Author: Alessandrina

Using punchcards to track cables and twists in pattern 2

This post was originally written intended for punchcard machines only, with the passage of time electronic pattern tracking, samples and associated repeats were shared.
Links to some later posts including cable manipulation and patterning
2023/05/30/a-return-to-plaiting-and-double-bed-hand-transfers/
2021/03/11/slip-stitch-patterns-with-hand-transferred-stitches-double-bed/
2021/02/01/slip-stitch-patterns-with-hand-transferred-stitches/
2021/05/09/double-bed-embossed-patterns/
2012/01/19/using-punchcards-to-track-small-cables-in-pattern-1/ 

2011: Cables seem to be in vogue once again in myriad permutations. They pose some interesting issues when created in machine knitting. Interweave Knits Winter 2011 published an article on “Cables 101” that includes a way to color code and graph cable crossings. “Back in the day” of regular, worldwide machine knitting seminars, several authors provided collections of machine-knit cables including George Le Warre at Passap universities (copyrighted, George presently in England).

Simple crossings are a good place to begin and produce texture. If one is not interested in freeform but rather constant, recurring patterns it is possible to use punchcards to produce visual cues when stitch twists and crossings are to occur. This is not an option in Studio Machines, easy on Brother because of the fact that needles pre-select, and Passap pushers may be used for a similar set of clues with a bit more fiddling.

When color-coding information for referencing as one knits, it is possible to be generous with symbols or edit down to bare elements. For example, one way to approach a schematic follows below, where knit stitches are illustrated as well as cable crossings. Red indicates stitches moved to the front, and the green indicates those traveling to the back in each cable set. In hand knitting, vertical or horizontal bars would represent knit and purl stitches. Since these are identical in this HK graph, they could all be eliminated

A

B the isolated repeat

The choice then remains whether or not to revert the crossings to match the HK pattern. One way to do that is simply to reverse positions for colors. The mantra becomes “red moves first, green moves second and over red”.

With all machines, if the knit carriage is left set for normal knit, even if the patterning option is engaged (KCI or KCII if there are any needles out of work) needles will be selected, but the fabric produced is stocking stitch. The usual considerations are in order: the number viewed on the card outside the machine corresponds to the design row being read by the reader, but the punchcard holes in view are not necessarily the same as the design row selected. Because one is producing the cables on the purl side of the knit, if hand knitting charts are used the cables themselves will be mirrored. In many instances, this may not matter, but if one is using the twists for representational crosses ie. in trees, owls, diamonds, and other geometric shapes, it is a good idea to scan the repeat, mirror the image vertically, and then begin translating it into machine knit interpretations. Relatively easy with simple scanning and printing software (ie. the flip horizontal function in Preview, a bit harder by hand.

When I can I color code my cards: ie. with lace I draw a line across the card when I reach each knit row sequence with a color pencil. This provides me with an easy-to-follow visual cue as to when the rows must occur, and also facilitates returning to the previous selection sequence when mistakes in patterning occur.

Some basics: with a punchcard, there is no row length limitation, but repeats are limited to 24 or a factor thereof. In this particular use wherever needles are selected, one has a visual reminder to move those needles in the desired direction.

I used the cards below to illustrate the idea in my intro to knitting classes. When needle selection occurs in the first, remove the selected stitches off the machine with a 3 prong tool in each desired location, then insert a second 3 prong tool back through the front of those same stitches, in turn removing from the initial tool used. Rotate the twice transferred stitches 180 degrees consistently either clockwise or counter-clockwise throughout, and return them to their original position on the needle bed. The result is a consistently textured fabric with no counting stitches or rows between repeats.

a swatch using it

This card begins to address regular cable crossings, mine was punched in repeat the full 60 rows. Color may be assigned to help with opposing twists’ directions ie. to left (pink) or to right (green) when the corresponding color bar appears just above the card reader.

 

Where are they now?

Many of us grey-haired knitters may recall the art to wear movement and some of them became familiar at the height of home machine knitting and seminar circuits. I am beginning a thread that makes an effort to discover them in the present time, will add to this post as I find links. The order is purely random,  includes published teachers and some of the knitters/ fiber artists found in the book documenting the birth of the movement pictured below.

John Allen.  Nicky Hitz Edson.  Some of the thousands of entries that may be found via google for Norma Minkowitz. Jean Williams Cacicedo. Linda Mendelson 

This post was written in 2011. Susanna died in mid-July 2021. A young Ravelry member at the time began this Wiki page with references on her life and work https://en.wikipedia.org/wiki/Susanna_Lewis.

More low tech

I am continuing to sort out issues that might help make lace shawls, scarves, and garments that require a finite length of time in their actual knitting. Punchcard machines are friendlier than electronic ones in terms of picking up the pattern after interruptions, and visual cues when correcting mistakes are easier to track and see. I design knits in a way similar to the way I cook. With several sources and ideas in front of me, I pick, choose, and “go for it.”

My most recent blank punchcard purchase revealed that Taitexma (Brother clone company)  is now producing pre-numbered cards for machines printed in RED! Does not affect function, but is distracting to me visually. In the past, it used to be the color red vs blue card blanks was another distinguishing factor between machine companies. Studio cards are traditionally marked in red, Brother in blue (with pre-punched lace cards being their exception).

The cost of cards has increased, and punching lace repeats at least for me are prone to errors. In a previous post, I discussed my way of marking up cards to make the process easier. Now, however, I was searching for a way of working out repeats on something equal in size to the punchcards that would allow for tracing holes, shifting pattern centers, be easily edited, and provide a size-specific visual template when the final design is reached, thus avoiding lots of taped over holes and mistakes on the actual punchcards. This brought me back to the drawing board, literally.

While drafting a new post revisiting graph papers and more on 4/21/18 I created a new document, saved as pdf, that presently prints to scale for me scale card extra2

My latest shawl

Still working on lace pieces, sorting out the differences and issues in this knit fabric type. My shawls are one-of-a-kind or limited edition items. The fiber content and finished sizes vary.

This is the repeat as it may appear in a hand-knit lace graph. Not enough symbols in Knitbird, the design was achieved by using the Aire River knitting font, and applying appropriate symbols to an excel grid

border transition detail shot

the shawl

Plarn

A new word discovery for me today, apparently not to many others out there. For ideas in crochet, on making it 1, and for the same method used to obtain continuous bias strips 2.

I made a plastic bag woven piece back in my student days, it was woven, rya knotted onto a wool warp, with jingle bells and pom-poms as both a decorative and a sound element; in an instance of art school need to name I called the piece my “Ceremonial Costume for an Acid Rain Dance”. At the time colored plastic bags were hard to find, friends mailed them to me from wherever they traveled.

Polymer tales.

Switching to the abbreviated cowls/collars I found I needed lighter weight large “buttons”. These are hard to find or often expensive enough that in production the added cost would affect pricing significantly. As an avid collector of craft and multi-media supplies, I have a significant stash of polymer clay dating back from months to decades. In an ah ah! the moment I made prototypes for what I thought might solve the button weight and supply problem. After the fact, I began to do searches on the care of polymer clay buttons and methods used in making them, which in turn led to a big oops! moment.

I recommend dry cleaning for most of my items unless they are felted ones, in which case hand washing or even a gentle washing machine cycle in cold water works just fine. Polymer clay it turns out does not like dry cleaning chemicals. If used on items cleaned that way it is recommended that the button be covered with plastic wrap and aluminum foil prior to exposure to cleaning agents. Hot water washes and driers also damage the clay, cool water hand /machine gentle washing appears to not be a problem.

Here are some online sources on these related topics: for a wealth of information on polymer buttons. Ready-made molds and ideas may be found here. Button shanks are available if that method of securing the buttons is desired.

The option I am choosing to pursue is making the button removable when the item is cleaned, which led to a search for button covers. Local chains that carry sewing notions had not even heard of them. A local mom-and-pop craft store, however, had an endless supply in their “backroom” dating back to when they were “in vogue”. Have to love elderly owners that are the shop version of inventory software and can just “go to” things that have not been out on the selling floor in years.

For anyone not familiar with them, here is an image of the item, available in a few sizes depending on the source.

The plan of the moment is to affix the baked clay to the flat metal surface with glue such as E6000 and further test the idea. Having the removable cover also means clay could be painted and finishes could be varied in ways that would not be possible if the item was to undergo dry cleaning. My sample first efforts which I will torture/test are below. If not buttons perhaps all that clay may mutate to use in shawl pins.

A baktus tale

A Baktus is a very simple triangular scarf/shawl. I have many oddball skeins of sock yarn, it is possible to knit a small baktus with a single one. An online search will yield many free patterns, most for hand knitting, easily adapted for the KM. Many patterns are free, including some in the latest catalog at Garn Studio.

Such scarves may be worn in hoodie and bib styles, or as neck/ shoulder wraps.

I am not personally fond of triangles with no shaping, so I thought I would try a KM version, rounding the bottom point of the triangle.

Here are the results, with yarn tails still attached.

front view

back view

I began with casting on 5 stitches, and increasing one stitch every 4 rows on one side up to the required length, then adding a short row “spiral” section, and removing that piece on waste yarn from the KM. A second identical piece was knit, and the 2 halves in turn joined on the KM. Part of the goal was to evaluate alternate joins for future lace shawl triangular pieces.

Finished measurements after blocking were: 36 in in length on straight edge for each half, 12.5 in @ widest point.

The width is in the common range for handknit versions, the length of 72 total longer than the common 55-63, but suitable for a loose tying of scarf.

This piece will be in my “consider qualities” pile for a while. Personal taste and preference do not necessarily match that of others, or those receiving item as a gift or purchasing it.

A new use for waste yarn

It truly does help to look up once in a while. I was totally engrossed in my lace transfers. Ikea large footstool places me at perfect height for really good view of stitches as they are formed. Both extension rails now have suspension help since I am using most of the needle bed and carriages need to go far off the bed. Stops are set up at rail ends so enthusiastic movement of the one carriage cannot send the other one flying off the rail and crashing onto floor. Got a great rhythm going. Yarn began to “pull” and lo and behold this is why! The pink cocoon is the waste yarn used in knitting the white shawl in the previous post.