Author: Alessandrina

A adding hems to varied knits

WORK IN PROGRESS

Machine knit hems 2 and Machine knit hems 1 discussed picking up stitches to form hems across full needle widths.
“Wisteria” meets hems introduced small hems in combination with short rows. Slip stitches may be formed and brought to the front of the knit, they tend to get elongated in proportion to the number of rows for which they are held.
Single bed tuck and slip stitch fabrics 2: adding color  presents some of the visualizations for and distortion of horizontal stripe patterning resulting from frequent color changes.
Slip stitch patterns with hand-transferred stitches, single bed looks at methods to bring the elongated slipped stitches to the front of the knit.
With a start on the left and an even number of rows in each horizontal stripe allow for knitting away from and back to the color changer consistently.
The first sample, plotted in a spreadsheet, is purely a hand technique, no programmed clues, but a custom needle tape can be colored in to aid in correct needle selections.
In knits where stitches need to be held and not worked, one method used is to knit specific stitches back to the A position.
If using the color changer each stripe must be formed by an even number of rows with selections from left to right.
The repeat is 40 rows in height. I chose to continue the hems on both sides of the swatch.Following the chart, knit 8 rows with color 1, end COL
COL: change color to 2, using ravel cord knit through stitches marked with white columns in the chart back to A across the row (1)
knit 4 rows, 9-12
return to COL, hang a hem on every needle
COL: change to color 3, knit 4 rows, 13-16
return to COL
COL: change to color 2
knit 4 rows, 17-20, return to COL
hang a hem, I chose to pick up the stitches in the row below the hem color (images 2 and 3), bringing needles out to E as I worked across the row, watching for any dropped stitches on each side of the ravel cord
COL: change to color 1, using any preferred tool reach behind the floats formed in the areas of skipped stitches, lift up the stitch held by the ravel cord back onto the needle bed across the row (3), knit 8 rows with color 1, 21-28, end with COL
COL: change to color 2, repeat the process for the alternate groups of needles, with color changes and action occurring on rows 29-32, 33-36, 37-40. Another method for creating the long stitches on the knit side is to use short row technique, setting the knit carriage for holding.
Again, knitting is planned to start from the left side, using each color for an even number of rows. Three stitches were added beside the needle tape markings on the right. 
Plotting the actions in a spreadsheet, and planning knit with no held stitches on either side. Symbols, numbering, and note keeping can be developed as preferred in personal DIY.During knitting keep an eye out for stitches on either side of those placed out to hold, they may have a knack for dropping.
After the choice of base knitting, begin pattern with COL and color 1
knit 4 rows, returning to left, hang hem on every stitch
COL change to color 2, knit one row to the right
COR set knit carriage to hold, push first groups of 3 needles out to hold as indicated with the white cells in chart, and the blue ones on the needle tape, knit back to the left
COL change to color 3, continue with machine set to hold, knit 4 rows
COL change to color 2, cancel hold, knit 2 rows
COL change to color 1, knit 4 rows, hang hem on every needle
COL change to color 2, knit one row to the right
COR set the knit carriage to hold, push the alternate groups of 3 needles out to hold as indicated with the white cells in chart, and the blue ones on the needle tape, knit back to the left
COL change to color 3, continue with machine set to hold, knit 4 rows
COL change to color 2, cancel hold, knit 2 rows
COL change to color 1, knit 4 rows, hang hem on every needle
Continue in pattern

A return to lace with automated patterning, adding color striping

To mesh or not to mesh 6: chevrons  and Striping in lace fabrics 1 offer a variety of ways to produce color striped movements in lace knits of varying complexity. Published repeats intended for use with the lace transfer carriage may appear different ie when comparing the previously shared PNG on the left, to the one used in this post on the right, but are essentially the same with a shift in the placement of design segments. The “new” 24X60 PNGWhen adding color striping, the changes may be made manually or using the color changer.
Yarn ends and how to managed them are always a consideration when planning final pieces.
Side edge(s) may need small weights added to keep the yarn feeding so stitches remain even sized or on the changer side when yarns are carried up rather than cut to keep them from gathering the knit.
When testing concepts I prefer to use colors that allow for developing an understanding of how the stitches are formed and make it easier to identify dropped stitches, as well as tensions that do not challenge the transfers.
Striping with frequent color changes is easier to execute using the single bed color changer, which does not allow for operation of the lace carriage from the left.
To use the lace carriage operating from the right on Brother machines, the punchcard can be turned over and renumbered if needed, or choose a Toyota card, since in those patterns the LC operates from the right. In the electronic programming the design can be left as is in software downloads or models that usually require mirroring, or left alone in those that do not.
Two variations Many techniques can be developed from single full repeats and their close relatives. In DIY that fact can be used to create large collections.
Personal preferences, taste, and sometimes simple patience serve as guidelines.
Needles out of work may be added to create ladder spaces, can outline shapes or interrupt them with simple vertical lines.
When side by side stitches are transferred, large eyelets will be formed. They begin with side by side loops that are anchored by the subsequent pair of transfers in opposing directions.24X44 PNG After a break from looking at the swatch I began to notice missing eyelets, it is easy to omit pixels in lace PNGs with so few markings.
The revised repeat chart with the missing pixel marked in magenta,the revised PNGand the new proof of concept with correct patterning. Lace knitting can be fiddly, the bottom of the swatch illustrates some of the fun variations in patterning that can result while one exploring how to make things work with changes in yarn, tension, and weightsExploring what happens can only be discovered by trying it. Here 3 colors and then 4 are rotated 1, 2, 3, and then 4 every 2 rows. The pattern is symmetrical, the effect on the stripes’ movement or distortion is subtle.

Double jacquard using punchcard machines 2

Double jacquard using punchcard machines discussed how to separate a design for use in DBJ. Early pubs and manuals suggested punching several template cards to use as a guide in marking a third card for punching, a very slow low-tech process decades before presently available computers and software.
The design must be composed of an even number of rows. When developing DIY ones in the present software, the original PNG is doubled in height, meeting that requirement.
A review of ribber settings including for DBJ knitting, includes an explanation of the lili-buttons function.
The goal for this particular knit fabric is to knit each color in each design row only once, limited to designs containing only two colors per row, achieved automatically by the push of a button on electronic machines, ie in Brother, selecting the KRC button.
Double Jacquard and color separations: some previous posts, links, hints DAK users know this as method B.
One design row of pattern requires 2 rows of punched holes in the card, representing two carriage passes from and back to the color changer. Machine knitters often begin with a single bed and become familiar with knits that are worked using color changes every two rows ie tuck, slip, mosaics, and more with the first preselection row from right to left toward the color changer, and with each color in each row knitting with each pass to the opposite side.
In this DBJ separation, preselection begins from the left, with the first color knitting in the pattern only on the first pass from right to left.
The change can be a source of errors for new dbj knitters, resulting in stripes if preselection is made from the right side, or if the knit carriage is not set appropriately.
I am presently working on a Mac with OS Sequoia 15.4.1, Gimp 3.0.2, and ArahPaint 6.0.3375.
Rendering colors transparent in both Gimp and ArahPaint makes quick work of custom color separations for DBJ and many other both single and double bed fabrics.
Gimp: update hopefully with bug fixes May 26 https://www.gimp.org/downloads/
with each new update, it appears there are enough bugs in designing one-bit images that more than once I have reverted temporarily to older versions of the program.
This repeat posed no problem for me, using the subsequent 24X24 plaid repeat the program repeatedly failed to render the expected results, even after a computer restart. The process worked seamlessly in the previous version.
Issues were also encountered with a 2024 update.
The workaround ultimately, in this case, saving the inverted image filled with the blue brush, opening it with Gimp, and checking for the transparency alpha channel, finally enabled the conversion of the blue color to transparent to complete the separation, #7.
1: 24X24 image, RGB Mode, check Layer>Transparency, click to add alpha channel if not greyed out2. scale, broken link, to 24X48
3: open new, 24X48, color invert4: open new brush, 8X4, white color to alpha, copy5: fill #3, with brush at this point, the result looked odd, but copied and pasted on #2 it produced the desired results. The alternative, producing a more familiar appearance, was to save this, (#5), as a PNG, open it with Gimp, check for the alpha channel,
6: blue color to alpha

7: copy and paste #6 on #2,

  • converted to BW mode at this point will produce this saving the file, and opening it again with Gimp will produce the correct separation  For more on developing custom palettes see ArahPaint and Gimp in knit design 3
    ArahPaint
     the punchcard steps summarized  The larger repeat step by step: working in multiple windows, toggling as needed
    1: 24X242: multiply YX2, 24X483: #2, colors, invert all4: Tools, layer –> brush, 8X4 5: fill color 24X48 with brush6: copy the brush filled image, 5, paste it on the color reversed, X3, after rendering white color transparent 7: copy # 6 and paste it on #2, the elongated image, after rendering the color transparent, and save the after making certain the number of colors is set to 2 for a programmable PNG.
    When shapes are drawn with simple outlines, in as few as single stitches, some of the stitches may disappear into the ground or not knit properly if the gaps between them are very wide.
    Borrowing a motif from the last post, 24X52  following the above sequences: the file doubled in height to 24X104colors inverted brush-filled 24X104copied, white rendered transparent, and pasted on the color inverted image copied, red rendered transparent and pasted on the original 24X104 image produces the color separation check that the number of colors is set to 2 if it will be used to program an electronic model.
    The separation reproduces the electronic KRC, which starts preselection for row one from left to right, with the first pattern row of color knit from right to left, followed by color changes every 2 rows.
    In DIY one may design for personal preference. It is possible to move that last single row to the start of the repeat and then begin with the carriages on the right for the first preselection row followed by color changes every 2 rows.
    The repeats on a punchcard model are fixed in place, if a different arrangement is planned, the knitting needs to be on specific placements on the needle bed. The proof of concept with a full first repeat knit in striper backing and the second using birdseye. Beginning with a far smaller, randomly drawn repeat suitable for a punchcard model, 12X14a full FI card, 12X42Separation for DBJ in the traditional method
    the initial design double height, 12X28 color reversed the same size file brush filled copied and pasted on the color reversed image, with white color to alpha in turn copied and pasted on the first elongated image, red color to alpha compared with the amended color separation shown in repeat The difference in the results with the full separation repeated in full height twice: the swatch on the left was knit on the 930 programming the 12X14 repeat across the bed and selecting the KRC button, so the placement of the repeat on the needle bed differs from the card version although the same number of needles were used. The first preselection row was from left to right, with the knit carriage set to N as in many knits worked single bed with a start from the right. With the carriage on the right, the knit carriage was then changed to slip in both directions. The combination resulted in the first line of solid color knitting to the right and the first pattern row in the same color knitting from right to left. See below the swatch for suggestions as to how to eliminate the solid color row.
    The swatch on the right uses the shifted repeat, in fixed 24 stitch widths, with the preselection row from right to left in the cast on/ base color, followed by color changes in pattern every two rows.
    Both methods will produce a single row of the design repeated at the bottom of the piece.
    The amended repeat allows for the use of the more familiar approach.
    To knit, choose your backing technique ie striper, or birdseye.
    Cast on the appropriate number of needles using the base color, and knit at least 2 rows in the chosen technique ie with ribber set to knit in both directions or to slip in both directions using lili buttons. The knit bed is also set to knit.
    Ending on the right, program the pattern, preselect it to the left, change color, set the knit carriage to slip in both directions and continue knitting changing colors every 2 rows.
    The workaround to eliminate that extra solid color row as seen in the first swatch if using a previously published or factory-supplied card with this separation, advance the card to the very last row of the repeat, lock it on that row remembering to release the card after the preselection row.
    Similar steps apply to the electronic KRC separation as well.
    Choose your backing technique ie striper or birdseye.
    Cast on the appropriate number of needles using the base color, and knit at least 2 rows in the chosen technique ie with ribber set to knit in both directions or to slip in both directions using lili buttons.
    End with carriage on the left, change color, the ribber setting remains unchanged, and the main bed is set to slip in both directions.
    As the carriages knit to the right, the ribber will knit on every needle for striper backing or EON in the new color for birdseye, the top bed needles are preselected but no knitting occurs.
    With movement from the right and back to the left the first row of the pattern will be knit on the top bed, the ribber also will continue to knit on every needle or EON depending on the type of backing chosen.
    The settings on both beds remain unchanged as color changes continue to be made every 2 rows from the left.
    A very mini sample proof of concept in birdseye backing

Playing with floral designs

More collections to explore
Hound’s tooth FI variations  was a very early post which offered only charts, PNGs for the designs are now in the process of being added
Playing with diamond and argyle repeats
Developing tiled repeats suitable for multiple stitch types, includes some optical illusions
Seasonal knits inspired by published repeats 1 winter, holiday
Seasonal knits inspired by published repeats 2, hearts

Drawing any designs in repeat aids visualization of the potential finished piece. From mylar sheets and punchcard/ electronic pubs
40X43
drawn in repeat, 160X172

44X68
176X20448X54drawn in repeat, 144X16260X56 drawn in repeat, 180X16860X90drawn in repeat 180X9075X80drawn in repeat, 225X240Roses have intermittently appeared in my posts, ie in this exercise using Gimp to develop pattern repeats
The remaining repeats are marked in bold text and are followed by tiled versions on larger canvases.
Suitable for punchcard models, producing striped vertical patterning,
24X70 244X140In this case, elements were added in the negative spaces to reduce the size of floats, 24X24 slightly edited in half drop repeat, 24X51144X143 24X52 144X156color reversed 24X52If knitting in fair isle, the color reversal may be easily tested by switching yarn positions in the A/B yarn feeders.
With evolving software and beginning with online finds, more complex designs are attainable with a short series of mouse clicks.
Filet crochet pubs are endless sources of inspiration along with cross stitch, beadwork, etc.
83X117 165X230 to trim, edit, and make your own, 202X13444X50 132X15046X50138X15048X44144X13270X80210X24030X90 its half drop version, 60X90Drawing both in repeat to 180X180 helps to choose whether further editing is needed, and if the shift in vertical/horizontal vs diagonal striping is preferred
More designs suitable for borders or in pieces with planned vertical repeats:
30X78150X156  36X6072X60144X12040X90120X180 80X90120X18046X5046X10092X50184X200 the start of editing to reduce the white horizontal bands,  184X15046X80138X160 53X136 70X62 bouquet 70X124210X248Large enough for blankets, modify to suit,  140X140203X192203X197 A starting point for DIY introducing other elements, 141X217The spacing between motifs can be controlled in a different way by beginning with the chosen design, ie this 35X36pasting it in place on a large canvas ie 150X150, rendering the white color to alpha/transparent and placing it deliberately singly or with newly captured series finding the repeat, 36X65 144X130 Endless punchcard inspiration may be found at http://perfo.12rus.ru/ including these samples, some of which would form problematic floats if worked in single bed fair isle, usable in electronic models offering the DBJ>KRC option.Converting the images to pngs and testing tiling helps to visualize whether the knit results in a piece would be to one’s taste. A sampling:
24X5224X5824X96Other ways to combine repeats or manage negative spaces:
from ArahPaint in knit design 5 an idea from a punchcard volume DIY began with working in multiple colors until the decision was made as to how many to use in the final design, my starting palette consisted of 4 colors: the starting motif, 35X36 was placed on a white ground, 60X60, replacing the black with color 2 and the shape was outlined using a one-pixel pencil in green/color 1a four pixel brush using white and color 3 was saved and used to fill the background with the pattern, the green outline was removed, the design was trimmed to a final choice 40X48 160X144in brick repeat 40X96

160X192in half drop repeat 80X48

160X144clearer visualization of  the repeat in 3 colors and in 2Larger background brush fills may not line up properly when rendered in brick or half drop as seen in the center of this 50X50 The solution is to develop the more complicated design first using the floral shapes, beginning with the 50X50 picture and a 4-color palette, draw in  brick repeat, offset in 25 pixels lock colors in the floral image fill  the white ground with 10X10 brush Tools > find exact repeat, 50X100drawn in repeat, 200X150if rendered in 3 colors for knitting, set the number of colors from 4 to 3and to 2 colors for BW the half drop in 4 colors rendered through the same process, 100X50  Combining patterns, referenced in the same blog post, 60X58180X174Vertical designs can be combined as well, ie. with a scarf in mind, single repeats 76X8076X14 borders were developed for the bottom and the top of the whole item. A very short virtual representation of a finished piece The programming sequence for the components is influenced by the software used and the machine model.
For items such as wall hangings or blankets, 89X89   trimmed avoiding doubled segments and combined as tiles to 167X167and a single, large design, Another small floral vertical design/ potential border, 14X44   An untested mosaic design to develop/edit in DIY before executing the color separation for knitting it with color changes every 2 rows, 44X146color reversedFigurative designs in mosaic knitting includes some floral designs on varied grounds ie.

New double bed swatches based on published sources of inspiration

From Dubied pattern books,
1: matching needle set up
2: stitch positions after racking to the right
3: stitch positions after racking to the left
These images illustrate the differences produced depending on the number of rows knit without racking: four on the left and 2 on the right. The knit is reversible, is lightly pleated, and lies flat. In this swatch, no rows were knit between racking sequences.   A pattern that requires no cam changes is knit in tubular tuck stitch, using opposite buttons on the knit bed and ribber. The starting size matters in this case to allow for the use of the color changer every 2 rows. Knitting begins on the left, using the settings shown on the left.    My third color, white, was knit in plain ribbing, would be too narrow if used in a final project, and, if used, should be knit using the same settings as the remainder of the knitting. This pattern requires more interpretation, as seen in the blue text notes. The knit bed may be programmed, thus automating its functions. The repeat as suitable for punchcard models, 24X36 the corresponding PNGand proof of concept, knit on 40 stitches, testing a one stitch knit vertical border on the left side, and 2 stictch one on the other. The 930 automatically mirrors the design.

The needle arrangement the program for the top bed, 24X36, usable on punchcard models the swatch repeat, 53X36the starting setup on the machineThe knit bed is set to tuck in both directions, all black pixel rows will form knit stitches. When pairs of rows with non-selected needles occur on the top bed, the ribber is set to knit, the tuck lever may be left in the up position. When all needles are selected on the top bed, the ribber is set to tuck A closer look at the structure on the knit side
Slip stitch designs, beginning with “ripple stitch” sampleUsing a spreadsheet to plan racking sequences and respective row numbers:the repeat is 10 rows in height
1-5 the knit carriage is set to knit, the ribber carriage is set to slip in both directions for 5 rows, marked with yellow cells
rack by four positions at once. The yarn and tension will need testing to allow for that much movement and for knitting the next row without yarn breakage or carriage jams
6-10 set the ribber to knit, knit one row
rack by one position every row X4, returning to the original position
set the ribber to slip in both directions again, repeat the 10 rows.
Following the charted sequence, set up with 3 needles only on the main bed on the right. As the sequence is completed there will be three needles on the knit bed on the left. The original needle setup is restored with return to the original racking position. The proof of concept knit in a 2/20 wool An easy racked pattern in 2 versions and with slightly different needle arrangements began with
the planned sequences in series with change in direction every 10 rows.A punchcard machine can be marked with the row # to help track positions.
The inspiration:Full cardigan is a tubular tuck, using opposite tuck/knit buttons. As one bed knits every stitch, the opposite bed will form loops on every stitch.
The yarn used is a 2/8 wool. The first test was knit on an every other needle rib The second test matched the needle set up in the manual, but was knit in half cardigan, not full, with only the knit carriage set to tuck in one directionA version of Brother block racked designs from the Ribber Techniques book uses the top bed to knit every row, with the ribber set to tuck to the right and knit to the left.Reversing the racking sequence in direction results in some biasing of the stitches, not as evident in the swatch photo in the manual. That feature can actually be used to produce 3D projections.

Cumulative racking references
Cross-brand pattern interpretations: Dubied to Brother 
Double bed embossed patterns 
Origami-inspired 2: more pleats and folds using ribber 
Racking on EON rib: some considerations 
Racking mechanical handle repair saga 
Racked patterns 5: Passap/Brother 2 
More dragon scales and chevrons in ribbed, racked (4) fabrics 
Racking: Passap/Brother 3
Fisherman and English rib checks patterns, Brother and Passap
Ribber fabrics produced with 2 knit carriages selecting needles 
Combining  knit carriage needle selection with racking 
Vertical racking 3: automating half fisherman in pattern (2) 
Racking 2: vertical chevrons/ herringbone + 
Ribber pitch, a bit on racking 1:  chevrons/ horizontal herringbone
Unconventional uses for punchcards 1: tracking racking positions
Racked ribber cast on 

DBJ based on repeats in my previous posts:
Combining patterns referenced in  previous blog posts
60X58180X174a single DBJ block with birdseye backingAnother striped block variation and the corresponding swatch can be found in the post on  Developing tiled repeats suitable for multiple stitch types, including tuck
in the same post, knit as single bed FI but also suitable for DBJ, 30X30with all those dots removed, knit as DBJ
Ribber fabrics with main bed tuck patterning 1/ pick rib explored a range of such designs, this version adds taking needles out of work on the main bed after the stitches on them represented in the groups of 3-cell white vertical columns are transferred down to the ribber
the starting repeat, 22X34was tested on 58X68 stitches Narrow vertical columns of all knit stitches on both side edges worked on 3 or more needles on either of the two beds can form a functional rolled edge finish on double bed knits.

More fabrics with knit bed tuck patterning

WORK IN PROGRESS

Punching cards for tuck patterning involves lots of holes. Punched areas knit, unpunched ones tuck or skip selected needles.
There are many ways to experiment with color changes, sometimes in yarns of different thickness, using familiar repeats such as this punchcard design. In this test swatch, the red yarn is a 2/18 silk/wool blend, and the thinner a blue polyester serger thread that forms a bubbly surface on the knit side. Colors were changed every 8 rows. The programmed electronic repeat including a knit stitch border at each side edge, 61X16 This 12X42 configuration is typical, with tuck shapes forming on a knit ground;   replacing knit areas with alternate tuck patterning,  a larger design, 24X54 rendered double length, 24X108When colors are changed every 2 rows, the result is very different than the maze/mosaic effects sometimes formed when using combined knit/tuck patterning A decade ago, Ribber fabrics with main bed tuck patterning 1/ pick rib
introduced this fabric, which lies flat and, depending on yarn choices, can appear to produce eyelets and has a soft drapeWhen combined with planned needles out of work, some patterns will form what are sometimes referred to as mock aran designs. This first repeat is built with simple blocks. The all-white vertical columns represent areas where needles are transferred from the main bed to the ribber. The tucked main bed areas shorten and widen the transferred stitches, pushing them apart and forming vertical “waves”. The resulting knit is narrow and retains its 3D quality if wool is used, but acrylic or blends and some natural fibers will flatten permanently if pressed.
The proof of concept worked on 60 stitches:
A “fail” of sorts, a diamond shape was tested. To start with, I ran out of the first yarn. There were some rough spots in the ribber-stitch formations. When steamed, the vertical knit columns flattened at the center while outlining the ruffled edges, which may serve as edgings. When searching for tuck aran online, all finds include single-bed patterning, where tuck/knit stitches create narrow vertical columns between the larger designs. Often, the pieces pictured are blankets produced on 9mm KM models. Fewer versions bring the ribber into play.
Punchcard repeats may be knitted as published on electronic machines or altered to suit.
A straightforward approach to double bed experiments is to use designated tuck lace cards and transfer any stitches on needles marked to be taken out of work down to the ribber.
Variations can begin with designs commonly found in cards supplied with new machine purchases.
In these first two samples, knit stitch blocks alternating with tuck stitch ones aim for a wavy expansion of the rib columns while keeping the 24-stitch card constraint. The 24X20 PNG was knit on 61 stitches, with a single ribber stitch border on each side. The 24X20 repeat may be punched in height X2 for use on punchcard models. The 24X20 PNG The swatch was knit on 62 stitches, with a 2-stitch rib column on each side. It was not possible to use a tighter tension on the top bed while keeping the stitch formation error-free. Moving from card repeats to electronic ones frees one from width 24 stitch repeat constraints, as seen here:
Card #3 is contained in most with purchase KM punchcard models. Using the basic repeat, the chart shows varying the original while
making it outside the range of execution on punchcard models. The 10X24 related chart and PNG,

The repeat used for the swatch, including planned transfers to ribber, is 63X24    the The yarn used is Merino wool. These knits narrow and lengthen when removed from the machine.
….
From a Studio punchcard volume, the corresponding PNGs
1: 24X44,2: 24X48,3: 24X48,4: 24X48, and mirrored patterning from the StitchWorld III Brother Pattern Book, 146X32Beginning with the 24X44 #1 pattern, variations adding stitch transfers to ribber:  a 24X32 repeat
planned with knit bed tuck stitch vertical borders on each side, 62X32 A second variation: the PNGthe 63X32 swatch repeat also planned with knit stitch borders on each side the resulting swatch Using repeat #2the 24X48 PNGthe swatch repeat 59X48 Small changes can easily be made in knit bed pattern areas to make the result more personal.

A 31X48 electronic variation combining elements from the inspiration repeats was knit single bed on 70 stitches, 48 rows with an added knit stitch programmed at each side edge the yarn used is a 2/18 wool silk blend, accounting for some of the differences in shading and light sheen. After steaming and light pressing, there was some loss of the 3D textures. Assorted single and double bed patterns with needles out of work, NOOW:
Tuck lace trims and fabrics 2
Tuck lace trims and fabrics 3
“Crochet” meets machine knitting techniques: tuck lace trims and fabrics 1”
“Crochet” meets machine knitting techniques: tuck lace trims or fabrics 2

Revisiting old color separations, testing present software methods

ArahPaint has become my most frequent go-to when designing repeats. A previous blog post explains the process used below.
More will be added as I review old posts.

From 2013 Block slip stitch separations
In developing DIY, beginning with symmetrical designs can lay the foundations for more varied pattern placements.
The re-drawn original 10X8 double length 10X16 two-row brush filled 12X16brush fill, white color to alpha added surrounding space, 16X21brick repeat offset by 11 rows, 48X42 isolating the repeat, BW indexed, 32X21 check tiling, 64X63 using a 2-row brush fill to visualize motif placements doubled in height for slip stitch knitting, 32X42 double height, color reversed, in repeat for knitting 64X84slightly different spacing, 28X20 double height, in repeat for knitting. 70X120Shapes on a nearly balanced ground require added steps
24X1124X22every-other row white color to alpha 24X22 drawn in repeat 48X6648X66 mirrored cropped to 24X66, using red for visibility copy and paste on the first BW repeat converting white color to alpha: begin in center continue with half repeats 48X66 3 color isolating the 24X22 repeatBW version checking tiling the color reversed PNGtested on 60 stitches, end needle selection on

Tips on Single bed tuck and slip stitch fabrics 2: adding color

Playing with diamond and argyle repeats

More than a decade ago, I began a library of Hound’s tooth FI variations
that grew over the years. When I began publishing posts sharing my repeats was limited to screen grabs of the related charts. Since then I have been editing, adding PNGs that can be downloaded and used in electronic machines, or charts may be also downloaded and scaled as aids in marking punchcards.
Recent questions on argyle patterning have led to this post, which will grow periodically.
Many of the related designs form floats wider than the recommended maximum of 5 stitches and will require some float control unless they are knit as DBJ.
Some repeats are also suitable for use as thread lace or with tuck and slip stitch settings.
Elongation in some knitting techniques is to be avoided if possible. In some of these instances, multiplying the height of the original repeat X2 produces the more visually familiar argyle shapes.
Repeat segments can be edited to develop custom variations
16X16tiled16X17 tiled 16X34 tiled 16X32tiled 16X20 tiled 16X4018X40
tiled 20X28 tiled 20X40tiled20X56 tiled24X24tileddouble height, 24X48tiled24X24tiled24X40tiled24X4424X4424X44
tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48 tiled24X60 for border or horizontal bands of design trimmed to 24X52 for all-over patterning 24X96
tiled24X96  tiled 32X44tiled 32X64tiled36X80tiled42X32tiled Passap 257 40X4040X80Working in multiple colors and color ways beginning with colors >invert all
22X2222X4436X3636X72 32X32
32X64A coloring book approach can be used to develop DIY designs by filling in segments in any repeats provided expanding the color palettes, or creating custom-sized diamond outlines and filling in individual shapes between lines with colors.
Beginning with a 24X48 design   visualization of patterns becomes easier on a larger canvas than one simply doubling the original to 48X4896X96the smallest repeat segment, 12X24 for quick color changes to custom A 24X48 repeat with all white outlines for filling in shapes reducing the number of colors shifting shapes: 12X48It is possible to form related shapes with hand-transferred stitches, as seen in Using punchcards to track small cables in pattern (1)

 

 

New single bed swatches based on random sources of inspiration

I have had requests for detailed tutorials or videos on specific older samples.
The most recent posts on any stitch type do not offer detailed instructions; blog searches lead to the historical development of the designs and offer additional information.
The blog index allows for browsing by topic and offers direct links. That said, it is due for an update with the latest blog topics.
Proof of concept swatches usually follow the associated repeats.
A reminder, most are knit on Brother km models and rely on its preselection feature, absent in other models, ie. Studio. Using the provided punchcard repeats to automate needle selections may require more than just shifting the starting row number to match the results.
I endlessly encounter new sources of inspiration, adding them to the stack of saved stitches to explore, and reviewing old posts can also spark new ideas. A previous series of single bed work: Swatches based on adapting random online published repeats

This post will not be restricted to any stitch type but will include knit structures that currently attract my attention.

Tuck lace: all white columns correspond to needles out of work.
Sometimes, subtle effects are enough; here, EON is taken out of work. The punchcard repeat is 24X36. The swatch was knit on 63 stitches that included 3 knit stitch borders on either side.
The setup on the needle bed. The yarn used in the bottom was a 2/13 wool, the top a 2/8. This chart illustrates a 24X40 repeat suitable for punchcard models.
Although the minimum repeat segment suitable for electronic models is far smaller, I prefer to program based on the full number of stitches in use on the knitting machine and add row height to reduce the number of beeping reminders.
My 29X50 swatch repeat, including added side border knit stitches repeated twice in height, knit in 2/18 wool.  In the design, the yarn tucks for 4 rows, generally the limit for loop tolerance on 4.5 mm machines. The number of tuck loops can be reduced if planning to test thicker yarns, such as in this 3-row version.   Using 4-row tuck designs and adding wider NOOW/needle out of workspaces: the 3 stitch NOOW columns are represented in this punchcard 24X40 repeat chart by the pale green vertical columns.
The placement of the needles required to be in work may depend on which model knitting machine is used.  The swatch was knit on 51 stitches, with added all-knit 2-stitch borders on each side. Returning to an EON setup: also suitable for punchcard machines, the 24X40 chart shows NOOW placements and locations for potential color changes   The PNG for the test single color swatch, including 2 stitch knit columns on both sides, 63X24the test adding the second color; gentle blocking helps retain the 3D quality of the surface on the knit sideThe last swatch in the post on Building more textures in needles out of work spaces was executed with hand manipulation using short rows, following this charted concept. Frequently, more rows may be tucked with manipulating needles than with automatic pattern selection. The design was automated, reducing the tuck loops on any needles to no more than four.
The proper needles must be pushed back out of work to produce a successful automated tuck lace knit. Depending on the machine models, the proper needles must be pushed back out of work,  ie, 930 vs punch card, the design may be automatically mirrored horizontally.
The working chart was developed in a spreadsheet. The 24-stitch repeat may be used in a punchcard machine a 24X16 PNGmy programmed 51X16 repeat ensuring an all-knit vertical border on either side, the working needle arrangement the proof of concept using only one color and changing colors every 4 rows

Slip stitch textures
As the slipped stitches elongate, those horizontal striped areas become slightly distorted. Only one color will form floats on the purl side with each pass of the carriage, not two as in FI, making for a softer, less dense knit.
The FI initial design repeat, 10X8visualized in a potential color-way Color separated for use as a slip stitch design using method described in other posts.The last 10X8 result is rendered twice as high for use with color changes every 2 rows, the 10X16 single repeat checked for alignmentsThe proof of conceptThere are many ways to automate folds, including selecting the same needles for skipped stitches.
The rule of limited height of the vertical white bars does not apply.
The yarn creating the elongated slipped stitches must be strong enough not to break.
Single bed tuck/ mostly slip stitch fabrics 3 included this chart and sample for deep folds interrupted by plain knit horizontal bandsits 30X84 repeat Applying the concept to a more overall design the 47X72 PNG the swatch knit on 71 stitches, using a 2/8 wool and a lone variegated sock yarn ball from my ancient stash Using repeated slip stitch blocks to produce folds and rufflesIt is possible to play with taller color stripes or other DIY variations.
Selective weighting and adjustments in yarn thickness and tension may be required to “make things work.”
The yarn lengths between returns to specific colors may need to be cut and woven in.
The hand manipulation involved is often referred to as ruching.
“Winging it”: the test swatch was knit using 2 rows of white and 6 rows of each color on an even number of stitches, the work in progress on the machine the result For more deliberate placements, the color changes and locations for lifted stitches can be planned in a spreadsheet Single bed tuck and slip stitch fabrics 2: adding color
included this image from a Japanese Studio magazinein executing it, although the electronic repeat does not need a row adjustment, there are other factors to consider.
The Brother color changer uses numbers rather than letters.
This is the design plotted in a spreadsheet, the 10X22 corresponding PNG color reversed for use with tuck patterning instead of using the button available in the machine the programmed PNG for the proof of concept swatch, 48X22The color changes are not in a sequential order, and there are lots of yarn ends to weave in or disguise in a final project. The surfaces have more of a 3D quality than if knit using the slip stitch setting. Fair isle repeat from the post on  Developing tiled repeats suitable for multiple stitch types, including tuck
in the same post, knit as single bed FI but also suitable for DBJ, 30X3014X12planned test as single bed fair isle, the recommended maximum for float width is generally across 5 needles, here some are across 7, marked with colored cells. Depending on the yarn used, end purpose, and personal preference, they can be left alone, secured in a variety of ways, or switch to DBJ Adapted from a weaving draft, 36X27 knit with some of the longer floats chained up during knitting on the purl side..

A DIY large scale repeat adapted from an online published collection

Electronic pattern books now available for free online often include images of mylars or of files for knitting using specific machine models and/or accessories.
The designs may be used as provided or serve as springboards for DIY variations.
Some knitters prefer large-scale designs in non-repetitive patterns on garment pieces.
Roses and houndstooth designs reappear frequently on runways. This was included in a Studio pub and caught my eye. Conversion to the full 96X172 file. Visualizing the potential large piece knit, it was not an instant favorite. Working towards a DIY design and examining varied methods and steps:
the inspired 4-stitch brush to be used in the background fills a small “rose” from a punchcard repeat, 24X24the first approach uses color to alpha to place the design on a pattern-filled ground, the file is adjusted to 30X30 to allow for outlining the rose in a third color the result, in turn, is centered on a 44X44 new image.
To have the white pixels forming the petals undisturbed when using color to alpha, the background is changed to cyan in a new window, fill a new picture, 44X44, with pattern copy and paste the flower, anchoring it in place after rendering the cyan transparent and change the magenta outline to white, tile to 132X132playing with the movement of the shapes to change the overall placement,  the brick repeat immediately shows patterning problems, and the shapes appear small the 30-pixel file is doubled in size to 60X60, check that the number of colors is set to 3, fill the white background with pattern magenta pixels to white the intersection problem in a standard brick repeat reoccurs if the white outline is considered too thick, reduce it to one pixel from 2.
In this 60X60 image, the lines forming the petals are also colored in magenta, and the outline is reduced from 2 pixels to 1, Changing the approach: the above is drawn in repeat on a white ground. Rotating any individual elements becomes possible with no disruption in the yet-to-be brush-filled design. Filling in the white ground with the pattern results in no tiling errors eliminating the third color, BW brick, it is not possible to isolate a smaller repeat keeping directions constant in alternate rows of the pattern makes isolating the smallest repeat possible, 60X120. Back to the inspiration florals, isolating one of the roses, 61X59, note that the shape is not symmetrical with a single-pixel third color outline, on a white ground, 64X64tiled in a simple brick repeat to 128X192 on a white ground with the background pattern-filled64X128 isolated smallest repeat tiled in BW with colored outline removed testing random placements produce a design with the smallest programmable repeat note that the horizontal distance between the flower shapes is not fixed

seeking symmetry 50X58 scaled to 58X58planning added borders 64X64  outlined a full single repeat 192X256 using the same random arrangement building the smallest straightforward single brick repeat if there are limitations on the size of the programmed image ie to avoid multiple tracks in machines such as the 930 using img2track the slightly scaled design reduced to an 80X80 repeat to play with in any configuration of your choice. The test swatch for the full single repeatContinuing on a floral theme, inspired by a filet crochet design, 30X90 its half drop version, 60X90drawing both in repeat to 180X180 helps to determine whether further editing is needed, and if the shift in vertical/horizontal vs diagonal striping is preferred