Origami inspired 2: more pleats and folds using ribber

WORK IN PROGRESS

Periodically I search out previous drafts, this post was started in September 2019. Drawn to folds in a variety of ways again, I am publishing it in progress with the intent of adding more and information and related swatches.

Some previous posts with related topics and technique swatches: origami-inspired pleats1, racked patterns Passap/Brother 2, ribber pleated fabrics, and some possible needle arrangements 3.
There are many considerations if long panels or wide ones are required when setting up repeats in addition to what happens at the edges of patterns in racking as one bed moves near or past the needles in work on the opposite bed. If something like a skirt is planned, the choice must be made as to which side of the knit is preferred, and the end stitches of each panel should be on the underside of the piece unless the join is a deliberate design feature. To achieve that, some panels may need to be wider than others. If the pleats are bulky and involve deep foldovers, panels may be attached to yokes to reduce bulk at the hips. If working from illustrations for pleats for another brand, the needle setups shown may need to be reversed, or, since many such fabrics are reversible, if manual set up and no additional patterning on the Japanese machines knit bed or European true double bed they can be knit as illustrated. Lock settings for the Passap are given with the back lock first (ribber settings on Brother), then for the front bed lock (top, knit bed on Brother). Cast ons must be fairly tight so there is no flare at the bottom of the pleats. They usually start on a standard needle setting. Needle transfers are usually made after the cast-on is completed, sealing the stitches with one row of all knit stitches. Swatches should be a minimum of 100 stitches wide by 100 rows if the end goal is a gauge significant garment. All fabrics with texture may change in both appearance and gauge after a period of rest. Some shaping if needed may be obtained by tension changes, OOW needle arrangements on either or both beds, or stitch type within folds (ie adding fisherman, half fisherman, EON patterning, etc.)
Pleat formation on the double bed is “easy” because the pleats are formed “automatically” according to the needle arrangement on each bed. That is true if the resulting folds are created by stocking stitches in vertical bands. My goal is not to provide patterns. There are many well-written ones easily available.

How small can one go? A tiny pleat: It is easier to transfer stitches when the ribber is set to P (Passap handle up). Remember to return the setting to half-pitch before continuing. The pleat is reversible, shown on both sides, reminds me of shadow pleats racking by one position X3 at first, and then X 5 in each direction did not produce results worth the effort IMO, the result is subtle, the reverse side of the fabric is slightly stretched in the bottom photo. Here the fold is created by 2 stitches tucking for 2 consecutive, then knitting on the same needles for 2 rows on regularly spaced pairs of needles on either bed. Most knitting is on a single bed. A lacey series of eyelets begin to appear, and in some random racking at the top of the swatch, the possibility of developing a secondary pattern due to the combination of racking and tucking begins to show. The middle image is of the fabric slightly stretched.  Passap Brother: the ribber can do the stocking stitch background, every needle in work, carriage set to knit. The setup is the same as the Passap diagram. A repeat with 2 black rows of squares followed by 2 white can be programmed on the top bed. On every needle selected rows, pairs of needles will knit, on the white, no selection rows the same pairs of needles will tuck for 2 rows. Moving away from vertical ribs becomes significantly easier if one has a G carriage. The alternative option is to create geometric folds that require transferring between beds. Any of these fabrics are best knit in a yarn that has memory and can spring back. Yarns such as acrylic can be permanently flattened by pressing, resulting in loss of texture. A quick experiment: black cells represent knit stitches, blue purl ones The needle setups: after casting on, transfer for a stitch configuration based in this case, of blocks that are 5 stitches wide. A single needle on the opposite bed is used on each outside edge of all needles in work.  When there are no groups of stitches in work on both beds the pitch can be set to and remain on P, which also will make transfers easier, as needles will be point-to-point. The ratio used in the test was in multiples of 5. The groups were 5 stitches wide, 15 rows high, with all knit 10 rows in between the repeats. The fabric is shown first relaxed as immediately off the machine, then lightly steamed and stretched. The yarn is a 2/18 wool, far too thin for this use, and likely to flatten considerably with pressing. The close-up of the purl side offers a better view of the resulting folds The repeat, 10 stitches by 40 rows. More on Knit and purl blocks to create folding fabric_ “pleats”Pleated, plaited shadow lace Pleated one color “shadow lace” in Slip stitch patterns with hand transferred stitches, double bed

Pleated dbj A repeat that will spiral, usable in spiral socks Spaces between any and all blocks may be adjusted to suit one’s preferences.

Visualizing maze or mosaic potential from tuck or slip stitch repeats

I have written extensively on mosaics and mazes, color separations required for drawing their motifs, and visualizing the resulting patterns while planning slip stitch or tuck repeats. A recent exchange with a knitting friend, Tanya Cunningham, brought up her idea of using Gimp to investigate the potential of self-drawn tuck patterns becoming pleasing mazes or mosaic designs in color. Tanya has worked extensively with img2track, can be found in the FB group and Ravelry. It had not occurred to me to reverse engineer designs for this purpose. Tanya uses Gimp in a different way than I do, I am hoping she will share her process for this purpose when documented.
I have grown comfortable and fast with the combined use of Numbers and Gimp to achieve what I desire in terms of color separations. At the moment, on the assumption that estimating the overall shape is the goal, a black and white processed rendering may be a sufficient representation of the result.

Punchcard books are a great source of “safe” tuck designs. The best are those that have columns one stitch wide by 2 rows high. They are also more interesting if there are areas of solid black. Patterns from publications intended for use on electronics are often color reversed to start with in order to minimize drawing pixels or to make the design easier to read and will have lots of blank areas. Punchcard users would need to punch the ground as opposed to the design, electronic users can achieve the goal by the flick of a switch or a quick software command. For my first series of steps and methods, I am using the repeat that appeared as a knit using different settings in the post on mazes and mosaics from universal patterns.
Presented on the left, the repeat would be suitable only for thread lace or FI with very long floats. Color reverse allows one to use it for tuck and slip stitch, whether in one color or with color changes every 2 rows. The color separation to approximate the result with color changes begins with the same process as that used for designing mosaics. Once the image is rendered as a correct B/W png with no apparent errors, it is copied and pasted on a larger canvas, the mode converted back to RGB. The red cells make it easier to keep track of rows that need to be color inverted. Using the shift key and rectangle tool, multiple pairs of rows can be selected sequentially and color inverted. Beginning the selection with the very edge of the black squares on the left does not interfere with changing the color of the extra columns on the left side of the design. If pixels are added accidentally drawn in any of the 4 extra columns on the left, they can easily be removed when the completed conversion is cropped to selection for the final repeat. The completed color separation can then be bucket filled to match imagined colorsTiling the repeats to imagine the final knit presents the problem that results from working on a square grid and comparing the results to a knit, which usually produces a rectangular one. The representation for the linear patterns produced on the knit side of the piece cannot factor in some of the added distortions created by the stitch type used. I process my images in Pages or Numbers, depending on which document contains my most recent work and happens to be open. It is also possible to perform the final rescale in Gimp. Most knits approach a 4:3 ratio, with gauge variants in highly textured fabrics.  To preserve a clean design, tile and save the original, screengrab the resulting image, load it in Gimp, and rescale.   Repeat the motif for the same number in both height and width when tiling it. The colored versions before and after scaling, compared with the slip stitch swatch. It is possible to produce a rectangular grid to start with on which to draw in Gimp, but the larger canvas size occupies a significantly larger space on the screen, complicating the process. For small designs, however, that may be an option to give one the sense of aspect ratio for the design in the final knit ie in representational FI. To resize the grid in uneven proportions, the chain-link below the spacing values needs to be broken This repeat is designed for an electronic, requires color-reverse. Since it is 24 stitches wide and it may also be modified and used on a card. In this instance, the original marks for rows and stitches are single height. The image is processed, matching the original, rendered double-height, color reversed, and then alternate pairs of rows were color inverted to render the repeat used in the test swatch Once again, the possible change in scale is estimated. The repeat though only 24 stitches wide, is 92 rows high. On the left the repeat is shown as it appears on a square grid, to its right is the scaled 4:3 version, in a pixel count approximating the size of the swatch. It takes a bit of squinting to see the pattern more recognizable in the longer repeat in the larger tile The swatch was pressed, becoming wider than when first off the machine. It was knit using the slip stitch setting, could also be executed in tuck stitch, which would both widen and shorten the fabric and make the purl side more interesting.  The software can provide a preview of the result far more quickly than knitting samples, but again, the previews are only approximations of the scale, and cannot show distortions to lines as one adds more texture.
Repeating the process starting with a diamond shape that as given is only suitable for thread lace or FI with problematic floats,  and with a check tuck pattern that may change in aspect ratio considerably when knitted The proof of concept swatch, knit in tuck stitch, begins to show the distortion by the stitch formations, textures vs plain knit, easily seen at the top edge. The bind-off is around 2 gate pegs in order to allow enough stretch.  Anyone familiar with either or both programs may find this a very quick way to visualize the scaling and moving of motifs within DIY designs and their possible outcomes prior to test knitting

Bowknot aka butterfly or dragonfly stitch in more than one color

There has been a resurgence of interest in this stitch in the FB machine knitting group and discussion exploring a variety of methods for creating it. The inspiration, taken from a commercial sweater-knit:   For some single-color variations see Bowknot/ Butterfly stitch on the machine and No longer a mystery pattern.
I program repeats whenever possible, find it useful in eliminating errors, particularly in longer pieces. My own first experiments for this fabric were conducted using the fair isle setting, which is essentially a slip stitch automatically working 2 colors with each pass of the knit carriage single bed. Slip stitch patterns with hand transferred stitches, single bed explores some of the methods for bringing slip stitch floats to the knit side of these fabrics, which is part of the hand techniques necessary to achieve the colored versions. As with any knit fabric yarn qualities, color contrasts, tolerance for proper stitch formation are all variables.
For vertical columns in 2 colors, it is only necessary to program a single, fixed row with a punchcard or electronic, or choose any pixel-based repeat akin to this with full pairs of alternating stripes. I like to plan with selected needles at each end of the sample With the machine set to FI, needles not selected will knit a ground color, while selected needles will knit the color in the B feeder. It is easier to manipulate the slip stitch floats from purl to knit side if working in the non selected groups of needles. Having the columns in odd numbers of stitches makes it easier to handle steps that require finding the center needle in each group if one is wanting to maintain symmetry. In my first test, I manipulated only the selected groups of needles to work the float movements, leaving the floats from the other color undisturbed, which makes the process far more convoluted than it needs to be. In this and in the subsequent sample I manipulated the left and right-hand pairs of floats moving them to the front of the knit, leaving the choice of what to do with the remaining center floats. In A they were brought up on top of the center needle in E position before knitting the next row. In B they are lifted into the hook of the needle brought out to B position, so that stitch is knit in color 1, while in C the remaining single stitch floats are simply left alone. In a couple of spots the yarn split, getting hooked up creating bleed through, and what would result in an issue if that happened on the group of floats that were to be moved. As stated, the process is easier and quicker working on non selected groups. Above, the yellow yarn was thicker than the blue. To maintain proper color selection in the non-selected column, the center needle needs to remain in B position, with the slip stitch floats below it before the next row knits. If the needle is brought out to E, it will knit in the contrast color, forming floats in that color on the purl side, and a knit stitch in what was planned as an all-solid column on the knit. The results are seen at the top of the first sequence in the swatch. I chose to limit my number of floats to 4 to keep the process manageable, moved stitches on the left of the center needle to the front of the knit, then followed with those to its right. One of the many things to explore in hand technique fabrics is finding a way to handle tools that may be more comfortable than others, practicing on single blocks of color first can help establish that. Below both yarns are equal weight and thinner. The floats formed by the color in the B feeder are also hooked up on the center needle in each vertical group in that color, forming a pattern on the purl side as well. The needle position for selection for B feeder yarn also needs to be maintained. Bringing the needle out to E ensures it will knit on the next pass. In both of my tests, the slip stitch floats on the knit side lie more horizontally than the lifted up floats on the purl  Other ways of working the fabric, along with a history of the FB thread offered by Claudia Scarpa including a single bed slip stitch version with an English downloadable PDF http://ratatatata.it/dragonfly/
her youtube video illustrates a different way of managing floats than mine.
JuliKnit offers 2 videos knit on Silver Reed 1, and 2. Both are knit using the ribber, the first method uses holding to gather loops on each of the beds, the second begins to address automation for needle selection on the top bed using DAK, with the selection on the ribber remaining manual. The stitch illustrations generated in DK offer knit stitch simulations such as these Executing her versions on a Brother machine requires some interpretation. The fabric is constructed using the ribber in conjunction with the main bed. The vertical columns are 5 stitches wide.
Colors are worked one at a time. If a color changer is to be used, an even number of rows would be required for each pattern segment. For 4 floats followed by an all knit row, the repeat would be 5 rows high, so one consideration would be operating with the second color from the right, requiring free passes. Studio machines release the top of the knit carriage at an angle from the bottom, so that explains the move seen in the video in order for the carriage to be moved to the right. Brother machines use the slip stitch setting in either or both directions, to achieve that. Using both buttons avoids any confusion. All needles in use must be in the B position for the “free pass” to avoid dropped stitches. The number of rows gets adjusted in the videos eventually to 6.
When working on the top bed, the ribber is set to slip both ways.
For those unfamiliar with Studio settings a brief review: the Studio SRP60N ribber introduced the option for knitting emulating the lili selection in Brother. The grey plastic piece on the left of the studio ribber, the autoset lever, when cleared would essentially duplicate setting Brother levers to slip manually in both directions, clearing it again would return it to knit. Cast on either EON or EN rib. Transfer needles in a 5X5 rib beginning and ending with a single needle in work on the ribber on the far left and right,  setting up the initial needle arrangement for the fabric. Black dots represent needles in work on both beds, red ones the initial needles that will be worked in holding position on the top bed. The video knits each color for an even number of rows. Bring the first and last needle into work on the ribber before knitting each row. The remaining stitches knit only on the main bed. The knit carriage is set to knit, the ribber to slip in both directions. Pick up the chosen color on the left, knit for an odd number of rows, when carriages are on the right, push held needles back to work position so they will knit on the pass back to the color changer. The ribber knits the next color. A review of the Brother ribber carriage for those not familiar with it COL: main bed will now slip in both directions, set it accordingly. The ribber only knits. The center needle on the top bed that held the butterflies is transferred down to the ribber, illustrated in the red dots over black ones. The center needles in the blank areas on the ribber, blue dots, are brought up to hold, the ribber levers are set to knit in both directions, holding levers are set to hold in both directions as well,   knit for an odd number of rows, with carriages on the right, push held needles back to work position so they will knit on the pass back to the color changer. COL: knit carriage changes back to knit settings, the ribber slip setting in both directions is restored. The center stitches that formed ribber butterflies are transferred up to the top bed, needles at the center of the blank areas on the top bed are brought out to hold. The color is changed, and the process begins again. My first efforts were met with dropped stitches after a few rows and expletives. My second efforts fared no better, I simply could not avoid dropped stitches on either bed, perhaps because of my yarn choice and the small tension it required. Working on the single bed once more, using the slip stitch setting and knitting one color at a time, I achieved a fabric more similar to the original photograph. The chart reflects the number of needles in my test swatch, with a 2 knit stitch border added on each side Each color knits for 4 rows. At the end of each 4-row sequence, the non selected needles allow for manipulation of the floats. The transfers in the piece begin on row 5. Before the next row is knit in the alternate color, the slip stitch floats are reconfigured, bringing stitches 1 and 2, 4 and 5 in each group to the knit side of the fabric, leaving the center floats undisturbed. Bring the whole group out to E position so they will form knit stitches with the first row of contrast as the carriage moves to the right. Knit 4 rows. The carriage will once again be on the left unless 2 carriages are in use from opposite sides. The center needle in each group of 5 will be left unselected. Lift floats up onto that center needle, and bring it out to E position so that it will form a knit stitch in the next color to be used. The final result, closer to original

 

 

Slip stitch patterns with hand transferred stitches, double bed

It is also possible to create solid color patterns on the purl side on a striped ground by at first transferring all stitches down to the ribber, then, in turn, using slip stitch selection on the top bed to choose only the stitches that will be manipulated on the main bed. A similar repeat worked on the single bed, may be found in the previous post on Slip stitch patterns with hand transferred stitches, single bed. And a relative, including a double bed version: Bowknot/ Butterfly stitch on the machine, and: A no longer “mystery pattern”.
When working over a striper backing, the color changer is generally in use, and changes happen in even numbers of rows. In my test swatches changes are made every two rows, and whether single or double bed, the color yarn creating the solid color shape needs to not knit while the alternate color is worked only in the background. The held stitches grow in length.
End needle selection is canceled in my samples. The extra needle selection prior to the next all knit row helps track the direction of the moves, stitches are moved three at a time, there are no cable crossingsThings do not always “work”, that is part of the process The next step for me was to explore cable crossings on elongated stitches working double-bed. A basic pattern on any programmable machine for playing with elongated stitches on one bed while knitting every stitch on the other is to program pairs of blank rows followed by solid punched or black pixel rows. The yellow line in this chart illustrates the row on which cabling might occur. Programming the width of the needle bed allows for only the stitches forming vertical columns in chosen locations to be put into work, allowing one to place groups that will involve crossings anywhere on the chosen pattern width. A base is knit in the ground color, which slips for 2 rows on the main bed, creating the elongated stitches that will be cabled. I had no problem with 2X2 cables,  but as in working on the single bed, for me, straightforward 3X3 crosses were not cooperative, even when I attempted to introduce extra knit stitches on the sides that were then dropped for added give on the last slipped row, taking me back to the drawing board. Cabling, returned to in a later post, with adjustments, making things work. Continuing with shapes on striped grounds, this is the result of a self-drawn pattern  The approach is different than in the blog post on Brother shadow lace, rib transfer carriage, where shapes were created in only one color, and the textured patterns by bringing needles in and out of work on the ribber. To create the striped ground in the above, color changes happen every 2 rows. The ribber knits every needle, every row. With the ribber on half-pitch, the transfers are all made from the main bed needle to the needle immediately below it and slightly to its left.
In the chart on the left, the green cells represent black pixels that will be programmed for patterning on the top bed, red cells, the stitches on the top bed that need to be transferred down to the ribber on the respective row.
Grey cell rows stand in for all blank ones in the final repeat.  This design is too wide for punchcard machines, but the fabric is possible there as well in different widths, isolated or all over. After casting on, all stitches are transferred to the ribber. Border, plain knit stripes can be added by simply having a larger number of needles in work on the ribber than the planned pattern width. With no needles selected in the pattern on the top bed, those ribber stitches will simply knit every row.
These fabrics are a little different than those with needles out of work on the main bed while using the slip stitch setting, in which case KC II on electronics, end needle selection needs to be turned off on all models. When all needles are in B position, depending on the pattern, KCI may be used. Simply using KCII eliminates any guesswork.
The first preselection row is toward the color changer with the knit carriage set to slip in both directions, only patterned area needles need to be in work. Non-selected needles, as usual, perform no function while those corresponding to where black pixels or punched holes occur will pick up loops on the top bed, initially creating eyelets, and then continue to form knit stitches until any of the corresponding stitches are transferred down to the ribber. The pattern yarn forms a short stitch in one direction, an elongated one in the other. A detailed close-up of stitch formations Plain striped rows in areas without the design continue to be knit in the slip stitch setting, or every needle in work on the top bed will pick up loops.
When hand manipulating stitches it pays to be mindful of maintaining all needles in the pattern in B position, not accidentally sliding them back to A.  In the past, I have attempted pile knitting on my machines. Studio machines produce the best fabric in the category, I have read Toyota performed as well. Books such as this are a good source for pile designs, including the card repeat used in my proofs of concept Punchcards, in theory, may be used as given and set to double length, while for use in electronics drawing the pattern single height and using the double-length setting is also an option. Starting sides and fixing errors have always been more confusing for me when using the double-length feature, I prefer to punch holes or program pixels as I intend to knit them. The isolated reduced repeat for use in the electronic is charted, with an initial one-pixel error in 2 consecutive rows, marked with red cells. In transcribing any design, it is worth checking repeats multiple times after eyeballs and brains have had a rest. This was my start:
The design process using Numbers before exporting the repeat to Gimp for reduction to B/W png: in this approach, the repeat is drawn double height to start with. The red cells represent stitches that will be transferred down to the ribber before knitting the next row in the pattern color from left to right.  The first test is of an isolated motif. The yellow arrow points to the pixel error, the cyan to the positions where some needles in the full repeat were “accidentally” placed in A position, not B, resulting in pattern stitches not being formed.  Another review of the original card, a final adjustment in the repeat: Tiled view, committing to the result, the larger test swatch Two other options for charting the fabric in numbers: A. draw the repeat as given
B. starting cell size used was 20X20, change the height to 40
C. mark corner blank cells and screengrab for Gimp import
D. the repeat processed in Gimp matches the first version
Any simple Fair Isle repeat may also be used. The numbering in the charts matches what is normally seen on the left edge of the tables
A. the FI repeat, 8 rows high
B. a table slightly longer than double the repeat height, hide even-numbered rows
C. copy and paste the FI design on the table with hidden rows
D. unhide rows, isolate the repeat, adjust cell height, and continue to process as described above 

The original punchcard design may be used in a different manner if the goal is a single color fabric. The design may be copied as is, then filling in the blank lines with the same holes or pixels as in the row directly below it. Here, in addition, the repeat is altered to accommodate a half drop repeat on the right with a few pixels changed. My initial proof of concept is 32 stitches wide, narrower than the full repeat The rows need to be scanned before every pass, as transfers to the ribber are not symmetrical due to the shapeshift on the right of the design. The world of possibilities grows even further for single color shadow lace, when, examining the same design, one recognizes that the pile knit card, with the blank rows filled in in pattern, is the same as the fair isle version of the repeat, rendered double long Some authors have suggested plaiting as an alternative to creating shapes with true brioche, which can be complex.  To my mind, plaiting falls in the beauty being in the eye of the beholder category, I prefer far crisper color distinction in my knits. This sample from the previous shadow lace post uses thick and thin yarns  Using the image adapted from the studio pile card once more, I tested using 2 yarns of similar weight, the adjusted test repeat: its accompanying test swatch

I have long been interested in pleated knits, both single and double-bed. Working single color or with plaiting makes the repeats easier for DIY designing. Seeking proof of concept for possible “origami” pleating: on the left, yellow marks the spots for transfers to the top bed, which will create folds out toward the knit side. For folds toward the purl side, stitches are manipulated on the ribber, with the final design repeat shown on the right. The ribber carriage is set to knit throughout. The needle from which the stitch is transferred to the main bed is moved completely out of work. After the transfer, the main bed needle accepting it is returned to the D position.
The knit carriage is set to slip in both directions, end needle selection is canceled.  Subsequently,  non-selected needles, 1 in the photo, serve as guides for transfers to the ribber, made every two rows. The needles emptied from the transfers need to be maintained in the work, B, position. The selected needles, 2 in the photo, will pick up loops automatically, creating eyelets as seen in previous swatches. The swatch would have benefited from tighter tension or thicker yarn, the folding effect is greater than reflected in the photo. Initially, those pairs of center stitches were not transferred up to the main bed, showing the absence of that fold when that action is omitted. Any of these patterns benefit from deliberate planning of the placement of the pattern on the main bed, not done in this instance.   Transitioning to smaller repeats, tiling will help avoid patterning “errors” as seen here where the full diamond shapes reverse  Graph paper or spreadsheet planning will help avoid misses in necessary transfers in areas where all needles have been selected the file for multiple repeats after color reverse the test knit as using transfers as described above and here the empty needles creating the eyelets were filled by picking up the purl bar from the stitch below on the ribber. A lot of work for a change that is not significant in the structure of the fabric.  In my last test on eliminating holes and how that affects the degree of the folds, transfers to fill in newly selected needles on the top bed were made from below the adjacent needle on the top bed, B, as opposed to immediately below on the ribber, A If patterning is used to track transfers, needle selection on the top bed needs to be maintained throughout, the result of this process is not interesting enough and just too fiddly and time-consuming for me to be interested in exploring it further There is an interesting scale and depth of fold comparison between this version and the first using the repeat, achieved by tightening the tension as much as possible, and possibly by reducing the size of the eyelets.

Exploring manipulations with more than one color patterning on the main bed: there is a type of DBJ that relies on knitting the same color for 2 rows that is inherently different from the KRC built-in separation that is the default in the Japanese model machines. It causes elongation in the design, while the KRC version minimizes it. The differences and methods of the corresponding color separations have been discussed in other posts. Stitch manipulations may occur when working DBJ as well. Simple designs make the best start for beginning to explore the topic An easy variation is to plan full repeat segments mixed with a striped ground worked only on the ribber Take care if copying and pasting single columns to alter a repeat width that the whole column is indeed copied and that if using the pencil tool flood fill is not used unintentionally. The original intent was also to correct the elongated slip stitch segments on the edge of the programmed vertical designs marked in blue, but the paste with errors in red accomplished creating the same issue The design is programmed for DBJ. Because of the color separation used, the first preselection row is from right to left. Before knitting the first pattern row, all 10 non-patterning needles on the main bed were transferred down to the ribber. The first segments were knit using striper backing, with the ribber knitting every stitch, every row, in both colors. When a slip stitch is used with needles out of work on the main bed, end needle selection should be canceled. In A it was not. The result is that end needles alongside the out-of-work column knit with each color in each row. In B, end needle selection was canceled, and one can now see the elongated slipped stitches that result from areas that should have been marked with the contrasting color As long as the number of stitches on the ribber is even, lili buttons may be used, affecting the scale of the pattern in both height and width. In A, they were used with the ribber set to slip in both directions, in B, set to tuck in both directions. C marks the return to the N/N setting, with needle transfers to mark a possible pleat. The initial pleat idea charted out for single stitch folds, stitches transferred to ribber in the R columns, to the top bed in the T columns The result is a fairly soft pleat, the choice below was to retain end needle selection.  Various ribbed pleat configurations are explored in Pleats: ribbed, folding fabrics. This repeat may not be the best to use for a variety of reasons, but experimenting while using the same design and yarns can be useful in understanding stitch formations. Theoretically, the alternating direction of folds should create sharp or knife pleats. folds up asPaired transfers in the planning stages: because the repeat is small and has a single center pivot point, it is rendered once more, adding columns Here the transfers planned to opposite beds are marked on a 48 stitch repeat with red cells.
The resulting fabric relaxed on the left, lightly steamed on the right Note: the color positions in the design have been reversed from those in the first swatch. If “floats” are noted at any time in the spaces where needles are out of work on the ribber, look for dropped stitches.

Vertical bands of color,  even in patterns may be transferred to and from beds to achieve a sort of intarsia effect. One option is to work with vertical bands of fixed color, using the KRC built-in separation. When shifting gears it is useful to remember the starting side for the preselection of the first row of patterns. With many of the previous patterns, designed for color changes every 2 rows, starting side was on the right, toward the color changer. With KRC in use, the first preselection row is away from the color changer on the left, moving toward the right. With either method, starting on the wrong side will knit stripes as opposed to planned patterns.  Needles in locations where only the backing is to be shown are transferred down to the ribber. Leaving the eyelets, they were transferred back up to the main bed when brought into work to reverse or change the shape. Addition and subtraction of stitches take place before the next pass with the alternate color. Here movement is random, to get some sense of the effect, it could be made deliberate by following a chart or color separating and automating the pattern, with its starting side on the right.  This sample is from a much earlier post. Transfers could be made less frequently to change the angles in the resulting shapes, always onto the same color What of having shapes appearing in each of the 2 colors on a striped ground? Eliminating some of the guesswork I used the repeat from a previous single-bed blog post on block slip stitch color separations The repeat, 32X44The resulting sample, the yarn is thin, might have benefited from tighter tension and more contrast.  These fabrics and related shadow lace ones fall in the category of double bed embossed patterns, many more variations are possible, and deserving of their own post.