Category: Color Separation for Knits

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

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

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

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

3D printed slider, drop stitch lace review

Bringing needles on the top bed to various positions can be handy in other instances, but, in this case, the discussion is on double bed work with purposely dropped stitches.
Drop stitch “lace” is also referred to as drive lace in Studio pubs, and summer fair isle in Passap ones.
The resulting knit benefits from use of yarn that responds to blocking for lying flat and retaining scale differences between the different stitch sizes.
Knitting begins with all stitches on one bed, loops formed on the opposite, and the loops are dropped at varying intervals, depending on the intended pattern, to produce elongated stitches .
Dropping the stitches can be achieved manually with any tool on hand, by sliding the ribber carriage only back and forth if loops are formed on it, or with the aid of stitch ditchers/ dumpers.
Maintaining proper needle selection and not having needles accidentally pushed  back to the A position resulting in possible pattern errors is made easier and quicker with specific tools, often called sliders and sometimes referred to in early manuals as carriages, although they have no moving parts.
Knit bubbles and “stitch ditchers/dumpers”   and Brother KMs “pile knitting”/ ribber stitch dropping tools  share images of such tools.
I was able to obtain a 3D printed model for the Brother 4.5 mm machine, with this file available for purchase from cults3D,  and its use clearly demonstrated here  https://www.youtube.com/watch?v=IGjPwGqFJhQ.
It is useful to “read the manual”, or in this case, follow the video.
I chose to mark my slider for future use.
The proper placements on respective needle beds: This top bed placement is wrong, needles are still brought forward moving right to left, but are left out to D, not B on the return to the right. Beginning with single color samples.
A Studio drive lace published repeat for use with the technique
knit 2 rows, drop, repeat
12X16

test knit on 37 stitches results are in hard to read stitch size differencesbreaking the common rules and appearance for this type of fabric, a “what if” version, double height, 12X32 test knit on 50 stitches knit 4 rows, drop, repeat Larger designs can be more effective, 24X22 rendered double height, 24X44 EOR rendered all white/ erased test knit on 48 stitches Previously published related post links in reverse chronological order, followed by a low- resolution collage of some of the test swatches explored in them
Multiple color drop stitch lace using img2track and more
Revisiting drop/release stitch lace 1  
Drop stitch lace using Ayab software 2/ HOP
Tuck stitch/ combination fabrics
Drop stitch lace using Ayab software
Geometric shapes in drop stitch lace 3, end release  
Geometric shapes in drop stitch lace 2, Brother KM  
Geometric shapes in drop stitch lace 1, Brother KM  
Drop stitch lace, 2 colors per row, Passap KM
Drop stitch lace, 2 colors per row, Japanese machines  
Revisiting knit “bubbles” brother KM
Brother KMs “pile knitting”/ ribber stitch dropping tools 
A bubbles cousin
More knit bubbles  
More play with dropped stitches
Knit bubbles and “stitch ditchers/dumpers”  
Working out the kinks in my drop stitch lace saga  

 

Alternating color tuck stitch shapes on striped ground

The post Single bed tuck and slip stitch fabrics 1  reviews some of the differences between the two stitch types, and the characteristics of appropriate pattern repeats.
Single bed tuck and slip stitch fabrics 2: adding color introduces visualization and samples, executing both with frequent color changes while Visualizing maze or mosaic potential from tuck or slip stitch repeats begins with designs that are already developed/published and constructs the visualization of the potential results with frequent color changes.
DIY repeats bring together approaches and ideas developed over time.
A color separations post published more than a decade ago, first looked at achieving this design repeat using Excel, and the topic was revisited this year in Revisiting old color separations, testing present software methods, leading to present testing of the concept using the same software tools to produce a tuck knit pattern with alternating color shapes while observing the conventional tuck stitch rules.
In this case, if each color is to knit tucks for 2 rows, then it must be represented by cell units that are formed in single width, and 2 rows in height/ across each pair of rows.
Using only BW pixels, the process began with a 13X26 PNGdoubled in height to 13X52, redrawn on a larger canvas, to 14X56using ArahPaint drawn in half-drop repeat, offset by 28 or by 1/2 using the pull-down choice.    28X56Relatively small designs are easy to manage.
A first alternative: in one half of the repeat, erase or fill in with white the first 2 rows of black squares in the design, while in the second half of the repeat, do so with rows  3 and 4, and test alignment by drawing the design in repeat.Visualizing placement of tuck stitches on striped ground:
1. the original repeat
2. the revised repeat
3. the striped ground in any chosen colors
4. #2 with white color to alpha copied and pasted on #3
5. in any final knit when programming the design, the black cells in #4 need to be white for tuck stitches, and the ground a solid black.
Both #4 and #5 prove that held stitches/tuck loops in both colors are not represented together on any pair of rows. A second alternative uses ArahPaint on half the repeat at a time to allow for the 2-row upward shift between designs
1. adjust the grid width to 14, providing a vertical guide along the vertical midline
2. fill a 14X56 new image with a first 4-row brush3. copy and paste it on #1 right, after rendering the green color in 4 transparent5. a new 14X56 image filled with a second 4X4 brush6. copy and paste it on #4 left, after rendering the magenta color in 4 transparent7. the final repeat The test knit repeat, 28X56, is centered in a 60X56 canvas with an added two-stitch vertical border on each side; end needle selection is canceled.   The repeat may be used as is. To meet tuck rules, it then must be color reversed using the machine’s appropriate button after downloading, or color reverse the PNG before saving, and use that as is. The change to the second lighter color yarn was made to facilitate the ability to visually check the proper formation of stitches on the purl side during the test knitting of the swatch. The repeat may be reduced for use in punchcard models.and is drawn in repeat to obtain the brick configuration on the left, and then the software tool is used to find the single 24X48 repeat on its right.
The colored chart visualizes the placement of the tuck loops on a 2-color striped ground.
Punchcard knitters may mark the black cells and follow with punching all other squares, as indicated by the black cells in the chart on the far right.
24X24 PNG before the color separation for electronic knitting, before color reversal, and after it. It is possible to use the punchcard reader to repeat each row twice. The 24X24 version of the separated repeat,however, would need to be punched twice to accommodate the length necessary for the card to roll properly continuously, so not labor-saving.
Punching as required without added adjustments, such as using elongation, can make it easier to correct any errors during knitting.
Exploring the appearance of a smaller repeat by comparing results using the same yarns:

16X24 color reversed and tested on 48 stitches, 48X48 PNGThe repeat may be made usable for a punch card machine by spacing the design to 12X24 stitch vertical segments and punching the white ground. The addition of a few pixels forms continuous shapes. The design drawn in repeat and color reversed for test knitting on the 930, 48X48 pixels,  results in appearance and movement with a change in colorway, with more 3D texture than appears in the images.

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 16X14and a 20X16both 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 offSteam/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 36RThe 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
81X22was 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 cellsMy tested repeat, 43X28Forming eyelets at the edges of the shapeshalf drop, 26X28checking alignmentsdouble height, 26X56EOR rendered white pixels, 44X56 planned swatchUsing 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 37X20Using 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 46X32An attempt at having transferred stitches form a continuous shape outline, 10X36, programmed 42X36Aiming 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

 

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

Geometric shapes on ribber fabrics formed with tuck stitches 4

The term brioche in knitting is often used loosely in any references to tuck stitches. Here the term refers to vertical designs specifically produced with hand techniques, moving groups of stitches on the top bed.
Designs may be worked in single colors, or with more complicated planning, they may be executed in 2 colors.
For executing blocks of texture in one or two colors with and without racking  see Fisherman_ English tuck stitch rib 1_ checks patterns_ Brother, Passap 
racked, single-color sample. Other explorations of the use of tuck stitch settings in 2-color double-bed every needle rib fabric began with attempting to create a solid color shape on a vertically striped ground in Geometric shapes on ribber fabrics with tuck stitches 1  Another simple shape was programmed, and varied carriage settings on either or both beds were explored in Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages. Geometric shapes on ribber fabrics with tuck stitches 3  uses self-drawn repeats and  multiple colors. varying carriage settings while using only 2 colors  Lace transfers meet fisherman rib in 2 colors on Brother KM 1Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2 , one of several swatches. These are advanced, complex fabrics. The repeats for 2 colors can grow exponentially in length.
Returning to designing suitable repeats, beginning in a spreadsheet: grey vertical lines represent stitches on the ribber, which will force apart stitches created on the top bed forming the more familiar tuck rib surface. Mac Numbers offers the opportunity to hide either/ both columns and rows. In this instance, with the 10 grey columns hidden, one begins to get the sense of shapes and movements needed on the top bed   Working toward a repeat for knitting the shapes in a single color, imagining the location of eyelets resulting from stitch transfers, I used two repeats, adjusting the first one to vary the resulting shape slightly A 11X30 repeat mirrored horizontally for use on my 930, tiled twice horizontally before programming and downloading, used as a 23X30 single motif to obtain a matching border on each side, A 9X28 repeat, my second try, programmed as a 20X28 single motif, As described in previous posts, in knitting using only one color, the machine is set with the main bed tucking on every needle in one direction, followed by knitting on every needle as it returns to the starting side, the ribber does the same but in the opposite direction. It is a circular tuck, also referred to as fisherman’s rib. A slight shift in patterning may change the outline of the desired shape, requiring introducing or removing stray lines or secondary shapes.
The cam setting options: In a two-color brioche, when no needles are selected on the top bed (white squares), the top bed will tuck every needle; the ribber is set to knit. 

When needles are selected on the top bed (black squares), the ribber is set to tuck in both directions. Brother preselects needles for the next row to be knit, on rows with partial selection and some needles in the B rather than the D position, with an appropriate transfer tool, move the stitches on the non-selected needles to the adjacent selected needles to their right after pushing it (them) back to the B position.
After each transfer, push all needles involved in the transfer and the now empty needle to the E position.
As the carriage returns to the opposite side an all-knit row will be completed. Several tension adjustments may be needed to ensure loops are not hung up on gate pegs as stitches move across the bed, while still being loose enough to knit off properly.
A first repeat, plotted in a spreadsheet including borders Here groups of columns are eliminated to bring the shapes close together The yarns used are white 2/15 and red 2/10 wool.  The latter is coarsely spun and tends to split and occasionally not properly knit off, resulting in the specks on the white columns on the reverse, making it a poor choice for final projects.

Studio/Silver Reed machines published some designs for pile knitting in their punchcard volume  

The inspiration page   The #14 24X42 repeat used in this sample was color-reversed before being downloaded to the 930  checking tiling punchcard machine users would punch all black cells. The pattern is worked with end needle selection canceled, the knit carriage is set to tuck in both directions and the ribber carriage to knit in both.
The first and last needles in work are on the ribber bed.

The #13 design, is composed of 24X16 segments  repeated X2
The 16X32 rendered double length to 24X32 was used to knit this slip-stitch double bed fabric  The 24X16, file color was reversed and this 26X32 file added black pixels in width for more definition of the shapes The yarn used is a 2/20 wool, so thin that there is less definition between the two stitch types and enough open space between the stitches to show the surface beneath the swatch, which measures 13.5 inches in width, 7.25 in height A DIY attempt at a large scale design: the 24X38 was found in Pinterest, published in 2018 and credited to a Russian site.
The starting design, in BW indexed mode 24X38 the tiled repeat results in a horizontal striping 24X38 scaled in Gimp X4 to 96X152 Mode >RGB
open a new file, in this case, 8X2 using a color and white
white color to alpha, copy to clipboard to use it as a brush
bucket fill the first image with the pattern click on the select by color tool, click on the red, and use the bucket fill tool again, making certain that the background or foreground colors are selected, not pattern fill  click on the rectangle select tool and back in the work window to fix the layer, Mode >BW indexed, color invert the result for knitting using the tuck double bed setting
The yarn used in this swatch is a 2/20 coarse and unevenly spun wool, which leads to the variable moiret-like bleed-through of the fabric colors behind it.  The same yarn was then used double-stranded. Some spots were harder to knit than others due to changes in ply quality resulting in snags in texture as well. The shapes are more clearly defined, the largest shape measures 7.5 inches of the 11-inch swatch width and 3 3/8 inches in height. This swatch began with a 25X25 pixel file, processed in Arahpaint drawn in repeat using the random >preview option until a final version was chosen and rendered double-length. Brush fill was used to expose every other row, and the resulting 75X150 file was color-inverted for use with the tuck setting These knits produce a subtle texture easily on both sides and lie flat.

This design is not suitable for this exercise but is another illustration of the horizontal/vertical striping that can happen when large-scale designs repeat proving the need to tile the patterns before knitting them to visualize whether they meet one’s personal preferences
71X64

Using programming with punched holes or pixels in other ways:
Using punchcards (3) or electronics to track small cables in pattern
Using  punchcards to track cables and twists in pattern 2
Using punchcards to track small cables in pattern (1) 

Unconventional uses for punchcards 3: lace in rib
Unconventional uses for punchcards 2: thread lace cards for filet mesh 
Unconventional uses for punchcards 1: tracking racking positions in ribbed fabric

ArahPaint in knit design 6: color separations

ArahPaint download
YouTube videos, including the latest features.
A PDF with update details for 2025, Paint info starts on page 25.
December 2025: My own iMac was replaced by a desktop with an M4 chip, macOS Tahoe 26.3.1, with ArahPaint Silicon Version 6.0.3375.
I later found that access to the latest program additions, as viewed on Facebook, YouTube, and on Instagram, “Silicon Mac users should download the Intel version 6.0.4492 instead”. That said, guess weave from grid appears disabled when doing so, and bears more testing.
Gimp latest stable version 3.08, January 28, 2026
Since March 16, 2025, there have been many menu and command changes, perhaps making some reinterpretation necessary when following previously published blog posts.
A quick tutorial and a video.
I have found the March and the later October release update both problematic, would recommend staying with or installing the last previous stable version  2.10.38 instead.

I remember graph paper, colored pencil, acetate transparency days, and the achingly slow first experiments using Excel to attempt to fill in motifs cell by cell, row by row. A better understanding of knit structures evolved along with tools to make them possible, and the process has become quick and satisfying when those black squares or punched holes make the planned knit fabric possible.

More separations for various knits using Gimp, color to alpha included this method for knitting each color in each design row twice. I have not duplicated the process using ArahPaint in the past. The previous failed attempts appear to have resulted from rendering a color transparent before copying and pasting the chosen file onto another in a new window.
Using a matching size file filled with the brush and enough magnification ensures that the layers will be superimposed on each other correctly, with no missed rows or columns.
The experiments that follow use the same repeats explored in the Gimp posts, which included the knit swatch proofs of concepts following their use.
At the bottom of ArahPaint in knit design 5 exploring rendering colors transparent began with creating and saving one or more brushes in 2 colors and involved steps in multiple open windows.
The brushes need not match the design in width, plan its magnification and size for easy visibility ie this 12X2 A reminder: magnification used appears at the top of each window, selecting 0 on the keyboard will enlarge the starting image X1000, use select + or – for custom values  From the Kinder book
1. a 12X18 repeat
2. the published separation for knitting as a mosaic
3. #2, color inverted for knitting using the tuck or slip setting
4. the brush used to bucket fill a 12X18 picture, and the palette window illustrates each of the 2 colors alternately rendered transparent 1. in the first window, open the 12X18 PNG2. in the second window, Colors >Invert all 3. in the third window, 12X18 filled with the brush pattern A. copy # 3, as you move to paste #2 before moving it permanently in place, shadows of both brush colors will be slightly visible, select the color for row 2 and even rows in the palette window repeatedly until it is shown as rendered transparent (color to alpha)
B. paste the result in place and select the merge down/drop selection tool by clicking on its icon in the toolbox, pressing the Command+d  on the Mac Keyboard, or right-clicking outside the selection somewhere in the background image to merge the selection into the image in its current location. The dotted lines, sometimes referred to as walking ants, will disappear.
C. copy B, repeat the process positioning it on A, rendering the purple transparent to complete the color separation.

For knitting as a tuck or slip-stitch mosaic, the 12X18 file must be doubled in height to 12X36. The approach for developing separations for large-scale mosaics is the same, taking care that when images are pasted from one window to another, they are not placed a row or a column off.
From a free online pattern, the adapted repeat:  the repeat, 100X100 color inverted same size image brush filled copied and pasted on color inverted file, after light blue color to alpha copied and pasted on the original, after purple color to alpha rendered double length (or set the double length button in the machine) Proof of concept swatch is found in Color separations for larger scale mosaics and mazes  along with added experiments ie with this starting imageDBJ work: using StitchWorld # 548 is a 24X40 design The three ArahPaint windows.  To be separated for use in DBJ with each color in each row knitting twice, begin with # 548 doubled in height to 24X80 invert colors copy the 20X80 brush-filled image, and move it in place over the color inverted file, blue to alpha, merge layers copy and paste it on the original rendered double height>20X80, first changing purple to alpha, merge colors, set the number of colors to 2> BW, the 24X80 file doubled in height (Multiply YX2) to 24X160, matching the Gimp results. Duplicating the punchcard design separation for knitting each color in each design row only once, the original methods followed using a shifting template, as follows:
the original 24X6 complete row of repeat is doubled in height to 24X12 and in turn, is repeated to an adequate height for the punchcard to roll smoothly in the reader, 24X36. Begin  the color separation by creating a 4-row brush in 2 colors ie May 2025 edit is the result of a lightbulb moment when attempting to answer a FB question shortens the process:
the new brush 1: first window, 24X36  2-3: in the second window, open another 24X36 file, color invert all content 4: in the third window, open a new file, 24X36, fill with the custom brush, and select all 5: copy and paste the brush-filled image on the color inverted one after rendering the cyan color transparent using color to alpha, merge to new content 6: copy and paste it on the first image after rendering the magenta color transparent, merge the content for the end-result. To knit on electronic models, change mode to indexed, BW, and save.
If preferred, save a scaled result to print and aid in tracing and marking a card for punching.
The “old” method,   
and the “new”, resulting in a matching result with fewer steps, with both matching the punchcard separated the low-tech way. The approach used to emulate pile knit designs using large-scale repeats as seen in Geometric shapes on ribber fabrics formed with tuck stitches 4, where proof of concept swatches are also found. Using the same design for embossed fisherman rib A 25X25 pixel file based on Truchet tiles was drawn in repeat using the random >preview option until a final version was chosen and rendered double height. A 2-row brush fill was used to expose every other row, the resulting 75X150 file.  was color-inverted for use with the tuck setting. Before being color inverted, the above design could be used in single-color drop-stitch lace or punch pile in machines with that capacity.
The spacing between lines of pixels can be varied for custom designs ie in the hand-formed loop version of a 24X48 file, adjusted in height and width by multiplying YX3 and multiplying X X2 the saved brush set the number of colors to 3 to include the added one used in the brush
in a new window open a new picture 48X144, fill it with the brush, and copy and paste it onto the first image, after rendering the third color transparent.   Set the number of colors to 2>BW, and the final 48X144 file will be ready for knitting. A new large-scale mosaic using the same approach, 32X86 PNG color inverted 32X8632X86 brush fill copied and pasted on color inverted file, white color to alpha copied and pasted on the original file, purple color to alpha double length for knitting using tuck stitch setting single bed, 32X172The swatch was knit on 60 stitches and for 182 rows, measured 9X11.25 inches. Multiple color drop stitch lace using img2track and more includes a cumulative list of links to previous posts investigating the technique including when using only one color. In Passapese the knit was often referred to as summer fair isle.
Shorthand for ArahPaint steps for attaining the same results as with the Gimp color separation: Other effects can be obtained using DBJ color separations, which knit each color in each row twice. An easy variation is seen in the post on Long stitch Passap and Brother DBJ design using thick and thin yarns.
ArahPaint drawing in repeat facilitates half-drop and brick variations of designs. Color separation often requires long images.
If a source separation is already available, ie this 40X80using offset it is possible to develop a brick repeat, 40X160 half drop repeat, 80X80 A proof of concept swatch has been added to the post on Long stitch Passap and Brother DBJ design using thick and thin yarns

The same approach may be used for designs with more than two colors per row. The abridged steps:
the original 11X10, in addition, does not have all 3 colors represented in each design row.
It was explored separated with multiple methods and test-knit in the blog post on DBJ, more than 2 colors per row 4.
The repeat is multiplied in height by X3 to 11X30, and, working in separate windows, each color is isolated,

the second row in each color sequence is rendered white, the 3 new reductions are combined, the color white is locked and the image is filled with black for a BW repeat, still 11X30doubled in height to 11X60, every second black row is erased in turn for the final 11X60When test test-knit, I preferred using end needle selection to have end needles on both beds knit every row, which does cause beaded color side edges. Some issues with infrequent dropped stitches only on one side were due to the ribber height having dropped slightly with use on that same side.

Developing 24 stitch optical illusion patterns for use on punchcard machines and more.

I have recently become obsessed with designs that fool the eye in any number of ways, and although knitting them in more than 2 colors is possible, I prefer the ease of only using 2.
Floats are likely to be too long in these knitting patterns for knitting them as single bed fair isle.
Software facilitates but is not necessary to develop repeats, the process may even be performed on graph pater with colored pencils if one so chooses.
Punchcard machine users are not always included in conversations, this post  addresses some ways of developing full 24 stitch designs and performing the necessary color separations for knitting them as DBJ where each color in each design row knits only once.
Brother KMs: punchcards and their use  reviews the basics including DIY development of simple motifs repeated in symmetrical tiled patterns.
The Manual for the Brother KR 830 offers this advice on DBJ knitting: Using lili buttons along with the slip stitch setting in both directions on the ribber carriage reduces motif elongation and keeps the aspect ratio of the planned designs closer to that in the originals than when choosing other DBJ techniques.
Ribber needle tapes are marked with lines followed by spaces. If the start under the first ribber needle on the left is on a blank space on the needle tape, simply end on the right with a needle over a line marking, or the reverse.
I am often asked why in my own illustrations the slide lever on the ribber carriage, a Brother “thing”, is always in the center position.
Reducing variables exponentially reduces errors.
If the lever position is not changed after those first rows or accidentally changed during knitting, the knit gauge will change. An example: working on final projects, more than one student in my knit studio design classes realized only after completing front and back or the second sleeve that the rib with the alternate lever setting not changed resulted in a visibly different rib height in the second piece.
Necessary adjustments can be made in yarn mast and respective carriage tensions, along with yarn choices appropriate for the technique.

ArahPaint and/with/or Gimp with a sprinkle of Mac Numbers have become my preferred go-tos for developing knit designs.
Designing can begin with simple drawings which do not require complex software knowledge and help to build confidence, using the electronic equivalent of graph paper and colored pencils.
Beginning with ArahPaint, with the goal of developing a 24 stitch pattern: load a new square picture, with an odd number of cells, in this case 13X13
Choose from the default palette, or set the number of colors to 3 and adjust the the results to include white, black, and one other clearly contrasting color Draw some starting lines/shapes that can be outlined with single pixels pencils Using the single pixel pencil tool, fill outlines in with color 3 To eliminate double pixels, mirror the image using the 25X13 pngrepeat mirroring using the 25X25 png Using the rectangle select tool, again to avoid double pixel lines, trim a row from the top and the right side of the design the 24X24 cropped result tiled as is with with the palette reduced to black and white The question remains as to how best to knit similar designs on any machine.
The floats are too long for FI, the repeat is best suited for DBJ.
The easiest color separation for DBJ is the one where each color in each design row knits twice.
To have each color in each design row knit only once, electronic machines offer the KRC button. The same result can be obtained in punchcard knitting by custom color separating the design.
When knitting DBJ with these separations, the 2 most common causes of stripes on both sides of the fabric are beginning the preselection row on the right, rather than the left, or as in my swatch, forgetting to push in both slip buttons.
This separation process for me is a very quick one using Gimp, I have not yet sorted a similar one in ArahPaint.
Using color to alpha as described in previous posts, the required files:
24X24 BW
24X48
24X48 color invert
24X4 with the top rows in a color picked from the program’s built in palette. Use Colors, white to alpha, to render the white see through. Copy the file to the clipboard, and use it to bucket fill with pattern  a new 24X49 (col inv png 48+1 blank row at top) bucket filled with the clipboard patternthe pink color to alpha, renders it see through, th last row is cropped, to 24X48, and is copied and pasted on the original 24X48 imageThe proof of concept swatchIf you enjoy designing with pencils in paint programs, the same approach can be used to produce a larger repeat, which makes the illusion more noticeable, ie in this 36X36 design.
Open a new window with an odd number of cells,  ie. 19. Copy and paste the upper left of the design on the new upper left corner, keep filling in linesRepeating the steps described previously, the 19X19 png is mirrored -1 in both directions, and trimmed to a final 36X36 design Modifications resulting in added shapes beginning to appear can be small in developing variations while continuing with the 24 stitch constraint.      Repeating the process, the files in sequence   The proof of concept was knit using the color white for the first preselection row to the right and as the first knit color row to the left, the color inverted version of the original repeat.  The KRC electronic separations are intended to begin with the white pixels in the designs, but the knitter can change that sequence based on their preferred placement of dark vs light colors.
Visualizing the reverse color placement in a knit swatch using Gimp  Mosaic and maze knitting, also known as floatless fair isle, has been discussed in many other posts.
The appropriate color separation shares much of the process with that for DBJ but the starting image is used as is, not rendered double length to start with.
The convention is the same as for fair isle, floats wider than 5 stitches are generally avoided.
In the 40 stitch design, there are spaces as wide as 15 cells with no contrasting color ones, which will be responsible for float formation.
Answering the “what if” question if the 24 stitch design design was used as a possible maze design.
The Gimp process in shorthand While the DDJ separation is used as is, this separation must be rendered double length in order for it to be executed single bed with the knit carriage set to slip in both directions, and color changes every 2 rows.
Using color invert on the final file, reduces the white cell, skip stitch float counts from a maximum of 15 to one of 6. Tiling will check on repeat alignments but has no relationship to the final look of the knit, where the slipped stitches will be gather the knit ones near them. The resulting swatch is highly textured, some of those extra long slipped stitches could be amended by making small changes in the design if it were to be developed further.  

For electronic models, the second 24 stitch repeat extended to 30X30
36X36  

ArahPaint in knit design 4 illustrates a way where following guidelines in Easily generate random weaves it is possible to quickly generate more random DIY designs for use in multiple techniques and stitch counts.

Color separations meet Gimp rows color invert and custom scripts , November 2025, introduced additional ways of color separating for single and double bed work, the start of GIMP scripts that wok with simple, one step commands.
Using the approach for mosaics for the 24X24 design, the separated result 24X48 matches the companion above. The color separation for the same design knit emulating the KRC function where each color in each design row knits only once, but with the firs pre selection row made from the right toward the color changer, 24X48, but with a different starting row.Comparing the 2 files

More separations for various knits using Gimp, color to alpha

Gimp March 16, 2025 has many menu and command changes, making some reinterpretation necessary when following previously published blogposts, a quick tutorial

a caution: 4/26/24 Gimp repeatedly crashed at the step when I tried to copy the brush from the clipboard to bucket fill any images with the pattern. The same reoccurred after an iMac restart and after a Gimp reinstall. The problems appear to have been eliminated by uninstalling 2.10.36 and downloading and installing the previous, stable version 2.10.34.

11/24 The issue of frequent crashes was later identified as a bug.
The program was updated later this year,  2.10.38 (revision1), which appears to have eliminated the unexplained crashes.

Other posts have used the Layer> Transparency> Color to Alpha or Colors> Color to Alpha as part of other menu options, but in the last post and here the selection is the primary tool in developing transparencies.
This design was originally shared in the post: Gimp Update for Mac 3_more on color separations, where the goal had been to reproduce a published 12X18 chart. 

The PNG matching the chart on the right may be used in several ways. On electronic machines, it would be ready for knitting using both the color reverse and the double length buttons if planning to use tuck or slip settings with color changes every 2 rows.
Punch card machine users must punch the color-reversed file and set their models for double length,  but punching out the lengthened version 36 rows in length provides enough for the card to advance properly in the drum and makes correcting errors easier.
Revisiting the photograph of a swatch using the design using wire and chenille in half, and wool rayons in the other, I was bothered by the breaks at the midline of each repeat. Tiling the first design provides evidence of the area at issue, led to adding/subtracting a few pixels at a time, seeking slight changes, and ending with two final variations:  
Variation 1
Variation 2  The Gimp color to alpha process in RGB Mode for mosaic knitting: file 1 is opened. Several new files may be opened in sequence for altering, copying, and pasting onto each other, with steps performed as a continuous process or with saving results and returning to them in separate steps    file 2: its color reverse
file 3: a 2-row brush with white color to alpha file 4: file 3 used to bucket fill 2 with pattern file 5: magenta color in 4 to alpha

file 6: file 5 copied and pasted onto file 1.
Change Mode to BW Indexed
file 7: file 6 color-reversed for knitting with the tuck or slip setting,   will need to be doubled in height for color changes every 2 rows using the double height button or use the file rendered double height to 12X36 pixels using Image> Scale in Gimp The proof of concept:  1: The StitchWorld #548, 24X40 pattern was also used in that post, it is suitable for punchcard machines as well  Using bucket fill with pattern makes the process faster than using the pencil tool to fill in color manually before converting colors to alpha in separating it.
While mosaics are processed in their original length, DBJ files are doubled in height.
2: the file is scaled to 24X80 3: and color reversed 4: a 2-row brush with white color to alpha 5: is copied to the clipboard and is used to bucket fill with pattern the color reversed image   6: the cyan is rendered transparent by using color to alpha again,  7: and 6 is copied and pasted on #2, the first 40X80 image,  8: and doubled in length to 40X160, it is exported as a BW PNG for knitting as DBJ. The results with both methods match.   Each color in each design row will be knit twice.
The method for emulating the separation that is built-in in Japanese electronic models, where each color knits once reducing elongation is a bit more fiddly to perform.
Charts from left to right:
1: the scaled 24X80
2: is color reversed
3: a new file, 1 row longer, 24X81 is opened, 2 is pasted onto it, leaving an all white pixel row at the top of the design
open a 24X4 row file, with two top white rows to alpha, use it as brush to bucket fill 3 with pattern
4: magenta color to alpha
5: crop that last blank row from the file, now 24X80 once more, copy and paste it onto 1.
The green grid is to differentiate this result from the one obtained in the other post, shown at its right
Change image mode to BW Indexed, export as png for knitting.
The proof of concept Gimp update 2025 has changed menu and window selections. Using the newer, alternate brush: when using color to alpha, select colors from default palette.
The new brush, used with white color to alpha  the steps summarized, all repeats 24X80The final PNG matches the results obtained using the previously described method Returning to the repeat used to produce this punchcard the very low tech wayPlease see edit published in May 2025 post using a different brush, eliminating the need for the extra row and requiring fewer steps.  
Repeating the steps using the added blank row.Working in RGB Mode the 24X6 starting repeat was lengthened X2 to 24X12, and colors exchanged to black and white, because using color invert in RGB mode introduces a different palette confusing the process.
1: To produce the separation for a full punchcard, the image is tiled X3 in height to meet the 36 row minimum card length and 2: is copied and pasted on a new file of the same dimension, and color inverted 3: the color inverted file is copied onto a new 24X37 one with with an added blank row at the top 4: a new file 24X4 is opened, the bottom 2 white rows are rendered transparent using color to alpha, and saved to clipboard 5: to be used to bucket fill in pattern the color inverted 24X37 image (3) with pattern  6: the pink color is now rendered transparent as well using color to alpha crop the last blank row, the file will now be 24X36 again,
7: copy and paste it on the first image for the final KRC emulating PNG, check the file mode, and save as indexed BW for use in electronic models. When color-inverted the repeat matches the punchcard separation. It is possible to magnify, screengrab, and scale the pngs to print templates for counting stitches or even tracing to mark cards before punching holes.