Machine knit fringes 4, long loop patterning

Related posts on creating loops:
long-loops-a-bit-on-method.
long-stitches-on-km/
some-long-stitch-swatches/
for double bed long loops in various designs in single or multiple colors see drop stitch lace

I became curious about creating long loop shapes on a knit ground using continuous strands of yarn, forming loops in the same direction, and allowing for knit rows between them resulting in returning the yarn to the starting loop formation side. My own preference is to make the loops with the knit carriage on the right, anchoring them with the following carriage pass to the left. To continue doing that, the yarn would either need to be cut leaving a yarn end, or it needs to travel back to the left, where it can form the next row of loops from left to right.
In these tests, the movement of the yarn back to the left was achieved by having it weave on every other needle from right to left.
Triangular shapes are easily recognized, and I began with a moderately large one, at first planning for loops on every other needle. Black cells on the right represent loop locations, and green the weaving pattern formed as the carriage knits right to left.  The length of the loops determines end-use, long loops can become fringe, and short ones the macro version of pile knitting.
Tools to aid loop formation that are fixed in height across the needle bed are needed if the pattern is not used as a single motif, but rather as a recurring one. Separate strands of yarn on bobbins or balls or cones would need to be used for each shape. The loops in this swatch are large, so there are extra knit rows between each set.
I use colors and yarns that are randomly on hand for swatches unless I am planning a specific finished item.
The first swatch is worked with loops on every other needle, the second with loops on every, as shown in the photos
Worked as a single motif:
KC II: preselection is made from left to right
COL: make loops moving from left to right using ribber gate pegs, I like to bring needles to be wrapped out to hold as I move across each row, wrapping frequency may be varied apart from needle preselection, knit a row to left, anchoring them  COL: knit to right, the needles for the weaving pattern to the left will preselect COR: check that weaving brushes are down, place yarn over preselected needles, knit a row to the left, securing the weaving pattern, the yarn end will be on the left again COL: knit a row to the right, needles for the next row of loops will be preselected
COR: use the yarn now on the left again to form loops from left to right, knit a row to the left to secure loops. Repeat the process. The resulting shape brings holiday knitting to mind.
The loops worked on every other needle and on every needle. The original preselection repeat may be used. The only yarn ends that need to be dealt with are at the beginning and end of the shape, the reverse of the knit has the appearance typically seen in knit weaving, where the thicker yarn forces the stitches in the background one apart. What of recurring shapes with reversing directions? It occurred to me plastic straws may prove to be handy tools for creating the loops and easier to manage than rulers. The maximum length of the straw is a limitation. Exploring the technique in a single motif gives one the opportunity to explore issues and limitations.
My straw is 10.25 inches wide, made of plastic, is not rigid, and can be squeezed flat easily. When using it as a loop guide, it was held low enough below the knitting on the top bed on the carriage side to allow some ease in the loops so the straw can have an easier time dropping below the sinker plate when the knit carriage passes over it, it can even partially collapse if needed.
I found managing the straw soon became rhythmic and easy.
The lengths of the straw on both sides of the loops serve as a handle on the left, and on the carriage, right side, the extra length can be guided down a bit to keep it from angling up and getting caught in the sinker plate.
Once the carriage begins to knit across I encountered no problems. The straw may get pushed slightly to the left with the carriage pass. Planning possible actions and a starting repeat with single rows knit between loops. In this instance, loop formation happens when the carriage is on the right, and weaving when the carriage is on the left. The latter means the weaving yarn is laid over selected needles in the wrong direction, with the long end of the yarn away from the knit carriage. That said because weaving happens only on every other needle X3 and on a max of 7 on every other needle, the first selections were no problem, and the second was manageable with some caution. The arrows indicate the direction of the carriage movement after the loops are formed, and after the yarn is laid over the preselected needles for weaving.
The image on the right is the repeat tiled in Gimp to evaluate its vertical alignment. It is 14 pixels wide and 20 high, could be used in a punchcard and placed on the center of the card making it recur centered in each 24 stitch location on the needle bed.
If an attempt is to be made knitting several repeats, vertical columns of plain knit between the pile knit columns are desirable.
The needle preselection will begin on 14 stitches, so only for the first 2 rows, the needles preselected for the first 7 stitches of the 14, shown as grey cells, push the needles involved back to B.   Depending on the machine model and software used for the download, the repeat may need to be mirrored to achieve the result planned in the drawing, which is true in my 930. The starting png may be placed on a wider canvas in Gimp, here is a 30 stitch mirrored version for use on my 930. The resulting design is quite dense but successful. Planning moves on for weaving to happen with the yarn in the proper direction, particularly if more than one design is to be attempted horizontally, and to make the loops less dense.  Extra rows of plain knitting are added between loop formation.
Here the design is placed once again on a 30 stitch ground but is now 40 rows high, drawn in the direction desired, not yet mirrored. It is expected the aspect ratio for the shapes will change, becoming elongated. Again, preselection for the first seven stitches on the right for the first two times selection occurs on those needles is canceled with needles pushed back to B. Clothespins, as seen in the lower right, can come in handy to put slight weight on yarn ends to help hold them in place at the start of the piece or as it progresses. The proof of concept swatch shows a very different appearance in the distribution of the loops from the first sample. It is possible to knit more than multiple series of shapes. Enough spacing between the forms is required to allow for using of more than one straw.
I had the easiest result by leaving the straws uncut.
Each straw end on the carriage side again needs to be kept down until the sinker plate begins to pass above it.
It is a good idea to try the method first and practice some hand selections.    The rows where all 14 stitches in each group were worked required a bit of extra care, but knitting was quite manageable Long loops may also be created with i-cords, strips of knitting, or fabric, strung beads, and imagination is the limit depending on preference, available materials, and the specific design. Even tiny beads may be used to create loops as seen in this swatch. Dental floss may be used as the very strong “thread”, secured with e-wraps on the knit background where needed.
For threading the beads onto lengths of the chosen thread, a tool I have used (which also comes in handy for threading a serger) is an “EEZ-THRU” floss threader, recently available in this brand  Here strips of knitting are used along the edge and knotted, strips are also applied to the body of the swatch during knitting for contrasting color interest I cords may be applied to the edges of a  knit ie scarves, but there are a lot of ends to weave in. There are trade-offs if techniques are explored to use continuous strands with limited or no cutting.
There is a hand knitting pattern called foxpaw, for which some illustrations may be found in the photos related to the advertisement for this class https://stitches.events/shop/classes/west-2022/intro-to-stacked-stitches-6/.
A while ago I was interested in trying out a simplified version using the knitting machine, the project has remained a UFO (unfinished object) since then.
The graduated size cording here were created by knitting lengths of i-cord on 4 stitches, knitting X number of rows, folding the cord upon itself, and joining the second half to the first using seam as you knit, continuing with the next shape immediately after completing the join. When applied to a cast on edge, if the goal is to use the technique for a substitute fringe, the double cords are a bit dense compared to the body of this particular knit and too close together. Perhaps creating a trim by applying the double cord to a side edge of a vertical strip and then in turn to where needed would produce a better result, or limited numbers of graduated cord lengths might provide interest in the body of a knit.

 

Geometric shapes in drop stitch lace 4, stitch release, added racking

Though written in 2017, the post on revisiting drop/release stitch lace 1 has had new swatches and updated design ideas added. It includes information on how to use punchcards intended for other fabrics as possible design ideas and a cumulative list of previous posts on drop stitch lace.
The Brother publications have offered this idea for end release drop stitch in one of their volumes of punchcard patterns.  Many published designs recommend beginning the knitting with the racking handle in the center position, 5 of 1-10 positions in Brother, and 0 of 6, 3-3 in Passap. Often the starting position is relative and when a lot of racking is involved, they may be varied, though not the sequences in terms of the number of movements, to different starting points if that seems to offer an easier way to track position numbers. It is one of the many things that once the method is sorted may be adjusted to personal preference. Some of my swatches below were started with the racking position on 10, some with it on 5.
Many knitters in forums appear to have success with end release drop stitch. My experience has been that episodic release of the stitches even as often as after 2 rows knit yields far more predictable results. It is how I worked my shawls produced in the technique, including these two, knit in days when I did not always photograph all my pieces Giving end release another go, this was my initial needle set up. With the majority of the needles in work on the main bed, the larger stitches in the final fabric will dominate. The stitches after the cast on have been transferred down to the ribber. The work on the machine, with stitches on the main bed released at the end of the swatch. There is a long stitch DBJ single color pattern happening which may prove to be an interesting fabric if no stitches are dropped, to preserve it, all stitches would be transferred to the top bed, and bound off.
Here the racking took place in single positions after every knit row. Dropping stitches on completion of the swatch, particularly along the edges was so fiddly and such a nuisance I simply gave up in spots, some indicated by red dots.  This watch had stitches released at the end of each shape, racking in the top portion occurred after every 2 rows knit Here the same design was knit using different yarns. The first is knit using the same blue wool, the second a tightly spun rayon. So many fabrics can be automated, sometimes the fabric is a vague look-alike cousin of the original, close enough to be a reasonable compromise. Slip stitch patterning across the top bed can offer a quick solution to bypassing a lot of hand manipulation. Assuming that was possible for this fabric, my starting repeat, 10X30 pixels: and the plan would be to knit it in a 40 stitch swatch, placed in a way so that the “mock racking” would move equally from side to side. Working on a larger than needed canvas, the design can be placed on a magnified work area with a visible grid, at the chosen starting point. If the background is left as white in BW images, moving repeat spacing may erase black pixels as copy and paste in place are used. The solution is to make the background transparent using the Layer menu, as explained in other posts on using Gimp. To save the repeat as a BW bmp or png, remove the alpha channel The final repeat is 40 stitches wide, 34 high, with blank rows added to its top to serve as a place to drop stitches and have knitting happening on the ribber only.
Depending on the download program or the knitting machine model number, repeats are automatically mirrored, so if direction matters, mirroring of the repeat may need to be performed once more.
Why the repeat will not work for drop stitch: if the KC is set to slip in both directions, the function will happen on all needles in work on the top bed. On any given row, only black pixels (or punched holes) will knit. The slipped/ skipped stitches keep elongating until a black pixel replaces the white one in that needle location. The degree of elongation is illustrated in the chart in color for part of the repeat, the yellow marks the widest gap between knit stitches. If knit as is the repeat will soon cause serious knitting problems and carriage jams.  Though designing for one type of fabric may fail, this repeat or similar could be used successfully double bed in other ways, using hand transfers on the top bed or down to the ribber. In this case, I chose to transfer down to the ribber, which avoids concerns about restoring correct needle selection, and the repeat was not mirrored for use on my 930, so the resulting knit appears as drawn on the purl side, but is mirrored on the knit side.
The fabric is far removed from the drop stitch idea, but as for drop stitch lace, stitches after the cast on are transferred to the bottom bed.
Newly selected empty needles will create eyelets with the next 2 carriage passes, and texture will appear on both sides at the transfer down locations.
The shapes created do not travel on the knitting bed any longer.
End needle selection needs to be canceled at any time that slip stitch patterning is used and does not occur on every needle on the top bed.
If the pattern is to be interrupted by all knit rows here seen as rows with no preselection in the programmed repeat, then any needles with stitches on them need to be transferred down to the bottom bed before continuing to knit.
As preselection begins again, those needles should be filled by picking up from the stitches below them on the ribber, and then the process may be repeated.

Machine knit fringes 3

The term fringe may be used to describe a decorative border of hanging threads left loose or formed into tassels or twists, used to edge clothing or material. Samples in these posts can apply to that definition
A collection of machine-knit fringes 1 9/19
Machine fringes 2: mock hairpin lace  10/19
Some methods for creating the long loops 8/12
Present fashion has fringe as an element in mixed locations in finished pieces. For the traditional fringed appearance, lengths of trim may be knit ahead of time followed by its application where desired. Depending on the location(s) and frequency of the applique, a repeat could be programmed to preselect needles in needle locations for hooking up the pre-knit trim or even simply cut lengths of yarn.
Dropping the ribber to its lowest position and using the ribber gate pegs to create continuous loops may provide the desired effect in a fringe or cover the surface of any knit completely.
In these beginning samples, the number of plies changes, but not the needle selection.
Many variations are possible, experimentation will help determine personal preference.
Images of loop formation in progress: after a row is knit to the opposite side, needles may be brought forward again to ensure they will knit properly, or to add a latch tool bind off in front Latch tooling in back of the cast on to reduce roll to the purl side at the bottom of the knit or add color contrast, may also be added at any point in the knit, as surface interest or to serve as a horizontal line to add elements on the knit side on specific rows after the piece is completed.  Possible applique use for varying lengths of narrow trim Leaving lengths of the yarns used in the project at each end rather than becoming enthusiastic about clipping them provides a good reference as to the number of plies used for the loops and the thickness of the background yarn.
Here 3 strands were used for the loops.
Crochet cast-on on every needle and knit a few rows, they will roll to the purl side. End on the side on which you find it easier to form loops.
COR: create a row of loops, I prefer to do so from left to right, bring all the needles forward, knit a row to the left securing them
COL: knit for a few rows in the ground yarn and bind off.
Turn the work over, with the roll away from you.
Rehang the trim using the hooked on a row with purl side facing as a horizontal guide, and continue to knit.
When the piece is completed, the roll will appear on the knit side and may be used as a decorative element. Method 2: uses two strands of yarn for the loops
COL: crochet cast on with the ground yarn and knit a row to the right.
COR: knit a row to the left.
COL: move the knit forward, crochet cast on behind the stitches on the machine with the loop yarn. Knit a row to the right.
COR: create a row of loops, bring all the needles forward, a
knit a row to the left securing them
COL: knit for a few rows, lift loops off gate pegs, and position them between the beds
Continue knitting in the ground yarn until the piece is finished. There is a single row subtle roll to the purl side of the ground. If the piece being knit is a scarf, the direction of the loops is a factor if the trim is added after turning the piece upside down The solution is to produce the fringe as a separate trim which may be stitched upon completion or hung on the start of the piece and stitched on at the top with the piece off the machine after the bind off, or to knit 2 pieces with loops from the bottom up and graft them together at the center of the length of the accessory.
The method most likely to yield very long horizontal, even lengths of continuous loops or stitches as one knits at the bottom edge of the piece or in horizontal lines or patches as one continues up the piece is to remove the ribber if it is in use and use the cast on comb anchored with equal lengths of wire or something that will not stretch.
Add enough weight to it so it will not shift up as one moves across the row creating the loops, as shown in the 8/12 post. Here the yarn is fuzzy mohair wrapped on every other needle. When wearables are trimmed with fringe, there can be a concern as to how the fringe will wear over time or how the yarn ends would behave if the piece is laundered. Twisting the plies provides an answer. The yarn thickness, number of plies, and the chosen color(s) can be varied to suit the piece.
Bullion fringe is one where there are no cut ends or knots, often seen with the twisted elements equal in length. It is available commercially by the yard, and if fiber content or other features are compatible with the knit piece, the purchased fringe may be hooked on and knit in where desired with consideration as to how to best secure or hide any cut ends of edges on either side.  Even in a commercial sample intended for sewing, note that there are slight differences between the width of the resulting twists and their very bottoms:  It is possible to produce fringe with a similar appearance on the knitting machine.
Playing with the number of plies, spacing of twists, whether the loops are added at the bottom edge or sides of the knit, and seeking a rhythm: Note the long red loop in the background yarn occurred where the empty needle was not pushed back to the B position during working with sideways loops.
The first try at long loops across a horizontal knit: At present my ribber is set up, and since I am planning more double bed fabrics and fringes are a temporary distraction, I tried to form even loops around a quilting plastic ruler for more control of the process. Definitely clumsy and not a good idea for a wide piece. The handling of the loops remains the same.
COL: crochet cast on the width of the planned piece from left to right
COR: knit a row to the left
create a series of long loops on every other needle, done here by wrapping the large ruler The plan was to knit loops through the stitches on the corresponding needles on the top bed, the ruler was removed, there was not enough slack in the loops, and some of the stitches created with the fringe yarn jumped forward COL: to secure the row, knit a row to the right
COR: repeat a crochet cast on in front of all the stitches to the left Twist the loops,  to place them on the base knit, hang the small loop/eyelet formed at the end of the twist on the alternate needles between each of the stitches created by the original loops keep notes as to the number of twists in order to be able to replicate the effect, perhaps even try to twist pairs of loops together continue knitting the body of the knit.
A completed swatch with methodical twists and wraps. The quality of the braid, both in length and in its bottom edges is controlled by the number of twists and the tension applied when releasing the twist. It takes a bit of practice with the specific yarns and loops to keep fringe lengths and their appearance even. In a final piece, the stitch count needs to be considered so loops may need to be formed on each or a single end and hung on the first and/or last needle in use before continuing to knit.
The yarn ends on either side will need to be secured, adding them to the twist on each side will do that, but then the result is considerably thicker than the other bouillion.
The bottom of twists when their count is not adequate can form loose, little donuts.
What of creating those twists? the goal is to use a tool to turn the yarn in one direction, folding the result in half, securing it, and allowing it to twist. The method is different for hooked on pre-cut lengths of yarn.
Tools commonly used by weavers to twist fringes in any length, with cut lengths of yarn where the number of twists needs to remain controllable and even, with hand cranks allow for easy counting and achieving that goal:  When applied cording is required and the number of twists does not necessarily influence the result, hair braiding tools may be used. They come in multiple configurations and the same model may be found in a huge range of prices.
There are 2 selections for twisting secured yarns, the first twists to the right, the second twists both yarns together to the left, resulting in the braid. Hair is attached in place, the twisted ends are secured with elastics often supplied with the twister or purchased separately. Yarn lengths would need to be knit in securely, knotted on the edge of the twisted lengths. Cording using the same tools would need to be secured with knots at both ends and may be used as trim, hooked onto knitting in progress, or stitched in place after completion of the piece. An easy, inexpensive DIY tool created with supplies I had on hand but it is also easily available for purchase.
A small cup hook was screwed and secured into a bobbin winder normally used for cross stitch. The body of the tool becomes a secure handle, the crank makes it easy to count twists and keep their number constant if a fringe with equal length and thickness elements is planned.  For fringe worked sideways, suitable for trims that can be placed anywhere on the body of the knit, the first sample is worked on a 3 stitch vertical base strip of knitting.
Crochet cast on from left to right and knit one row back to the left. Make a slip knot on the fringe yarn, knit it through the first stitch on the right COL: knit to the right, thus securing the thicker knit stitchCOR: wrap an empty needle further to the right to determine the length of the loop to be created. Its location can remain fixed throughout or varied if the intent is to experiment with different lengths of bullion.
Wrap the yarn plies around the empty needle, apply a light tension twist and lift the end of the loop onto the first knit stitch on the needle on the left, knit it through the stitch immediately above the wrap release the loop from the empty needle on the right, push it out of work so as not to pick up yarn a long loop of the ground yarn as the carriage knits a row to the left COL: twist cording and hang on the first needle on the right maintaining light tension on the twisted length, knit a row to the left, or knit the loop at the bottom of the twist through the stitch immediately above it before knitting to the right  COL: knit to the right, repeat the process.
A closer look: insert the tool, and removed the loop onto it. Be sure to push the empty needle back to B until it is needed again. Tug the loop lightly forward, and begin to turn the handle to twist the yarn until the twist appears evenly distributed while keeping count, different counts may be tried in the same test swatch. 
insert a single eye tool into the loop on the hook of the twisted cord, lift it onto the last stitch on the right on the top bed, it may be knit through or simply laid in the hook, bring the needle with the multiple stitches forward, tug lightly on the bottom center of the twist, and release.
To complete the bouillion: knit a row to the left side.
Lift the twist away from the body of the trim, bring the plies up and in front of the twisted yarn, and use them to knit through any stitches on that needle.
Begin the process again. With some practice, you may find some different and preferred variations to the suggested sequences.  A variation: the first experiment was formed on a base of 3 stitches, here they are increased to 5
COL: crochet cast on 5 stitches, knit a row to the right
COR: knit a row to the left
COL: knit slip knot through the first stitch on the right as above
knit two rows
COL: wrap empty needle, knit through the first stitch on the left,
twist yarns and hang onto the needle,
bring needle forward,
knit two rows
COL: bring yarn ends in front of twisted yarns,
knit to the right securing the plies,
knit 2 rows,
continuing to form fringe bouillion as described. If significant or even variable fringe length is required, cut lengths of yarn may be applied to the knitting, or make long loops and cut after they have been secured.
The lengths will be twisted two or more at a time, first in one direction, then in the opposite, and released.
This is a video for the tool sold by Lacis, which is very similar to my hair braiding tool. The twists are made clockwise on one setting, then counterclockwise and released. They can be overtwisted and when the twist is reversed and released, the results appear to find a common average for fairly consistent quality.
The knots to secure the yarns may be executed as you go or at the end of the twisting process, keeping the fringe length even or varied as needed.
My initial sample used loops with 2 plies in each
COL: begin with a crochet cast on from left to right
Knit a row to the left
COL: hang cut loops across the row, knitting each through the stitch previously on the needle
use the background yarn to repeat the crochet “cast on” in front of the loops to secure them, move the KC to the right
COR: continue knitting and bind off
For the test, I used loops sized on the same ruler as for the bouillion sample and then cut. Later, below, the comparison is made between the different finished fringe lengths.
The yarns plies got combed and trimmed to even lengths.
Enough yarn needs to be secured in the twister hooks so the ends will not slip out during the process, which is very quick, and it soon becomes evident how long to twist in one direction before reversing the twist setting.
The couple of rough spots evident in my trim happened when the yarn split and was caught in the hooks of the twister, so the release was not clean.
I varied the number of plies, in each hook, beginning with 2 in each, then three, four, and mixing things up a bit more in a couple of the series. The plies in the cut end below the knots remain available for counting to verify the numbers of plies used if notes are lacking.
A crochet hook or latch tool may be a useful aid when pulling the ends through a fringe loop, forming the knots. Comparing the bouillon fringe length to the above: Here the loops are created using a factory 4 ply space-dyed wool. After a chain cast-on and a row knit in the ground yarn, the loops are knit through each stitch on the needle bed, then knitting continued for several rows and the piece was bound off.
The loops were cut open at their bottom, the hair twister was used to create the fringe, with 2 yarn thread lengths in each hook. The results are quick to produce, and worth some further experimentation. There are many other possible variations, including blending fiber content in the fringe lengths.

Knit tubes, i-cords, and simple knit strips that are allowed to twist in on themselves are all options for fringing, but be prepared to weave in lots of yarn ends. One of my slip stitch scarves, with attached i-cords fringe Series of loops, twisted or not, can also be applied in pattern anywhere on the knit, and folks who do not like fringe can create a variety of alternative edgings, some ideas will be shared in a future post.

 

Shadow pleats with added patterning

Knit skirts have been present in runway and online publications again. Another Mary Dowse pattern has stirred up interest in a design knit in fair isle shadow pleats.
Shadow pleats knitting began to present some of the techniques involved in creating this type of fabric fold.
The permanence of the folds relies on blocking from careful and almost aggressive to far more casual approaches depending on the fiber content and end-use for the knit.
As mentioned in the older post, for a while, skirts in shadow pleats were very popular. One of the tips for blocking them at the time when acrylics were also new and in trend, was to hang completed pieces with the bottom evenly weighted inside a large trash bag “sealed” as tightly as possible at the top, with steam entering from the bottom of the bag ie from a portable electric teapot. I always had a hard time imagining the specific activity, and the method may have been part of the reason as to why published patterns for such items quickly disappeared.
Simply using a yarn with memory in the rows composing the larger folds always seemed a more viable option to me.
Ribber needle setups may be used to produce a rounded appearance in the resulting folds
rolled single pleats double rolled pleats mirror needle groupsdouble rolled

curve1accordion rolled OOW needles are spaced evenly on both beds accordion rolledsunray roundA large variety of pleats may be knit on the single bed as well, one being shadow pleats. The resulting knits also need to be gathered on one of the 2 edges in items like skirts at waistlines, and the number of knit rows needed for the volume required can be daunting and a large commitment of time if not effort.
Very large swatches in colors that one guesses to be appealing guide decisions based on evidence and personal preference.
Old published patterns often called for specific brands of yarn which decades later are likely to no longer be available. In addition to searching for substitutes that will produce a similar gauge, the behavior of the newly found yarn may simply be different than expected and as described in the instructions.
Inspiration photos found online are often small and do not reveal clear details, so attempts to reproduce the pictured knitting techniques may yield unpredictable results.
Assuming traditional yarns are in use, the larger rolled shapes in the fabric formed by the higher number of rows knit in the thick yarn tend to roll toward the purl side, the familiar effect seen in any single bed stocking stitch.
Part of the inspiration photo that began a renewed forum interest in the fabric The appearance is of a fair isle pattern interrupted by the use of thinner yarn(s) in one or both feeders. Blocking long pieces can alter the aspect ratio of the original design, so in some cases, the width of the repeat or even the length would need to be doubled.
My initial repeat was 20X22 pixels:  In this view, obvious places are highlighted for a possible switch to thinner yarns. If changing yarns manually, it is easier to change those in the sinker plate’s B position. If necessary, the planned motif may be color inverted to make those actions easier. Both yarns used are wool, a yarn that has memory and spring-back.  In the potential fold rows, the red color was replaced with a thin ply with the same fiber content. The first folds were knit in an *8 with thin, 14 with thick, 8 with thin** color sequence. Watching the knit as it progressed showed the thicker fair isle areas folding inward, with the thinner areas folding outward. The remainder of the swatch used a 4 thin, 8 thick sequence.  The knit was steamed and pressed, the folds are soft but permanently present with the lower edge of the piece lying quite flat after a considerable amount of time. Here the red yarn used is acrylic, the black wool. An 8 thick 4 thin sequence was used, but in the thin areas, both colored yarns were replaced with single plies. The pattern is 48X54 pixels and from one of the Brother mylar sheets. The first swatch sports black flowers, the second, red ones. The knit sequences were the same, the change in texture in the areas may be seen here.  The black flowers swatch was ironed, becoming permanently flattened, aka “killed”. The hope is to manage the red flowers swatch in a better way. The thinner yarns are in slightly different shades of the base colors, so a subtle striping occurs in the areas where they are used. Both swatches were knit on the same number of needles and at the same tension. The blocking saga: I do own blocking pins but honestly have only used them in demos, and on rare occasions such as this, or to cut them down when I needed a fast replacement for a ribber cast on comb lost wire.
Whether extremely detailed blocking is ever needed can be a very emotionally charged topic for some, best saved for another day.
With an optimally gathered edge at the waistline secured, the wire is threaded very evenly through the bottom of the “skirt”, and evenly distributed weights are placed across it. The fabric is likely to grow considerably in length, another reason for knitting very large test/gauge swatches to calculate the width/length required.  I downsized a few years ago letting go of most of my professional equipment. My only iron at the moment when and if it generates steam, did not appreciate being held vertically, spitting hot water at my feet, so the amount of steam used to set the pleats was likely short of optimal. That said, with the wire and weights removed, that edge is staying flat, and the pleats appear to be permanent a month later. Knitweaving can be used to produce very interesting patterns, both all over or for edgings, and it may offer a viable alternative for patterning using multiple colors in the more prominent purl side rows of the knit. A 1x1selection is a good place to start. Returning to using wools, my efforts with the first yarns I grabbed failed with knit weaving, but since every other stitch every other row is selected, I was able to knit 8 rows in fair-isle with the thicker yarn in the B feeder, the thinner in A, followed by 4 rows of plain knit. The task is easier to accomplish with 2 knit carriages, one patterning, the other knitting stocking stitch.
The colors were chosen for contrast making it easier to observe stitch formation.
The swatch, just off from the machine after a manual tug after steaming and pressing A bit more tugging and gathering on one edge, pleats are set.  The swatch view on the left illustrates well the pleating roll formed by the thin yarn to the knit side, the inward roll of the fair isle segment to the purl.
Floats formed by the yarns not used traveling up the sides of the knit should be considered the finishing of the final pieces.
Transitions could be made in any one piece between the ratio of the thick/thin number of rows, perhaps for sections ie yoke shaping, or varying the fold sequences from one texture to the other and back.
Most fabric is only limited by materials, tools, and the imagination of its creators.

Other ways to create permanent pleats
single bed
Origami folds inspired pleats 1 6/19
Revisiting pleats on the knitting machine: single bed 5/18
Pleats created with lace transfers 8/17
Pleats: automating “pleating”, single bed 1/1
double bed
Origami-inspired 2: more pleats and fold using ribber 3/21
Knit and purl blocks to create folding fabric_ “pleats”
Pleats: ribbed, folding fabrics 4/15

Making a 2 color drop stitch “work”

I usually try to leave opinions out of my shares, but this post includes some along with “don’t do what I did” tips.
This was a pattern available for sale decades ago, sold directly to customers. At frequent intervals over time questions come up in forums as to possible DIY techniques and methods of design and execution to create the knit, or similar, followed by speculation.
The images from the ads online are small. Trying for a bit more detail, there is a see/peek-through quality. At first, I thought it might be a version of the stitch using 3 colors, but later, looking again, I came to believe it to be a 2 color drop stitch fabric with a dark constant motif color creating the donut-shaped designs with changes to three different colors in the background.
I am planning to execute the fabric as a modified end release, releasing stitches at intervals based on needle selection.
First flub: I was thinking of this as an addition to a prior post, and I got happy cleaning up and deleting stuff. Getting here I realized some of that stuff had to do with the original repeat used and the gimp layer images illustrating the steps used to obtain my repeat.
It is possible when that happens to reverse construct the images. That brought me back to this image, 20X16, drawn as less of a circle since the fabric technique will lengthen the design. It is scaled double length to 20X32 for processing in layersThough the image is far too small to help define the quality of the stripes between the circles, the goal here is to include areas of solid stripes in drop stitch in the alternating colors between the shapes. All white pixel rows will not create long stitches on the top bed, only all knit rows only on the ribber, not the intended fabric.  

The tiled repeat: I wanted to add solid color drop-stitch stripes, the solution being to add all black rows. Every needle will select every row in those areas, colors are changed every two rows, creating the desired effect when the corresponding stitches are dropped.
On any row where every needle is preselected, all needles can be pushed forward to E position dropping the whole row of stitches, and needles are pushed forward to E again after the release so that the second row of loops composing the stripe will be created on the top bed on the next pass to the opposite side.
My final png planned as a single motif test on the 930 is modified to 46 stitches by 72 rows. Imagining the 2 colorwork in repeat, estimating if the pattern and ground fall in the proper place A visual summary with an added color change column and row numbers with rows on which dropping all loops can occur marked with different color numbers. In this case, the ground is in the dark color, the shape in the lighter one. Determining whether the shape or the ground stripes knit the dark color is simply done by beginning the first all knit rows with the dark color or the light.
Getting to the knitting: the yarn I am using, knit at tension 4/5, is significantly thicker than that recommended in the ad for the pattern.
When every needle knits every stitch on either bed, adjustments need to be made in tensions used approaching that used for the yarn when knitting stocking stitch single bed. Brother ribbers also tend to knit tighter than the top bed.
When working every needle rib with sporadic needle selection on the top bed, it takes a bit of testing to find the ideal tension so that stitches are formed and knit off properly on either/both beds.
When lots of needles are being knit on the top bed, the carriages are likely to become harder to push.
A far thinner yarn would change the scale of the overall design even if using the same repeat.
The first swatch encountered aargh moments.
A: the color changer was frequently trying to share 2 colors at once. When I attempted to change the design color, the yarn got caught around a gate peg at the start of the row, and the knitting dropped to the floor.
B: testing reversing the colors. When the dark color was switched to red, C, the contrast and definition of the newly forming “circle” was not enough to my taste. Giving it another go, the theory worked, the details in the fabric underneath the swatch can be seen peeking through,  but I would like to have stripes in the solid lighter colors as opposed to 2, and more space between the shapes. A new, untested draft is now 50X76  but those rows for the solid colors need to be rendered again with black pixels. Here some of the peek-through quality of the fabric is shown again. When any fabric is gathered sideways, it is likely the repeat will appear narrower and longer. Using a 16/2 cotton at nearly the same tension produces a fabric that is even sheerer. And now those solid stripes in 2 rows knit are really bothering me, thinking they should be switched to only one row of loops, making the original repeat without those added black rows the better repeat? Only one of the two colors would pick up loops, with the second knitting 2 rows on the ribber only.  Aaargh! So what of this? Different day, yarns used before, same tensions, a very different result. The colors look different because the sun is finally out and this photo is taken in natural light as opposed to weird artificial lighting. The navy color is slightly thicker than the white, the single dropped row is not immediately visible. Stitches were dropped on any rows after all needles flatlined, and they were returned to B position prior to the next carriage pass.
Lo and behold the joyful experience of having yarn break when the stitches are pulled in order to drop them!  A potential use is for the thinner knit is for it to be used as a layer over a different pattern or the same design as seen here, in the thicker yarn I have never been a fan of this fabric, and for a while.
To my eye, all over geometrics rather than floating forms on solid ground are more attractive, one such sample: seeking a rounder, smaller donut shape: The red is a thicker yarn than the pale yellow, the fabric had an interesting slight curl evocative of shadow pleats. Other possible changes include the elimination of the top and bottom row in the original design. What seems a possible easy fix is not. The above repeat knit creates an elliptical shape rather than a circular one A more stable fabric with areas of stitches dropped for a single row in each of the alternating colors. How to for both are found in the post.
I need a break from long stitches for a while, though this is yodeling. Never say never.  It takes time and effort to develop any fabric to the point where it is considered a satisfactory one, let alone to write and publish accurate patterns using the technique. People who do both deserve to be paid for their time and effort, and are due respect, so no sharing if the pattern is copyrighted or is an original one available for sale presently online is proper.
That said, techniques or merely repeats are not subject to the same “restrictions” and certainly may be adapted for use in different, more personal, or new ways. If an item like a scarf is made using a particular needle arrangement and texture and someone else makes a dress using the same stitch type but shaping pieces, adding details, pattern instructions, the scarf maker, IMO, cannot really claim their work has been copied.
To my mind, credits when sharing anything if available are a matter of courtesy.

Another garment illustrated in the FB comments on the last search query for the Dowse pattern or similar fabric was created with FI shadow pleats. Shadow pleats rely on the contrast between thick and thin yarns to create folds. The double density in the traditional FI segments and the subsequent shift to using thinner yarn for the second color still have floats on the purl side of the knit and are unlikely to produce a sheer knit.

To mesh or not to mesh 9: more on mock filet design

Previous posts with some related information:
A lace mesh series: using GIMP  8/17
To mesh or not to mesh 1  5/11
To mesh or not to mesh 2  5/11
To mesh or not to mesh 3  5/11
To mesh or not to mesh 4 5/11
To mesh or not to mesh 5 7/17 a collection of mesh design repeats
To mesh or not to mesh 6: chevrons 6/20
Lace knitting tips, to mesh or not to mesh 7  7/20
To mesh or not to mesh 8: more Numbers meet Gimp 5/21
Unconventional uses for punchcards 2: thread lace cards for “filet” mesh  8/17
It is hard for me to imagine a decade or more has passed since I began to blog. My approach to post content has evolved since then as has my shifting familiarity and use of software programs. Periodically topics resurface to my attention. Lace is one that crops up every few years, resurged after my purchase of Dak and my experiments with testing the lace module, and has persisted, so here I am once more looking at superimposing shapes onto a preferred mesh repeat.
There are always multiple ways to achieve a goal. Punchcard knitters are not excluded from the processes and without spreadsheets, similar planning may be executed on graph paper using colored pencils.
My go-tos now for planning out my charts on a new iMac with M1 chip and OS12 are
Mac Numbers 11.2
Gimp 2.10.24, Rosetta required
ArahPaint 6.0
img2track for download to a 930 to knit swatches, presently from a Windows 10 PC
InSync for file sharing between the Mac and the PC

The final repeats created with any of these methods need to be checked or edited to make certain they observe the rules for placement of punched holes or cells on proper rows for the specific brand and model knitting machine being used.
If the aspect ratio is particularly important, then more cautious planning may be needed.
For an indeterminate reason, the shape for superimposing on a mesh in these experiments is a heart, plotted out here in Gimp for use in a 24 stitch wide limit repeat. It is good to begin on a canvas longer than the estimated motif, magnification to 800-1800X with a 1X1grid and snap to grid make the execution and filling in of small-scale designs easy to plan and view.
In terms of drawing tools, the bucket-fill paint tool may be set to fill with the foreground color, background color, or pattern. The pencil tool normally uses the foreground color. If switching between the two tools, remember to choose the proper tool before continuing to edit repeats.
The heart was plotted out and cropped to 21 stitches by 15 rows, on a 24 stitch grid, and the image was saved, it is deliberately planned for an odd number of rows in width and height.  My chosen lace mesh repeat is 2 stitches by 6 rows. Planning a base mesh in Gimp with the above repeat saved as a pattern and used to bucket fill the canvas: The overall mesh repeat png is saved. Blank areas in every third row in the first and every third row will be skipping transfers in those areas and knitting the stitches composing the shape. The heart shape itself needs to be superimposed onto the mesh base. It is relatively small, with increases and decreases forming it easy to follow, so in the simplest method, red squares for each pattern row are filled in on the grid transfer rows, using the single-pixel pencil tool and working in RGB mode. If satisfied with the placement of the shape, use bucket-fill set to ground or foreground to eliminate red cells by filling them with white, and the mesh design is ready. If working with a card, punch black cells only. This placement is tested and kept in mind in other explorations. Using a spreadsheet: the same sort of chart may easily be created quickly in Numbers. In this instance, my table is still planned for 24 stitches in width, but 54 rows in height. An extra column is added and used on the far left to mark rows to be hidden. Beginning at the bottom left two rows were filled in a different color, the third row is left blank, all 3 cells are selected. When multiple cells are selected, depending on which side of the selection box one hovers over with the mouse, a yellow dot/  handle will appear. The tool acts on the selection. Clicking on it and dragging it with the mouse will, in this instance, repeat the selection until the mouse is released. This may be done in any direction and quickly fills in whole tables. It is not necessary to perform this extra step before hiding rows, but I find having that extra color makes it easier visually, especially when working on long repeats. It also makes for easy return to selection if hiding rows is done in shifts.
Beginning at the top of the table, holding down the command key, select rows marked with yellow cells, in this version of Numbers, table row numbers are green rather than blue,   continue to the bottom of the chart, and under the Table menu, choose to hide 36 rows. With rows hidden the mesh repeat shrinks from 6 rows to 2. A new 4 cell table is created. The 4 interior cells were chosen, copied, and pasted in the lower-left corner of the reduced height table. Once pasted, selecting the repeat again will allow one to use those yellow handles to fill the contents first toward the top, then to the right. The image on the left shows the results, with only the numbers for the unhidden rows shown on the left. In turn, the heart was the pencil tool to draw it using a third color in the chosen location. The unhiding rows function produces the expanded repeat with all knit stitches in red on the mesh grid ground. The column with the yellow cells is deleted before converting the Numbers repeat to an electronic or punchcard, the how-to discussed in other posts. Comparing the hand-drawn heart in Gimp alone on the left, to the spreadsheet results on the right, there appears to be a difference in the starting rows, and in only one other row, two black cells appear that can easily be altered in either repeat. Brother machine knitters would need to shift those 2 blank rows at the bottom of the repeat on the right to its top or to to start lace patterning on row 3.  Keep in mind that lace patterns in particular, with their infrequent markings, even in color reverse, grabbed from a spreadsheet and scaled in Gimp to final repeat size, often require a lot of “clean up. This repeat, intended for use in another post shows the difference between these 2 different programs once more. Superimposing shapes onto the same mesh requires that they be elongated X3. Gimp does not do this well, while ArahPaint does so elegantly. The result using Gimp, with the image Mode converted to 2 colors indexed and scaled in height X3 is shown on the left with marked error areas. The Arah YX3 result on the right is correct, created, and saved More choices exist, continuing to place the heart 3 rows up from the bottom, and not using multiple layers. For the heart to be pasted in place on the mesh, its white background needs to be made clear/ transparent. That is achieved by using Layer, Transparency, Color to Alpha, The layer-to-alpha image may be saved as a png with transparent background for any future use.
Work using 2 windows, A simple copy and paste will fix the image in an arbitrary location. Instead, click on the rectangle select tool, selecting and copying the heart image, paste it on the ground in the second window, where it remains as a floating selection that can be dragged to the desired location and is not anchored until the mouse is released. This may be undone and repeated multiple times.  A, copied and pasted in place on the ground, B, resulting in C
Even easier, working with the full-color, white ground heart repeat placed 3 rows up from the bottom, Aset red as the foreground colorand then use the bucket fill tool B to fill its ground with the mesh pattern, seen in C
Comparing the all in Gimp Drawing to either of the last 2 patterns, two differences appear, an extra row of transfers before removing transfer stitches to start the heart shape, and those 2 extra black pixels/eyelets Committing to the first design, 24X60, Proof of concept for the single repeat: Tiling the repeat before knitting helps one visualize secondary shapes that will be formed by it, here those pairs of extra dots are removed in areas marked with red lines, helping to make the decision about keeping them or not Developing brick repeats or half drop is possible with offset and brushes in Gimp, but, to my mind, easier in Arah. Using the Arah drawing in repeat, the design is now 24 stitches wide by 120 rows high in a brick arrangement offset by 12 stitches. The same heart, in half drop repeat, offset by 30 rows, now double wide, 48X60, suitable only for an electronic machine Changing the background grid for other stitch types: the heart is rescaled for use by 2 or 4 times in height. Again, the differences between Gimp’s incorrect scaling, A, and the Arah drawing in repeat, B The differences between the clear ground heart image dragged and dropped onto the new background or navigating between 2 windows and using the rectangle tool as described to copy and paste. Possible applications This begs the question of working on larger images. For use on a lace mesh, simpler designs apart from overall size are best, but if a mesh base is not your favorite fabric or goal, tuck, slip stitch, thread lace or even fair isle patterns may be created with more overall flexibility, using the same principles on backgrounds.
Thread lace, depending on the yarns and tension used, can provide the illusion of eyelets behind images of any size. The steps: image to alpha selected and pasted onto the ground, color reversed The final png is 129 stitches wide by 172 rows high This is the first attempt at a partial repeat test proof of concept. I have been telling people serger monofilament withstands ironing and light pressing, and periodically I test advice I have given formerly. To start with, the darn monofilament, which I even used in double bed garments, but nearly 2 decades ago, refused to feed properly or at all. Because it is nearly invisible, my knitting started with it pulling too tight, and I wiped out 12 needles out of 72 in different places on the needle bed in a single carriage pass. Determined, I sorted how to hand feed it, got the rhythm, complete a swatch. A marks an error I made in loading the second track in img2track, resulting in an added, wrong pattern row. The holes, B, C, and D were nonexistent until I tried flattening the fabric a bit with an iron, and the monofilament simply melted in various places. Other observations: there is some bubbling in the all knit areas. With ironing, that effect was lost and the areas with more mock holes widened as can be seen at the side edges. In thread lace, the end needle selection is canceled so as to have the paired yarns knit the end stitch, but pattern needles can still be selected, so if end needles are forward in pattern, it is best to push them back to B position by hand. One way to eliminate having to do that, which also reduces knitting time, is to create vertical all-white lines on either side, as in this version of the repeat now 144 X 200 pixels. I had interesting issues with having needle selection visually appear correct throughout, and the pattern itself appearing correct when checked at 1800 magnification. While the smaller sample was accurate until the filament began to melt, here I had 2 needles not knitting the yarns alternately but together, and an odd change in the center that looks as though yarn selection in those areas was reversed. The thicker yarn here is cotton, the thinner rayon. Troubleshooting is required. Unplanned tucking is a sign of damaged needles, but because the second yarn used herd is so thin, the effect was not obvious until the vertical pattern in the same area on the bed became apparent.
I am using a punchcard carriage on an orphaned 930 for the thread lace, and have not knit on more than 90 center needles in the past. Some days both operator and machine need a break. The cam buttons and undercarriage were oiled.  The first selection tests involved programming this as an all-over design. When only using part of the needle bed in a pattern, the center of the needle bed needs to be cleared by the knit carriage for the pattern selections to advance and knit properly. Doing so on part of each side of the center in thread lace and changing the culprit needles eliminated those single stitch issues. Before committing to a large width of fabric in thread lace, perhaps a practical, visible, and easy place to start for checking patterning and needle selection is to knit the ground in this pattern as a fair isle pattern before proceeding with the intended large-scale design. The finished test swatch: because of the disparity between the number of all knit stitches vs patterned ones where one of the colors is slipped on every pattern row for every other stitch, the fabric shrinks dramatically when off the machine. The knit areas pop out a bit, and a lengthwise tug makes enhances the effect  If the goal is a flat fabric panel, then blocking is a necessity. Here the piece is casually pressed, no pins, letters point out issues:
A: knit rows before any pattern selection
B: an attempt to knit stitches with a cast on comb, and no weights, lots of uneven float loops on the reverse
C: changing the amount of weight; if knitting in multiple tracks using img2track, remember to be outside the set mark with the knit carriages before selecting the next pattern row to avoid selection errors
D, E: there are occasional improperly formed tuck stitches
F: “My piece is almost finished, the weights are touching the floor but I have just a few rows left, too lazy to move the weight”, the price: some messy loops on the reverse again to match the start
G: all knit rows again, the latch tool bind off around single gate pegs was a bit snug The mesh effect was noticeable after resting, the piece measures 25 inches in width by 25 inches in height.
When moving weights up, using a ribber cast on comb carefully poked through the knit may cause less snagging and issues than using the single bed cast on comb.
This fabric evolved because of a discussion that began with a knitter who is working on sculptural shapes emerging from textured backgrounds.
I see thread lace as having potential for developing all sorts of blistered, 3D elements that have nothing to do with flowers or wearables and am planning follow-up posts using the technique for texture rather than mock lace. To be rendered usable, this piece would definitely need blocking, maybe even starching in order to be stable enough to hold its shape over time.
I have blocking wires, but over my decades of knitting have maybe used them twice, my blocking has been far more casual.

Friends lately have asked about skulls over thread lace mesh, this is an electronic repeat with room for resizing or border additions, keeping in mind that in thread lace the white areas knit both yarns, the dotted areas create the illusion of holes. The design was initially created working in black and white, with an alpha channel added a new file was opened, bucket-filled with the ground 2X2 pattern, the above was copied and pasted in the chosen position, resulting in this
The 100X92 png which in turn needs to be color reversed for use as a thread lace pattern

My first non repetitive DBJ explorations on 930

WORK IN PROGRESS

I created large-scale nonrepetitive image garments very early in my knitting career using Cochenille Bitknitter and Commodore computers linked to a Passap E6000. Over time my focus changed considerably, with any production knitting moving onto accessories as I began to make items for sale in galleries and in shows, most often single bed on a Brother 910. If knitting is a primary source of income, one needs to consider production time management, material costs, and what the local market will bear in terms of pricing.
A post, written in 2018, began to explore two-color-dbj-non-repetitive-images-electronic-kms/. At that time I did not have a machine model capable of using img2track.
An orphaned 930 entered my life, and with rare exceptions, over the past few years, my blog sample swatches have been knit using img2track, which I have found easy, reliable, with any programming errors due to the operator issues including learning the differences from 910 programming and remembering to actually use them.
No matter how long any of us have been knitting, there can be many aaargh moments both in everyday knitting and when exploring new techniques.
I have a supply of lovely 2/48 cash-wool in royal blue, black, and grey. Three strands worked predictably on my punchcard machine in a series of my spiky scarves, shown in progress on the machine. Nearly all my previous dbj pieces have been knit on a Passap E6000. The 930 experience for such repeats is new to me. With some help from Tanya Cunnigham in reviewing steps required when using img2track, I returned to cellular automata repeat saved years ago.
I encountered problems with the triple strands of blue not feeding evenly, here both colors were picked up by the changer accidentally, I realized the issue, trying to unravel the row of knitting produced this That provided an opportunity to decide I preferred the reverse color placement as well as wanting a thicker ply for the white, resulting in twice the fun with 2 colors, and another scrapped sample Switching the white to a single-ply thicker yarn made its stitch formation far more manageable. The blue however seemed to have a single strand of the three with a propensity for catching on gate pegs. I tried tension adjustments, the usual tips in managing static. At about row 1,000 out of 1288 rows, I realized I had an issue with both yarns being caught on gate pegs. In trying to lift the stitches off, the yarn broke but gave with no immediate visible clues, the dropped stitches and a lovely hole, as a result, appeared when knitting had progressed far enough below the current knit rows. On the left, the work is shown still on the machine, while on the right, it is off the machine, and in the process of a patch job with a temporary accessory and stitch holder in place. I was able to achieve a reasonable repair on the knit side, but the birdseye pattern on the reverse is a bit scrambled. For folks that are not familiar with electronics and are curious, the 930 has the smallest memory of the later Brother electronic models. My pattern repeat is 74 stitches wide by 644 rows in height. The user manual explains: the KH-930 takes just a few seconds to load the track because the memory holds only 2 KB of data (about 13000 stitches). Later models have a much larger memory (32 KB). The KH-940 and KH-950i require 42 seconds to load a track. The KH-965i and KH-970 load only the requested pattern, so the loading time depends on the size of the pattern. img2track indicates progress as the data is sent to the KM. When the pattern has finished loading, the KM should beep, and show the green READY light and a 1 in the display (for row 1). The program automatically chooses Selector 2 for a single image and centers it. You may change this by using the normal pattern selecting process on the knitting machine, choose Selector 1 for all-over patterning, or use Selector 2 and choose a different location on the needle bed to center the pattern. If your pattern was divided into more than one track, you will have to load successive tracks when completing the previous track, specific instructions are given for programming subsequent tracks. My pattern was broken down into 4 tracks.
The cable used for downloads to the machine is used externally, no alterations to the machine’s hardware are required as when using Ayab on the 910. The pattern is stored in the machine, so the computer needs to be awake only during downloads, not constantly as in programs that use knit-from-screen.
Each track for 2 color DBJ using the KRC built-in separation is entered in numerical order as a new pattern with first-row preselection from the left to the right and first row knit from right to left toward the color changer. If the repeat is not planned for the number of needles in use, any position or change to all-over design needs to be re-entered, and the KRC button must also be set again.
Cam button settings are set according to the chosen dbj variations for either or both beds. End needle selection is usually canceled. In some patterns using it can create an interesting beaded edge on either side, which is worth testing on small samples to determine one’s preference.
I like to plan my pieces beginning with the dark color, plan my repeats with the deliberate placement of both colors, and any scaling in the pattern BMP prior to download, using Gimp. I also prefer to have color 1 as the dark, color 2 as the light. The default in the Japanese DBJ separation uses the light color, white squares, as color 1. Out of habit I color reverse my images so my first preselected row from right to left can just knit my black squares rather than the white, and I can continue my motifs as I intended while having machine prompts for each color also match.
Pausing knitting is easy as long as the needle selection is not disturbed. Ending with COR avoids any confusion about which color should be used next. Starting outside the set mark, turn the machine back on, and simply continue in pattern with appropriate color changes.
Tanya Cunningham manages and moderates the membership, settings, and posts for the Img2track – For Machine Knitters group on Facebook.
These were her tips and reminders to me for handling pauses in knitting immediately after the following track in the sequence is first downloaded: let’s say that either some needles got pushed in or repositioned, or for whatever reason, you don’t have certainty that the last row of needle selection is reliable, and you want to “re-select” the last row before you knit it, the last track you knitted should still be in the memory, even though you’ve completed that part of the pattern. 
1. Push all needles back to Pos B. 
2. remove the yarn from the feeder, disconnect the K carriage from the R carriage. 
3. Turn Change/Selector knob from KCII to N (NOTE, this will cause your PART buttons to de-select) 
4. press BOTH PART buttons. 
5. Move K carriage to right. No needles will knit, since all are in POS B, and both PART buttons are depressed, AND no needles will select, since you’ve moved the change/selector knob to N, and the memo will not record any advancement of row. (However, if you’re using your mechanical row counter, it WILL record a row, and one on the way back so plan to either disable the ribber arm or plan to turn the counter back 2 rows)
6. Now you will have to re-select the last row of needles for the track you’ve most recently knitted. First, verify that KRC is activated. Now, you will have to push the up/down arrow buttons to select the very last row of the pattern which will be an even number, and color 1. Depending on whether the carriage was moved in such a way as to activate the sensor enough to cause the memo to advance, you may be able to simply use the row that’s showing, but even beginning the movement of the carriage may advance it. To be sure, what I do is to advance (in this case to Row 1 Color 1), and then back up one row, using the arrow buttons. 
7. Move your Change/Selector knob to KCII, be sure to move outside the turn mark. Verify KRC; memo says last row, color 1; both PART buttons in. Now, move your carriage right-to-left, to select the last row of the previous track. 
8. Load color 1 in the carriage, load next track into the machine, KRC selected.
9. Now, as you knit to the right, you will be knitting the last row of the previous track, and selecting needles for the first row of the next track. Carry on.

In terms of generating cellular automata math-based patterns, the Wolfram website is a great place to explore repeats. A player, temporarily unavailable to Mac users is presently available, allows for the download of interactive demos in .cdf format. In terms of knitting any of the repeats, the most suitable appear to be ones that are generated in black and white to start with. Not all are, and at times changing the mode to bitmapped in programs such as Gimp can produce a glitched effect. Though the latter may be interesting and desirable to some, I prefer clean lines and diagonals along with identifiable shifts in the scale of any triangular components.

I am often amazed at the speed with which time passes, previous related posts: 2015/12/09/cellular-automata-charts-for-knitting-etc/
Previously knit repeats 2017/09/11/my-new-knitting-projects/

Weaving drafts may also serve as inspiration for knitting repeats. Posts with related content: 2015/11/28/weaving-drafts-as-inspiration-for-other-textile-techniques/, and 2018/07/02/numbers-to-gimp-to-create-images-for-electronic-download/. These images are extracted from a draft for an advancing twill. One may explore segment placement and color reversals easily using programs such as Gimp. There is also potential for exchanging colors to get a sense of how the pattern might appear in different colorways My planned test repeat is 76 stitches wide by 556 rows high.

Intarsia without an intarsia carriage on Brother machines

I recently have been browsing through some of my machine manuals and found these references on methods for executing simple intarsia patterns, the type I usually associate with holding hand techniques. The knit carriage is used, and the yarn is placed on the floor in front of the machine rather than fed through the yarn mast. These illustrations are from the 930-940 manual, the same capability was built into the Knitking 893, and Brother 892 punchcard models.  I have not tried either method, am sharing the information with anyone who has not come across it and may want to give the techniques a try. 

This is from a Japanese language manual for the 891(1987-89) punchcard machine, which appears to introduce the idea of replacing the use of the knit carriage and plaiting feeder with one specifically designed for intarsia

Single bed tuck and slip stitch fabrics 2: adding color

Any tuck repeat may be used in the slip stitch setting. The results for “safe” repeats executed in slip stitch may not be very textural or dramatic.
Though at times presented in color, the same patterns can be very effective in single colors as well.
Prior to testing multicolor patterns, I like to start the work with waste yarn, testing color changes there first, making certain colors are threaded properly, not crossed, and that the color changer is set up properly.
The Brother single bed color changer is unique, in that the yarn remains in the changer, not leaving it with each color change; its manual 
In the absence of a single bed changer, some fabrics may be knit with the ribber up, using the double bed model. This is the only option available for the bulky machine. There is a limit as to the amount of tucking that can be achieved successfully since the ribber arm does not have the system of wheels and brushes that help keep loops and stitches in place single bed.  Manuals

Instructions from the Brother single bed color changer manual 

For Studio/ Silver Reed

Punchcard volume collections are a great place to start to search for published repeats and subsequent DIY inspiration.
One such is Brother volume 5  Since the knit carriage needs to move to and from the left-hand side of the machine with each color change, an even number of rows in each repeating segment is recommended, but not necessarily required. The first preselection row is generally moving from right to left. End needle selection on helps the edge stitches knit. At times end needles will need to be pushed forward to knitting position by hand. Depending on how the repeat is placed on the needle bed, with some experience with a tuck or slip stitch, one can decide whether keeping the end stitches in the pattern creates a better effect at vertical edges. Analyzing 2 random repeats The respective .bmpsAs with all punchcards, the first and last 2 pairs or rows are not part of the design, they are necessary for the punchcard to roll continuously in the drum. Keep in mind that the card is reading design row one while your eye sees the row marked #1 by the factory on the card outside of the machine. Following the suggested color changes to match the specific swatch takes the guesswork out of the equation. In DIY or in trying a different color sequence, such guides may have to be shifted and marked accordingly. Specific color suggestions are given in the samples above in the left-hand columns. In #327 the order is in a variable sequence, which requires a bit more attention than #328. Follow the line below the #1 mark to the left, each card begins with color 1. Color notations in 328 are also next to those 2 all punched rows at the top. That is because those 2 rows overlap the first 2 design rows as the ends of the card are clipped together, front over back, for smooth, continuous, advancing movement. In 327 the sequence at the bottom would need to be hand-marked.
Before tackling patterns with moving components, these charts begin to analyze color changes in a ready punched or self-designed card which produces a honeycomb-like effect. The chart colors used are random picks from the palette, for illustration purposes only, illustrating areas where color changes may occur. The tuck/slip stitch held in the hook of non selected needles gets elongated and comes forward on the knit side, creating vertical lines in the color that is not knitting. The blue highlights the row where a single stitch, single row tuck or slipped stitch is created and the corresponding positions of the yarn on the knit side of the fabric Four tucked rows is probably the limit on Brother machines unless one is working in fine yarns. In the first interpretation, the ground knits for 2 rows on all preselected needles. In the second, the surrounds of the interior striping knit for single rows only at the top and bottom of the repeat. Electronic repeats A and B on the right may be as small as a single 4X12 unit.

The same card may be used, altering the color-changing sequence so the ground that will surround the tuck or slipped stitches changes as well. Using the same card would require a pattern start on card marking row 2, and an initial preselection row from the left to the right Keeping the 4 tuck row maximum the blocks of knit stitches between tucks can be varied, as can the movement of the vertical bars. The card repeat on the left would preselect from the right, while the repeat on the right would preselect from the left. So the card on the right is already punched, and instead of changing the colors outlining the shapes, one wants them constant and with a start from the right? The workaround is to advance the card to the last row in the full repeat, #36, lock the card, and preselect toward the color changer continuing to change colors in 2 then 4-row rotations after releasing the card. Tiling the repeats multiple times as with any pattern helps isolate areas where color changes might work as well as give us a sense of pattern movement across the fabric. With so many tucked rows so close to each other, it is best to use thin yarn. For slightly thicker yarn, one possible “fix” might be to simply eliminate one of the 3 tuck bars across the repeat, again check tiling for any errors, or places for color changes. Here the shift is not completed, some tuck bars were not eliminated the “corrected” repeat without additional rows, some possible color changes can follow the colored chart suggestions Moving on to electronics, playing with symmetry the repeat now becomes 30 stitches wide, the tiled image check for the unaltered version on the left.  The repeated adjusted two different ways in height to accommodate color changes in a few different spots Working with repeats with tuck or slip bars that are only 2 rows high make for easier use of a range of yarn thicknesses. There are some surprises to be found when color changes are made as often as every 2 rows, sometimes using up to 4 colors. The extra all knit rows may be eliminated altogether.
Beginning with a pattern that has large areas of black squares can help one understand what happens to the design as that knit ground takes on color striping in the same frequency as the color changes. The yarn used here is a 3/8 wool, making the fabric a bit stiff. The repeat is a larger cousin of card #327. Before the days of software tiling methods, on way to check repeats was to knit them up as Fair Isle. The large floats in this made it not its best use, the floats were sometimes caught with the companion color or looped. Had the long floats been consistently free, they could have been cut for a fringed look on the purl side and would have held in place well. Tuck knit in a solid color Slip stitch in all variations has purl side edges which curl to a greater degree, the short skipped areas were probably due to too tight tension of too quick a carriage pass to the opposite side tuck alternating two colors every 2 rows slip stitch  2 color variation slip stitch with the addition of a third color in the rotation The associated punchcard: Some patterns using color rotations every two rows are referred to as mosaics, mazes, or floatless fair isle. They can be deliberately designed, but there are treasure troves of working repeats in punchcard pattern books that produce visual cousins and may also knit up as lovely fabric in single colors, and wonderful surprises at times when one designed for single color is striped. A few to try that are pictured with corresponding swatches shown on the knit side:  from volume 5, the grey cells indicate the page numbers that correspond to the thumbnails in the downloadable version from Stitchworld, I have included repeat sizes, grey highlighted ones are suitable for use in punchcard as given Brother yarn changers are numbered, from right to left, and their published card designs color suggestions reflect that. The lace extension rail must be used as the knit carriage needs to clear the color changer on that side in order for the colors to change properly.  The Studio color changer color positions are marked with letters of the alphabet from left to right Some of the Studio punchcard pattern books showed both sides of the expected fabric assi\ociated with each card, here is a repeat that breaks the tuck rule of no more than one blank square side by side in any row.
This swatch pattern from a Japanese magazine illustrates the difference in the formation of the tucked loops when two blank squares exist side by side. The repeat is 10X22, colors are assigned letters rather than numbers here as well Another rule breaker: odd numbers of tucked rows with no added all knit rows. Experimenting with such repeats results in less organized all-over patterns, here colors are changed every 2 rows, every 4 rows A single knit row may be added, for an added variation with color changes every 4 rows These repeats take shapes in another direction which becomes more textural and interesting when blank stitch areas are expanded for use in slip stitch setting This pattern, with color changes every 2 rows and two-row tuck sequences has an assumed interesting pattern shift.  The tiled X2 horizontal repeats lined up side by side show that extra knit stitches have been added, shifting tuck stitch rows by one stitch in alternating directions, but just because it is published, it does not necessarily make the repeat correct. Those striped areas can only occur if there are solid all punched areas.  Keeping the constraints of a 24 stitch repeat, reducing the width of segments to 12 stitches rather than 24, the original repeat as amended The tiled results for each24X56 repeat proof of concept swatch in a far thinner yarn than the book photo An approach to designing such patterns can begin with a template for color changing every 2 rows and taking colored squares away to indicate stitches that will be slipped or tucked. Repeats can be adjusted from wider electronic ones to the 24 stitch width constraint for punchcard machines, as well as shifted to change the resulting shapes and their colors on the knit side. The two-dimensional charts are not capable of reflecting the amount of gathering of the fabrics or distortions of the stripes on the completed knit Japanese magazine publications often recommended many color changes, each for varied numbers of rows. Sometimes more is less. The number of colors may be reduced, and changing the numbers of rows used for each color as well can expand the number of fabrics produced from a single repeat. Good note keeping is a necessity if the intent is to easily reproduce the fabric at a later time.
Mixing things up for vertical designs:  Adapting punchcard designs for use in electronics becomes easier once one is familiar with the stitch structure. This is a cousin of 328, 13 stitches X 52 rows. Tiling as in all designs helps sort out errors or missing pixels. The “corrected” pattern, with the accompanying test swatches, the first knit in tuck stitch changing colors every 4 rows and slip stitch changing colors alternately every 2 rows, then every 4: My blog posts on working with and designing mosaics (suitable for tuck and slip) and mazes (slip stitch only, multiple side by side unpunched holes or white squares in any row), in reverse historical order
2019/06/29/mosaics-and-maze…numbers-and-gimp/
2015/10/21/working-with-gen…-gimp-charting-2/
2015/10/03/working-with-gen…mazes-charting-1/
2012/10/15/mosaics-and-maze…design-to-pattern/
2013/05/06/mosaics-and-mazes-drawing-motifs/
2012/10/15/mosaics-and-maze…design-to-pattern/
2012/09/22/mosaic-and-maze-…-on-the-machines/

Single bed tuck and slip stitch fabrics 1

The main difference between the 2 stitch types is that in tuck stitch the strand of yarn on the non-selected needle is held in the hook of the needle forming a loop, while in slip stitch the strand of yarn bypasses the non-selected needles as the row is knit, forming floats between stitches Symbols commonly used for bothIn both instances the stitch on non-selected needles when the pattern begins (blue row in photo) is held in that needle hook, growing in length until that same needle is selected, and with the next row of knitting (red) one returns to the standard knit stitch formation.
Both distort the fabric, the tuck stitch widens and shortens it, while the slip stitch narrows and also shortens it. Both are capable of producing textured, interesting fabrics on only one or on both sides of the knit depending on the pattern’s design repeats. Which side is chosen as the public side is simply a matter of preference. In accessories and clothing, the interplay and “reversible” effects can provide added interest.
Because in tuck knitting the stitches are being held and gathered, more rows will be required to produce the desired length in pieces. Because the knit gets stretched sideways fewer stitches will be required to achieve the wanted width, making it suitable where larger garment pieces are planned. Looking at the stitch in a 2D diagram: A– loops are created for 2 rows, the original stitch is shown elongated. Each patterning needle hook now holds 3 yarn ends. B– the needle coming forward prior to the next pass whether by card reader selection or by hand, will knit on the next carriage pass to the opposite side. C– the originally held stitch as it might appear on the knit side

The group of loops as they knit together then forms small lumps/ bumps, or what I think of as “butterflies”.

The capacity of the needle hooks in terms of the number of loops they can hold and the quality and thickness of the yarn used place quick limitations of the number of rows one may use for tuck patterning. The Passap system tolerates many more such rows than the Japanese model machines, where the limit is often 4 rows. Slip-stitch is far more flexible in terms of applied “rules”.
Brother controls for patterning in any model are by the selection of cam buttons that offer directional arrows on the carriage Some of the options:    and not often used, but worth exploring, the use of opposing tuck and slip buttons at the same time. As with any knitting, for needle selection to occur the knit carriage (also known as KC) needs to engage the belt using the change knob set to KC. End needle selection or not depends on the goal fabric. If KC is in use but no cam buttons are pushed in, there will be needle selection, but the fabric produced will remain stocking stitch.
Any tuck cards may be used in the slip setting, but the reverse is not true.
Functions are in the directions of the arrows. For example, if a left button is pushed in, the next carriage pass will form loops or skipped stitches while traveling from right to left on the non preselected needles, and knit stitches on all needles on the return pass to the right, aside from any preselection being present. If both buttons are pushed in, the knit will form loops or skipped stitches with each carriage pass on non selected needles until those needle positions are pre-selected again, and then the stitches held in the hooks of the needles will knit with the next carriage pass.
It is possible to create the stitch structure on any machine, including manually by pulling selective needles out to hold for X number of rows. Motifs may be short or long, all over or isolated, can be arranged vertically, horizontally, diagonally, in diamond, basketweave, and plaid effects, may be combined with the use of stitches on the opposite bed, and with needles out of work (OOW) on either or both beds.
Punchcards are restricted to a maximum of 24 stitches or factors of 24 in the width of the repeats and require a minimum of 36 rows if they are to be used in continuous patterning. In electronics, the basic rules should be followed, but a single small repeat is enough to program, the size of large non-repetitive ones is limited only by machine memory and mode of download.
Both fabrics like to be weighted evenly, and several rows of waste yarn should be used at the start of the piece prior to testing patterns. Because it will be wide or narrow and short, that is a consideration if the plan is to combine several types of stitches in the same garment. Gauge swatches should be larger than usual.

Boiling things down to black and white: in both tuck and slip automatic patterning, selected needles produce knit stitches. Punchcard knitters are required to punch a hole for every knit stitch, leaving only areas that will be forming the tuck loops or skip stitch floats blank on the card. In a published chart for the stitch is used, black squares may be used to represent knit stitches and rows, white ones the tuck or slip stitch locations. It is up to the user to determine whether if using a published source, color reversing the repeat in electronics, or punching out the all-white areas as opposed to black is required. In single bed stitch formation, if one knits with two or more empty needles in work side by side, it will quickly become evident stitches will not form properly on those needles without additional steps being taken. This remains true in tuck knitting, but not in slip stitches. Though there are some exceptions, the usual rule is to have no more than one unit in any row without a punched hole or black square/pixel on either side of it. Punchcard pattern books are a great source of “safe” repeats. Electronic users need to isolate and draw a minimum of one repeat, which may be quite small. If duplicating a whole card with fewer unpunched holes than punched ones, only the white squares need to be drawn as black, and later the repeat is color reversed. Punchcard patterns usually have two rows of all punched holes at the top and bottom of the card that will rest on the first and last 2 rows of the design repeat respectively, allowing for the card to roll continuously in its reader. Cards also need a recommended minimum of 36 rows. Brother #1 mark on the right is 7 rows up from the bottom, while the card reader is reading design row one inside the machine, out of view. Cards from other KM manufacturers may be used, but the starting row may differ, as was also true back in mylar days. Punchcard machines produce the pattern as drawn on the purl side. Some electronic models or download programs vary, may require the pattern to be flipped horizontally.

An easy way to start becoming familiar with the knit structure of stitches is to begin by working with “safe” design repeats, using a familiar yarn in a light color. Depending on the punchcard machine model year, the card on the left (1) was a standard Brother issue, the one on the right (2) not always. Both may be used to test all cam buttons and stitch types, card one tolerates elongation well, card 2 may meet some resistance with tuck stitch if the yarn is thicker than the needle hooks will contain easily. Converting the cards to black and white pixels: the small single repeats for each card are highlighted with a red border. Depending on the method for programming the electronic machine, however, the single repeat may have to be repeated horizontally to match the number of stitches to be used in the piece. The third repeat is a hybrid of the previous 2, the start of making what is published more personal Studying published sources makes it easier to design more personal repeats. Cards that are “safe to use” can get one started in examining the texture and developing an understanding of how stitches are formed. They are often composed of variations of either card 1 or card 2 with added black areas. Using punchcards supplied in the packs with respective machine models appropriately can easily be done Additional published cards are also easily found increasing the number of tucked rows and observing the rule of knit stitches on both sides of the single unpunched squares resulting in no preselection.  Below, some of the single repeats are outlined in red. With additional rows now tucking, the added insurance of having them knit off properly at regular intervals is achieved by all punched (or black squares) single rows, highlighted with orange squares on their left. The black border isolates the actual patterning rows in the designs. Again, the top and bottom pairs of all punched rows are not part of the overall design but are necessary for the punchcard machines to line up patterning for knitting a continuous design The blank vertical areas may be arranged moving across the repeat’s canvas in a variety of ways. In this chart the tuck symbol is evident, some of the knit stitches around each tuck series are highlighted at the bottom of the chart in green, the single electronic possible repeat is 4 sts by 12 rows What may be confusing when symbols and charts such as the above are encountered is that the very first row of the symbol actually rests on the spot where the knit stitch that is being held for the next 3 rows rests, so design row 1, 5, 6, 13, etc are actually all knit. The punchcard minus the all punched rows at its top and bottom:  The factory-supplied blank cards may have arrows on the left, familiar in lace card designs. In the above case, the implied use is that the card start in the locked position on row 1 with the carriage on the right, preselecting to the left. If only a single color is to be used starting side does not matter. If regular color changes are recommended, more often than arrows dots, or color numbers are used in that column to indicate color change locations.  In Brother machines, the first preselection row may be made from either left to right or right to left, depending on the fabric being created. With the exception of dbj using the KRC button or patterns that expressly specify the starting side, most patterns using the color changer will need a start from the right. Here if that is done, color changes could occur every 4, 8, or 12 rows using 2 or even 3 color sequences.
There is another issue to note. Counting up design rows from the bottom the card is marked row 1 five rows up. This is a Studio punchcard. If using it on a Brother machine, the starting row would actually occur with the card locked on row 3, color change row markings if given, would have to be altered accordingly.
The distribution of tuck stitches can occur in groups, or more sparsely. The card on the right begins to break the rules with 2 needles tucking side by side for 3 rows. Those areas create floats akin to those created by slip stitches as the side-by-side loops drop off the needles in those areas rather than knitting off together. As areas of white become less balanced, punchcard knitters may find it easier to mark the tuck bars and punch all else, electronic knitters draw the white as black, and color reverse.

Few tuck stitches amidst lots of plain knitting are likely to not distort the fabric very much or produce a noticeable texture. The fabric will lie fairly flat, and approach a width proportionately closer to that of stocking stitch using the same yarn. The outlines can serve as markers for the introduction of additional hand techniques ie tying objects or beads in the center of the shapes after knitting and prior to felting in order to obtain surface bubbles of non felted stitches, or marking areas for duplicate-stitch or other embellishments.

In some instances, thread lace repeats can provide DIY inspiration. With the color reversed, the structure for possible tuck can be observed and determined if suitable. In the bottom right image, those white solid lines are the easiest edit, shown in progress With the basic structure recognized, weaving punchcards may be suitable, not all need be color reversed. Electronic repeats may also be used directly or adapted for use on punchcard machines, providing the repeat unit is a factor of or up to a maximum of 24 stitches in width, which translates to 2,4,6,8,12, and 24, and repeated to the recommended minimum of 36 rows in height. For tuck stitch, those narrow vertical bars surrounded by black squares are the common factor. The StitchWorld pattern book charts require only matching a usable width for use in punchcard models since the knit stitches are shown as black squares. Here is a random selection 253 translates easily to this, it would need to be punched twice 251 is a bit more problematic. Half the repeat is wider than 24 stitches. Here it is readjusted to 24 stitches, the height is 32 rows which may just barely squeak by punched only once the repeat is tiled to check proper alignments This repeat is from a Studio mylar sheet. It also may be used in punchcard machines after removing 2 columns, since only half the repeat is necessary, and it is 26 stitches in width. The color reverse option is necessary. In electronic machines, it is easily accomplished with a command or the flip of a switch/ push of a button. The white squares as given would produce loops on all the corresponding needles, with no stitch formation in those areas.  I chose to eliminate 2 columns from the blocks on the left. Tiling shows the amended repeat’s appearance, with the color reversed image for actual knitting to its the right. Repeats with a balanced number of black and white squares provide all-over textures in fairly balanced fabrics. As the number of black squares on a field of speckled tuck stitches grows, the knit shapes may actually poke out from the surface of the knit, since those areas are not gathered in the same way as their surroundings. Yarn properties and tension also have an effect.
Design with very few black vertical single stitch “bars” are commonly found in patterns published for electronics, often also too large for use on punchcard models. As with lace, where there are few black pixels on large fields of white, caution in trimming the image is necessary. Tiling once again helps one locate possible errors. An example of such an image tagged as being 42X62: tiled 42X62adjusting to avoid those 4 rows tucking consecutively, now 42X60Designing your own can begin with the choice of a template, such as this one, 24 stitches by 36 rows.  To begin with, I added a rectangle to the full template repeat on the left. To its right, the size of the rectangle then begins to be altered along with the addition of some all knit rows.  The center illustrates making certain the 4 stitch repeat aligns properly at the top and bottom of the new repeat. The test final repeat image is on the right. Working with a different shape, using copy and paste to place it,  adding a brick variation on the right, for punchcard full repeats of 24X40The matching electronic repeats for both, unless your download requires programming for the total number of needles in use:
Testing tuck stitch limits, breaking the side by side white square rule in all over patterning with moving blocks of 2 by 2 blank squares

A collection of previous posts
When more than one stitch tucks
Tuck stitch meets thread lace repeats and vice versa
Tuck lace trims (and fabrics) 2 
“Crochet” meets machine knitting techniques: tuck lace trims (and fabrics 1)
Tuck and slip color striping

For those who enjoy hand techniques/slip stitch
A no longer “mystery pattern”
A hand-knit consult