I don’t usually write posts narrating in the first person, but here I am making an exception.
At the end of 2015, I attempted to reproduce a free hand-knit pattern shared and published on the Purl SOHO website and on Ravelry 
on the machine, and the related test swatch was a whopping 9 stitches wide.
At the time, I used the hold setting in the knit carriage to form alternating loops.
With my bulky now set up again, I wondered about a different approach.
The necessary loops can form with the use the tuck <-> setting.
The carriage needs to be on the side where the yarn is available on every pattern row before following carriage passes.
Using the hold button to bring the carriage to the opposite side after turning the work over would require all needles to be in the E position, making consideration for needle manual preselection for 2 positions necessary.
For this swatch, I chose to take the carriage off the bed and move it to the appropriate side as needed.
The knit carriage can perform tuck or slip functions without the addition of automatic patterning.
Needles hand-selected to the D or E position will knit; any remaining in the B position will tuck.
In this instance, colored cells in the chart represent D or E position needles, and white cells represent needles in B.
The repeat is an odd number of needles in width, 6 rows in height. 
The work is turned over after selecting and knitting rows 1 and 2, 4 and 5, but not after rows 3 and 6. The only row that knits with the carriage starting from the left is row 6.
Tools that can increase speed: any flat, hard-edged one to push groups of needles forward or back, in this case, my single bed cast-on comb, one to facilitate every other needle selection, and a bulky garter bar.
The bulky machine was equipped with a single bed cast on comb. I do not find it pleasingly useful, and resort to the single bed one if needed.
The yarns I initially chose were painfully prone to splitting, helping to expand my use of expletives.
Once I found a more manageable yarn pairing, the actions became rhythmic as the piece grew in length.
My hack for evenly distributed weight and stitch management was to use the standard cast-on comb poked through some waste yarn, with the addition of a small ribber weight placed in the center hole. Both were left on throughout the process. 
When it was time to use the garter bar to turn the work over, with all the needles pushed out to the E position, it was easy to tug down on the comb and pull the knitting forward on the bed after checking that all the latches were closed and that the grooved side of the garter bar was facing up.
If some of the stitches are not moved properly and the work needs to be pushed back for another attempt, some eyelets of the garter bar may be stuck behind any closed needle latches and cannot come past them. Push the bar further back, make certain all latches are open, and it will then be able to move past them.
With the yarn removed from the carriage, the work can then be turned over.
With all needles in the E position, check that all latches are open, and replace stitches in the needle hooks.
After checking visually that the yarn is transferred properly and present in all needle hooks, the bar is shifted forward, free and away from both. 
It is possible at that point to use the straight edge to push the needle butts back to move all the needles/ stitches back to the B position, 
and then to pull down on the bar to remove it.
The carriage is brought to the opposite side, yarn is returned to the feeder, needle selection is made, and knitting continues.
The proof of concept:
Author: Alessandrina
Returning to thread lace, adding bulky knit samples
Many knits are named referring to the resulting open spaces with the term lace.
Links to more information on the technique are listed at the end of this post.
Thread lace uses thick and thin yarns for the illusion of eyelets.
Beginning with published designs can provide a springboard for DIY, an opportunity to observe the size of eyelets and lines formed by the respective white cells/unpunched holes in cards, ot the companion black cells/punched holes.
This test is knit using #12 from the Brother punchcard set P. 
The thick yarn is a 4/10 wool, the thin a woolly nylon, which, although a good color match, proved to be a poor choice. It has some stretch, and off the machine, the resulting illusion eyelets were far smaller in size than expected. Steaming with light pressing and a mild tug to enlarge them broke the nylon in several places, as well as making the knit surface appear irregular. 
The results improved vastly with a switch to sewing thread as the thin yarn. 
Representational designs can have blurred details from the floats of the thick yarn showing through the thinner yarn stitches. This rose design was used in a garment years ago, and began with this 24X56 file.
Some needle selection was eliminated in the card used in the piece to allow for the transition to a new, smaller design repeat.
The standard KM version was knit using contrasting colors using wool-rayon and sewing thread
The thicker yarn in this test on the bulky is an unscoured worsted with natural oils, intended for hand-knitting on #7 or 8 needles to produce 5-4.5 sts per inch. It was stiff and hard to knit on the machine, required a loose tension, and the eyelets were quite large. It took aggressive pressing and steaming for the best reading of the design; any final piece would likely grow in length over time. I unraveled the swatch before realizing I had not measured it.
A slightly different, continuous repeat, 24X60
was knit on the standard using wool and a nylon thread, 
and the bulky, using worsted-weight acrylic and the same nylon thread.
The size of both swatches, knit on the same number of stitches/rows, compared in size.
A return to a leaf shapes knit using a 3-strand worsted-weight wool yarn and a 16/2 durene, and the Brother 25p card. 
This was in my stash of self-punched cards; neither side has any marks of any kind. 
The 24X54 matching PNG used in other samples, 
scaled and gridded as a guide for punching 
Thread “Lace”
Revisiting Fair Isle, thread lace, 3D surface potential
Tuck stitch meets thread lace repeats and vice versa
Unconventional uses for punchcards 2: thread lace cards for “filet” mesh
Thread Lace on Brother KM bulky samples
Thread lace and punchcard knit carriage use on Brother 910_1
Thread lace and punchcard knit carriage use on Brother 910_2 ribber
The setting may be used to achieve textured knits and mock cables using elastic ie as seen in:
Knitting with “unusual” fibers/ elastic 1
Experiments on Brother 260 bulky KM 1
I no longer own any Passap equipment.
The added space has allowed my setting up the bulky model, perhaps the most underused of my km collection over the years, except for the winter season felt hat production. 
Although my yarn stash was reduced dramatically with my downsizing, there are still some balls and cones remaining from those days, or certainly, multiple strands of thinner yarns may be used together.
The post Brother machines, punchcards, and their use offers basic info, while the one sharing symbols and card samples will help identify suitable designs for potential knit settings.
Decades of knitting on the 4.5 mm models make for interesting adjustments in the switch of materials and scale.
I am including some results here that are found through searching through former posts, but were not categorized as bulky knits at the time they were initially published.
Cables can be hard to achieve across full needle beds because the yarn is forced to move across fixed distances on metal beds.
The links to the full series of previous posts on the topic can be found in the blog index.
This sequence was tried first on the standard; resulting crossings were nearly invisible.
The bulky swatch took some coaxing on the knit rows, and a very loose tension to make it possible.
The how-to: after casting on an uneven number of needles and some base rows, cable crossings are made every other row. Either side of the bed can serve as the starting side, depending on personal preference. If beginning on the left,
1: COL, begin cabling with the first pair of needles on the left, moving pairs of stitches in the same direction across the row; there will be a single remaining stitch on the right
2: knit one row to the right
3: COR, skip the first stitch on the left, and begin cabling with the second pair of stitches, moving them in the opposite direction of those in the first cable crossing row until COR is reached
4: COR, knit one row back to the left
Repeat steps 1-4
Lace
Producing large eyelets with hand manipulation of stitches is possible on the bulky machine as well.
Planning vertical straight bands in a spreadsheet: 
Some steps are illustrated in progress below.
The yarn used is a 4/10 wool with a soft hand.
The repeat is a multiple of 3+2 stitches that serve as single stitch vertical borders, along with single stitch eyelets on each side.
Transfers are made toward the center of each 3-stitch group every 4 rows.
The illustrations:
1. After the transfers are completed, there will be side-by-side empty needles. As the next row is knit, each empty needle will hold a loop. The method used to help them become stitches, except for the first row of eyelets, is one illustrated for buttonholes in a Brother manual.
2. The double loops are dropped
3, 4. A single eye tool is inserted from the back of the loop, twisted to the front, and the e-wrapped yarn is rehung on the first empty needle. The process is repeated with the second loop/empty needle
5. Formerly empty needles now hold twisted/wrapped yarn
6. The eyelets on the machine are approximately the size of a dime. 
The finished swatch, knit on 26 stitches, measures 6.25X4.25 inches in the patterned areas after steaming and pressing. 
In a different needle arrangement, 
the loops are secured by the next set of transfers. 
Every other group of transfers is planned for single eyelets along the side edges. 
At the top of the swatch, rather than e-wrapping, the empty needles were brought into work alternately over 2 carriage passes, creating a pair of smaller eyelets 
A 2013 post looked at ladder “lace”, with the use of a card to aid with proper needle selection, yielding the bulky sample below. 
In this swatch, eyelets produced with hand transfers echo the movement.
Colored cell vertical columns represent locations for needle positions where stitches remain undisturbed throughout.
Arrows indicate the direction of the transfers made with a 3-prong tool in each 8-row stitch group.
Markings in DIY can be varied to suit. 
The 31-stitch swatch measures 8.75 inches, 22.25 cm in width at its widest point. 
The same 31X16 row repeat was knit on the standard machine, with a repeat programmed to help track transfers.
The result measured 4.25 inches at its widest point. This image shows the gauge difference side by side. 
This pattern is created by forming large eyelets as well. Symbols and charts exploring designs have evolved over the years.
Using the method seen in some of my latest posts: 
The series of double eyelets can be shortened, as seen at the bottom of the swatch.
The long floats created by the double empty needles are handled as described in the previous share.
The swatch was knit on 26 stitches, measures 6 inches in width. 
More inspiration may be found in the post on textures in needles out of workspaces.
Revisiting lace leaf design repeats 2 shared a 12X52 row design 
knit on 38 stitches. 
Lace punchcards_use on the Brother 260 Bulky offered a few methods for using both Brother and Studio lace published repeats.
This sample was used with a longer, 24X68 row punchcard using 2 carriages and extension rails.
The extension rails on the bulky have arms that are different lengths. The bulky rail is shown compared to the one for the standard, with a white tag on it. 
Their placement is easy to assess, but if the front arm has not clearly snapped into place with an audible noise, the rails can make it hard to push the carriage out to the needed position or even become flying projectiles.
Using 2 carriages
Knit some base rows.
The carriage used to select needles need not have a sinker plate in place.
Its end needle selection is cancelled, and it operates from the left side as the LC does on the standard.
It holds no yarn.
Deactivate its row counter.
Push in both its part/slip buttons.
The carriage used for the 2 knit rows separating design segments operates from the right, is set to knit, and does not advance the punchcard. Activate its row counter for future gauge calculations.
Knitting:
1. Lock the card on the first row as would be done on a standard machine.
2. COL, the first selection row is made left to right. Subsequent transfers can then be made by hand in the direction of the arrows on the card if they are available, or simply away from the carriage. All needles must be returned to the B position. When the KH carriage is set to slip, it is the selected needles that actually knit stitches. If the carriage moves across those same needles with no yarn in the feeder, selected needles will drop their corresponding stitches.
3. COR, set the card to advance “normally”, transfer selected needles to the left, and move the carriage itself to the left.
4. COL, transfer preselected needles to the right, and follow with a knit row to the right.
Continue to make transfers that the lace carriage would have made. In this instance, there will be 2 passes of the selecting carriage with no preselection, indicating the place for the next pair of knit rows from the right, end COL.
4. COR, knit 2 rows, or more if the lace pattern requires it, end COR.
Return to needle preselection with the selecting carriage from the left.
Although the bulky offered a single bed cast on comb, the ribber cast on comb and a single small ribber weight seemed to be the best way to ensure proper knitting. 
Areas where 3 stitches were placed on single needles needed occasional coaxing for the stitch in the next row to be knit through them completely.
The swatch was knitted on 37 stitches, for 2 full repeats in height, and measures 13X9.25 inches. 
Exploring a lace repeat in multiple ways: the punchcard repeat was developed from the hand transfers chart, shared with the corresponding standard gauge LC automated swatch, and hand transferred one on the 260 bulky.
The bulky swatch was knit on a multiple of 6+3 stitches, with a planned 2-stitch border on either side. A custom needle tape was in place to aid in proper needle selection. The repeat is easy to track once the pattern is established
From 2015, a hand technique, A block lace pattern on the machine
Ladder spaces meet cable crossings
This design was tested on both the standard and the bulky, on the same number of stitches, 31.
The design 12 row repeat: circles represent stitch transfer location with the corresponding needles taken out of work, while orange cells point to locations where empty needles are returned to work, becoming the center stitch in each new group of 3. 
The needle tape markings served served guides to actions, the cyan and blue dots mark empty needles in each group after transfers are completed. Check for any transfer errors, ie, the red dot marks a needle with a stitch on it that should be empty. 
The swatch measures 8.25 inches in width. Since all crossings are in the same direction, it is hard to know whether large pieces would have a tendency to bias. 
Its scale compared to its standard knit companion, which in turn measures 4.75 inches in width
Short rows
A leaf lace never fully completed, from 2017
Thread lace
2025 Returning to thread lace, adding bulky knit samples
Knitweaving
2026 This knit-woven loop sample was knit using a technique described further in
A return to loopy knits and Machine-knit fringes 4, long loop patterning
E-wrapping the edge loops both before and after coming around the straw made for a better side edge.
It will be a while before my ribber will be set up. In the interim, previous posts with related info
More on Brother DBJ, including KR 260 bulky KM options
carriage settings and tips
Revisiting drop / release stitch lace 1. 
Slip stitch patterns with hand transferred stitches, single bed 2
The previous post, Slip stitch patterns with hand transferred stitches, single bed 1 grew quite lengthy; this one will host newer experiments.
This stitch pattern reminded me of bowknot/butterfly stitch design. Samples explored in the past were executed using both knit and ribber beds. This version is knit using the single bed.
The smallest repeat, 14X40, 
the plan is for a swatch 46X40 repeat, with a color change at the midpoint, 
the PNG. 
Knit the first 2 design rows. When the first row with groups of three non-selected needles occurs, bring the center needle of each group out, indicated by the red cell, moving from one side of the bed to the other, and knit the stitches through using a length of ravel cord, leaving some slack between them. Return the emptied needles to the B position. They will be skipped/slipped along with their pairs of side-by-side companions, forming floats. 
When the first row of every needle preselection occurs, beginning on either side, tug down on each stitch with the ravel cord, elongating it (L image). Insert a tool through its center front to back, lift it on the empty needle (R image), lining it up in position D or E.
The ravel cord can be unthreaded after each step while continuing the process, moving to the opposite side of the needle bed, or after reaching the opposite side. 
The first repeat used a yarn from a cone that “unexpectedly” ended
In this design, the elongated slipped stitches are brought up and crossed behind groups of 3 knit stitches.
The idea began to be explored in a spreadsheet; the repeat is 14 stitches by 6 rows. 
Color 1 knits for 2 rows, forms the elongated stitches, and color 2 forms the background stripes.
The first preselection row is made from left to right with color 1, the knit carriage is set to slip in both directions, and the second row will be knit on the return to the color changer, where color 2 is picked up and knits for 4 rows.
A chart for a programmed repeat, 
56X18. 
The groups of white cells with the associated non-selected needles on row 5 are guides for tracking the related hand technique.
Half the stitches are moved from the center forward, the slipped stitch is moved 3 stitches over, toward the center, and the group of 3 stitches is returned to the top bed on the 3 empty needles. The steps are repeated on the alternate half.
Bring all needles forward after the transfers, pick up color 1, knit 2 rows, change to color 2, knit for 4 rows in the tuck pattern, transfer stitches, change color, continue to repeat the process. 
Manipulated slip stitches using the ribber:
Slip stitch patterns with hand transferred stitches, double bed
Bowknot aka butterfly or dragonfly stitch in more than one color
Bowknot/ Butterfly stitch on the machine
A tale of lace knit counterpanes
Decades ago, long before English language magazines intended for machine knitters were published, several Japanese language ones were available.
I recall a particular dealer who used to attend seminars and made them available in the associated marketplace, occasionally with free issues for anyone able to execute and knit a “guess how this is made” handout.
Publishers included Nihon Vogue, ZaZa, Studio/Silver Reed, and Brother.
Before electronic machine models became available, pattern repeats were offered for use on punchcard models or simply as hand-knit charts.
This Brother pub introduced counterpane-inspired designs, such as seen in this hand-knit version found online, from an unclear source. 
The circular lace movement is created by the gathers at the cast-on edge of flat horizontal knit bands.
Partial repeats from the pub, a 16X14
and a 20X16
both designs may be scaled in size, adjusting width, height, and the number of transfers.
Many previous blog posts here have analyzed how to convert hand-knit patterns for automated lace knitting on Brother machines.
Hand-knit patterns often show transfers on the knit face side, making it necessary to mirror the charts horizontally to match them on the machine, where only the purl side is in view to the knitter.
Punchcard machines mirror punched designs horizontally automatically.
On electronic models such as my 930, downloaded PNGs are automatically mirrored, necessitating one of 2 choices. One is to mirror the PNG before downloading it to the machine, and the other is to use the built-in image reverse button to do so.
Testing a single repeat first helps isolate pattern errors. If 2 needles are selected by the LC side by side, the cause may be that the image needs to be mirrored due to the machine brand/model or the download software being used.
Assigning colors to the left and right LC transfers is useful in expanding hand transfer charts to automated designs.
Cyan cells indicate transfers to the left, magenta ones indicate transfers to the right, in this 14-stitches by 12-rows repeat.
The expanded chart that follows was created using Mac Numbers to develop a repeat for a square pane using four petals.
A blank column on either side edge will include transferred stitches and will be used to seam the knit.
Yellow/ blank rows do not always reflect knit rows in the chart; in some cases, they include passes needed for the LC to return to its proper location on the left side.
A single design repeat is expanded to 14X44. 
Following the built-in machine prompts rather than the row counter, the red cells indicate knit rows after each transfer segment is completed. 
With pattern mirroring, needles 28L to 29R are in use. 
57X44 matching the chart, used with the 930 #1 reverse key.To reduce the bulk when the band is gathered at the end of the knitting, e-wrap cast-on every other needle, leaving a long tail to be used for gathering the center of the square.
To gather the loops formed by the cast on, the same yarn may be used, or even a thinner, stronger yarn. Testing on a small swatch helps one make the choice.
The technique can happen off the machine, but it is also possible to thread through the loops close to the start of the piece on the machine.
To knit:
E wrap EON, from right to left
hang the cast-on comb,
knit 5 rows, ending with COR,
begin using the lace carriage,
when the piece is completed, bind off around 2 gate pegs for enough stretch, leaving a long enough yarn end to seam the piece together.
The completed band, ready for bind off
Steam/press the finished band for the initial blocking, and seam it into a tube.
Gather the loops from the cast-on with the gathering thread around, over the join, up to two times, pull tight, and secure the thread.
Lightly block once more into a square. 
To knit a pentagon, a fifth repeat is added, 
mirrored 71X44 PNG, ready for download and knitting on the 930 needles 35L to 36R
The design can be expanded to achieve a 24-stitch repeat usable for automated patterning on punchcard model machines.
The chart is scaled up first in size to 24X26 to be followed for a possible hand-transferred lace. A single segment was tested on needles 13L to 12R; transfers proved challenging, with stitches dropping, yarn splitting, and generally resisting group moves. Finally, a 2/20 wool, with one operator error, a missing transfer/ eylet, completed the test. 
The 24X26 design,
now expanded for use with a punch card, 24X184.
The repeat, rendered in BW. 
The PNG for the 4-petal +1 repeat, mirrored and ready to knit on the 930, 97X184, 
was divided into two tracks by img2track, with the first 50 rows in track 1, the remainder in track 2, changing the machine prompt numbers if relying on those for row numbers rather than the counter.
A 24-stitch portion of the design, avoiding the multiple tracks. 
The swatch was knit on needles 48L to 49R, using 2/8 wool commonly used at tension 8, too thick for the LC to transfer without problems.
I chose to proceed manually with transfers occurring away from the knit carriage, checking that no needles were accidentally pushed back to the A position or that extra stitches were not transferred if wrong needle selection is affected when correcting dropped stitches.
1: the e wrap cast-on on every other needle with the comb in place, leaving a yarn end longer than the width of the needles in work
2: the first pass knits to the opposite side
3: the cast on comb is brought forward
4: the yarn end is threaded through a needle, and gradually stitched over, under the yarn loops moving across the row
5: the completed band, about to be bound off around 2 gate pegs. 
After binding off, the piece was removed from the machine and steamed and blocked lightly. After seaming it into a tube, the cast-on edge was then gathered, and a bit more ironing and steaming followed. 
Comparing the size of the two square pieces. 
This is a throwback swatch, knit in a softly spun rayon, which proved to be out of control in terms of forming a hexagonal seamable shape.
Yarn choice and tension contribute to successful sizing or fails. 
The quickest version, a 16X22 repeat forming a pentagon, knits with a programmed pattern to guide stitch transfers beginning with a 7-prong tool.
The yarn is 2/8 wool, knit slowly and with more patience.
The chart may be printed and followed as an added guide.
Needles 40L to 41R,
16X22 PNG
81X22
was programmed in addition with the 930 #1 reverse key selected.
A nylon cord was carefully threaded through the cast-on loops at the start of knitting.
The intent was to steam/ iron the band lightly as the initial blocking before seaming, the universe intervened, letting me know it is time to replace my iron as part of the piece was immediately scorched and the cording spot melted. 
Regrouping, the cast-on loops were visibly clear and easy to gather at the center after seaming using a saved long yarn end from the cast-on row. 
This pentagon, compared in size to the red yarn version
For some 2D doilies, see:
From automated lace edging pattern to doilies and ruffles
Doilies: Lace meets hold and goes round
A return to hand transferred lace, adding color striping
Periodically, forums and pinboards suggest that using lace patterns with added color striping on home knitting machines may be used to produce knits inspired by Missoni designs.
Yarn availability, gauge, and the willingness to deal with lots of yarn ends influence choices, and appreciation of the results is a matter of personal taste and choice.
The swatches here are on small groups of repeats, and any movement in the horizontal lines may be more noticeable on larger pieces or more dramatic in other color sequences in the number of rows or their order of use.
Hand transferring groups of stitches with multiple transfer tools may avoid some of the pitfalls in LC transfers over sometimes dozens of rows until all stitches are finally knit.
Watch for needles accidentally being pushed back to A as knitting progresses, resulting in errors.
Inspiration for varied stitches from a single chart experimented with this chart as a starting point. 
Programmable repeats can be developed to aid in maintaining correct needle selection.
End needle selection is canceled.
Needles are preselected as usual in the places of each black square in the charts/ punched holes in those locations/ black pixels in the design downloads.
I am sampling on a 930, which automatically mirrors programmed motifs horizontally. This may vary depending on the model and download software used.
The methods here are not presented step by step; they assume some knowledge of the progression from drawing to color separating for specific stitches.
The knit carriage remains set to knit, without the use of any cam buttons.
Black pixels represent transferred groups of stitches. In the bottom half of the repeat, they are moved toward the left, in the top half toward the right of the needle bed.
The experiments began with the maximum number of stitches transferred at 7, using the seven-prong adjustable tool to facilitate the moves.
This chart was generated using Mac Numbers, with eyelets formed at the center of the shapes, and the doubled stitches formed by the transfers outlining them. 
To separate the knitting design, working with a spreadsheet, every other even-numbered row can be hidden. The shapes may be drawn as desired, and when rows are unhidden, color sequences, transfers, etc, can be visualized before committing to grabbing an image of the final design and processing it to render a downloadable PNG.
The planned shapes may also be rendered using any preferred paint program techniques:
20X14 initial design 
double length, 20X28
using transparencies/ color to alpha or even a pencil to fill in every other even # row with white cells
My tested repeat, 43X28
Forming eyelets at the edges of the shapes
half drop, 26X28
checking alignments
double height, 26X56
EOR rendered white pixels, 44X56 planned swatch
Using half shapes drawn in repeats may need to be mirrored horizontally depending on machine model and the download program used.
Border vertical columns on each side may be added in the PNGs or by adding needles in work; they will not be selected, continue to be formed as knit stitches.
This 12X20 design may be repeated twice in width and height for punchcard use,
24X20 
checking alignments, and drawn repeat. 
The transferred stitches on row 11 tend to cramp the eyelets produced by the last set of transfers in the opposite direction immediately below them. The swatch was knit 37X20
Using triangular repeats:
16X28, repeat an added third segment for punchcard use, 
visualized in progress, and for color changes, 
test repeat 40X28: 
Adjusting the repeat to produce taller horizontal stripes, 11X40 
programmed on 33X40 
Adding NOOW ladder spaces, 14X32 
programmed 46X32
An attempt at having transferred stitches form a continuous shape outline, 10X36, 
programmed 42X36
Aiming for the movement of the transferred stitches along a more central line, a punchcard repeat, 36X70, 
planned as a hand technique, 5-eyelet swatch, tested on a 33X20 repeat 
mirrored for use on the 930 
7-eyelet swatchswatch 
a test 34X32, in the same orientation as the chart
Fair isle experiments
I am lagging in completing several blog posts.
While sorting my thoughts, illustrations, and wording of how-tos for those, I am enjoying the immediacy, clarity, and sometimes surprises of single-bed fair-isle knitting of some of the repeats shared in my published but not knit-tested collections.
This post is another “work in progress”, growing over time.
A reminder: the PNGs here are published as indexed BW, but when copied, will often convert and save in RGB Mode. Test and convert them back to BW before using them for download to machines. Not doing so can result in some interesting glitches with the appearance of errors in preselection.
Beginning with a 12X12 design, where symmetry is not the goal, 
rotating/repeating the file for a 24X24 repeat 
knit as DBJ on an electronic model due to the anticipated long floats. 
34X30 
knit double width and height
16X38
18X16
a previously shared cousin, 30X30. 
I have long been intrigued by the complexity of the hand-knit fox paw patterns. Published HK directions may be found in Xandy Peters’ blog.
These two shares are the very simplified versions of the inspiration sources.
The concepts were tested as fair isle; there are problematic long floats, reduced in number in the second variation.
A color-inverted image of the original PNG drawn in repeat could be used to fill areas with multiple colors, with the intent of possibly producing the results in DBJ after the supplemental software has performed the necessary color separation.
24X80
visualizing multiple color DBJ options using a coloring book approach
24X82, far fewer problem floats 
28X28, some floats wider than the usual recommended max of 5 stitch width, knit in all rayon, space dyed yarn pools unpredictably
30X30
24X34, untested 
38X20
38X62
48X48
48X48
54X54
tested on 82 stitches with programmed PNG 82X54, 
the digitally color-inverted knit image compared with the original. 
After the share, I noticed there appeared to be a pattern error in the center tile. Comparing the knit to the programmed repeat, the PNG appears correct.
A different day, different yarns, the same programmed repeat, an error-free sample.
Perhaps misselection in the initial swatch can be attributed to yarn tension/ feeding issues, static, or simply an unknown patterning crankiness.
Black and white pixels to black and white knit stitches:
larger patchwork, 64X64
Blocks and lines can create movement and at times optical illusions. Strong verticals may separate slightly at edges, and slippery yarns ie, chenilles and rayons, may worm and distort stitch shapes. DBJ is generally more stable, but with a different appearance.
Several added designs with repeating blocks in various sizes may be found in the posts:
A collection of geometric design blocks built with squares, rectangles, and lines
Developing tiled repeats suitable for multiple stitch types, including tuck
32X32
52X48
a 28X30 single repeat
60X30 testing the addition of pixels to form alternating wider bands of vertical patterning
62X62 
186X186
test knit single repeat 
the tiled image can be cropped to change the focus of the design 
46X46 
184X184
92X92 test knit
64X64 
192X192
a full single knit repeat
Back to using color, 38X34
An 8X8 design that, when drawn in repeat, may be used on any machine: for electronic models, a 32X32 PNG,
and or punchcard models, the full 24X40 chart.
Previous blog posts containing FI info
Working with diagonal patterning in machine knitting
Shadow pleats with fair isle patterning
Revisiting fair isle, thread lace, 3D surface potential
Fair Isle single bed 1: float control
Fair isle variations and swatches
Matching patterns across sweater bodies and sleeves
Adding hand techniques/ cables/ punchcard repeats
Lace meets FI on Brother machines
Scarf experiments
Altered patterning using bleach discharge on knits
Adding hems to varied knits
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 allows 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 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 the 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 the pattern with COL and color 1
Knit 4 rows, returning to the left, hang the 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 the chart, and the blue ones on the needle tape, knit back to the left
COL change to color 3, continue with the 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 the chart, and the blue ones on the needle tape, knit back to the left
COL change to color 3, continue with the 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.
Using short rows: in a spreadsheet, the shapes can be planned in a variety of ways. Initially, I drew from left to right.
Arrows along the sides of the designs or even along them can help plan the proper sequences of carriage movements.
The top is not across as many cells as the bottom view, and serves only to plan/illustrate transitions to shaping triangular segments to maintain straight side edges.
The image mirrored horizontally as it was knit, working from right to left.
A needle tape was marked in groups of 12 to aid in maintaining stitch counts, the result of “winging it”.
Although the piece may be started from either side, the top half cannot begin on the same side, or the knit will be biased as seen at the bottom of the swatch.
Rayons of different thicknesses and plies were used in the test swatches.
The held shapes were then reduced to 8 stitches in width.
When the chosen number is completed across the needles in work, knit 5 rows of contrast, hang the stitches from the first row of the same color on every needle, knit one last, 6th row to close the hem, return to shaping short row shapes with alternate color(s).
A chart with a visualized graphic usable to duplicate my swatch and knitting direction with elements that can be varied in building DIY designs, changing the scale of segments, the number of held rows on the same groups of stitches, the resulting eyelets, etc:
A custom needle tape can be marked with as many or as few clues as preferred.
Quicker knitting: the same shapes with the rows of contrast in plain knit, skipping the formation of the hems
Ruching has been the term used to refer to knits where stitches are hooked up periodically on subsequent rows, essentially forming small hems.
More information may be found in the posts:
Ruching 2: more working with stitch groups
Ruching 1: fern “pretender” and more
The 16X18 repeat is planned in a spreadsheet, intended for use with the knitweaving technique.
The red arrows indicate stitches that are hooked up over each group of floats.
Knitting planned on a multiple of 16+3 will center the design: 
the 16X18 PNG
knit on 52 stitches
Combining small hems with ladders created by leaving needles out of work: the plan had initially been to try the technique in a single color.
Color changes make it easier to pick up the proper stitches across the work; the result was a surprise worth playing with further.
The repeat evolved, beginning with different yarns, and with stitches at first hooked up after 4 rows, quickly changed to after every 6.
The germ of the idea, sketched in a spreadsheet, was planned for use on multiple of 18X11 stitches and 12 rows 
An adjusted repeat, worked on a multiple of 18X11 stitches and 16 rows.
Color changes are now planned after every 8 rows knit.
Stitches are picked up and paired on matching color stitches before the next stripe.
Arrows indicate areas for the small hems; the bottom ladder is picked up in each group, hooked on to the left for color 1, on the right for color 2. 
The second color here was chosen for added contrast. The swatch began with hooking up after 6 rows; the depth of the small hems was then increased to 8 rows.
The new colorway and hem depth make the secondary shapes and textures more noticeable. 
Hem “pretenders” evocative of some holding techniques as well, can be formed using slip stitch. The purl side will form floats in any areas left without pixels in the programmed repeat.
Revisiting double bed knits with stitch transfers between beds shared this repeat, knit using the tuck setting, with stitch in the all white columns moved down to the ribber.
A similar design that meets the 24 stitch punchcard width convention using slip stitch to form automatic folds, 24X16
was tested on 66 stitches, with all knit side borders that form ruffles along both edges. 
The repeat was altered slightly in width and with the intent of producing straighter appearing side edges. It began with a 13X10 PNG, 
in half drop, 26X20,
and knit on 63X20, with added borders, marked with orange cells, planned to catch the yarn in areas with blocks of all white cells on each of the corresponding rows. 
If there is a personal preference for knits with lots of floats, the purl side can be presented as the public one. 
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 PNG 
When adding color striping, the changes may be made manually or using the color changer.
Yarn ends and how to manage 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 PNG
and 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 explores how to make things work with changes in yarn, tension, and weights
Exploring 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, and the effect on the stripes’ movement or distortion is subtle. 
Tested in part of the search for getting the doubled-up transferred stitches to snake along the center of the design, a 24X70 design repeat using plied yarns to achieve self-striping, the spreadsheet chart including LC row counts, rotated counterclockwise, 
the PNG
Movement of the stripes with softer angles is seen in this throwback sample found in: From lace chart to punchcard 3: adding stripes. 
DIY can begin with a pretested lace pattern ie this 24X30 found in To mesh or not to mesh 7, lace knitting tips.
The initial 24X30 PNG
The first adjustment
was rejected after test knitting, and the repeat was changed, making it suitable for electronic kms only, 22X30
46X30, mirrored for use on the 930 was more successful
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 out
2. scale, broken link, to 24X48
3: open new, 24X48, color invert
4: open new brush, 8X4, white color to alpha, copy
5: 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: 24X24
2: multiply YX2, 24X483: #2, colors, invert all4: Tools, layer –> brush, 8X4 
5: fill color 24X48 with brush
6: 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 24X104
colors inverted 
brush-filled 24X104
copied, 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, 12X14
a full FI card, 12X42
Separation 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