image, multiplied in height X8, the number required to knit each of the 4 colors for 2 consecutive passes, 11X80 The last BW PNG, tested on 44X160 is planned to knit each color in each separated pairs of rows only once, with no needles selected/ knitting on the top bed on returns to the color changer.
In charted rows with no color, the ribber still completes a single full knit row, carrying it for 2 passes.
In swatching, I forgot to change the ribber cams to slip along with the use of the lili buttons for birdseye, and the result was an interesting surprise,  striper backing with ripples, a technique that could be developed further, intentionally. The green yarn was ending, and was replaced with the navy in the birdseye sample.  compared to the striper-backed version and, lastly, to the 3 color birdeye backed repeat.  With the separation PNG already available for download and programmed as a FI design, I “had” to try knitting a swatch using the 930’s built-in double-wide variation key. The bottom of the swatch began with birdseye backing, the top completed with striper, using the same yarns and carriage tension numbers. There are interesting variations and contrasts in color distribution as well as textures when comparing purl and knit sides. Using the 4 color separation with only 2 yarn colors, a “what if” experiment

One repeat explored in many ways

Questions as to how to design for specific knit structures or how to use randomly found repeats appropriately turn up regularly in forums.
A review of punch card repeats found in downloadable volumes, which provides clues as to the suitability of random finds for different techniques, can be found in  Punch cards to electronics: book symbols and samples.
This post began with a random published find from an electronic pattern book. The initial goal was simply to evaluate and play with the design, and then it evolved into a project growing in size as more ideas were sparked for added swatches. the match, 24X3648X72 is potentially usable for
1: knitting as FI, with a wide maximum float of 9 stitches, which would merit control
2: thread lace, both yarns knit white pixels, the thin yarn forms the stitch on the knit side, the thicker yarn floats behind it
3: knit weaving, deciding whether to manipulate the long floats that are formed intermittently
4: tuck stitch, must be color inverted, white pixels form tuck loops for 1, 2, and 3 rows in various spots in the design.DIY editing of the first repeat, seeking uniformity, eliminating rows, and shifting pixels for added possibilities.  24X24in full repeat X2, 48X48doubled in height, 48X96 color inverted, 48X96potentially knittable doubled in height once more, test with thin yarn, 48X192tested single bed for 60 rows, an obvious change in texture and aspect ratio. Single bed using the original, color-inverted file, 48X72. The yarn is a 2/20 wool; the resulting stitches are open enough to allow the dark bleeding through from the background to influence the appearance of its color. The swatch measures 7.25 inches in width.  Double bed
The knit carriage is set to tuck in both directions, the ribber to knit in both for what is often called pintuck or punch tuck rib. The knit lies flat and is “reversible”. Using the same number of stitches and knit tension as the above, this swatch measures 10.75 inches.  With the tuck stitch file easily color-reversed on the electronic, the knit carriage set to slip in both directions, and the ribber to knit in one, slip in the other, the density and width of the resulting knit change significantly.
Punchcard knitters would need to punch a second card.
Blisters are formed on the knit side while stitches on the ribber become elongated when slipped.
As the knit carriage returns to the left and skips needles, floats are formed to a max of 9 needle spaces, and eventually form pockets in the white pixel areas. As the ribber knits in one direction, it slips in the other, and stitches become elongated until they knit once more. The yarn needs to be able to tolerate being held for the necessary number of rows without breaking. The swatch measures just under 5 inches in width, although worked on the same number of needles as the tuck samples.
Some of the color difference is due to a change in natural light, but also to less bleed-through of the background as a result of the fabric density. As double bed knitters know, several inches of knitting happen before you can crawl under the machine or get creative with a mirror and/ or + lighting, to see whether you are actually knitting the intended pattern. This design, using the same yellow yarn with the added blue yarn of the same weight, and the same carriage tensions as for other double bed samples, made it hard to see whether anything but stripes was being produced while on the machine. The bottom of the swatch was knit with striper backing, the ribber set to N/N, and measures 6.5 inches in width. The top was knit with birdseye backing, using both lili buttons, the ribber set to slip in both directions, and measures 5.75 inches in width.
The color placement for background or design can simply be chosen by which color knits first, so either the color-reversed or the original repeat may be programmed. Original 48X72Single bed
This swatch was knit using the thread lace setting, and two slippery yarns, a rayon and a nylon thread of an unknown brand. Serger monofilament is an option, but my supply is multiple decades old and broke easily halfway up the first repeat. Testing large swatches and blocking them in the same manner as the finished piece would serve as guides in making choices.
End selection needle is canceled, but if end needles are brought out to D as part of the pattern design, they need to be pushed back to the B position manually before the next row is knit.
Width comparison does not apply, since the tension required was double that used in the other swatches.
There are less common applications when choosing designs. For example, the same repeat was tested to create a single-bed lace transfer design, with a single row knit after the transfers in each design row have been completed. It finally took using a 4th yarn to get the stitches to knit properly, unlikely something I would knit in a large piece, but it helps to understand what happens with reversals of directions in the mesh.  An explanation of the technique, with added swatch samples and designs, may be found in the post Unconventional uses for punchcards 2: thread lace cards for “filet” mesh 
The slip stitch double bed blister knit was shown previously, using the starting 48X72 repeat. Here is a double bed version, using the plaiting feeder and with the knit carriage set for thread lace. The results differ with placing the yarns in alternative positions, and both swatches measure 9.75 inches in width.