Hints and Tips – Page 10 – alessandrina.com

Zig Zag ladder lace 2: hand knit

I work primarily on a Mac, Maverick OS. Intwined software has had some issues operating in Mac consistently in the latest OS versions. The chart to text can be a really nice feature. The repeat, drawn here with symbols in the built in stitch library, shows errors in row 2 and 4 of the accompanying text.

On a larger canvas, the original repeat is outlined below in red. Yellow indicates knit border stitches around ladder lace pattern repeats; row 22 is absent from the text that accompanied the larger chart.

Skitch is a free program, available for both Mac and Windows, that allows the opportunity for of highlighting or further editing a graphic. Taking the information above, here I added numbers that reflect actual repeat rows, used the arrows as a reminder of change in direction of zig zag, and the red outlines vs green indicate changes in type of knit decrease. It is easy to add as much or as little additional information as one feels helpful. There are controls for line thickness, shadows, etc.

JKnit is another program that may be of interest to anyone who prefers to track their projects, progress, and much more on their iPad or iPhone. The Lite version is free for both devices.

Below is an image of the hand knit swatch, unblocked, which appears three dimensional; transfer lace has traditionally been blocked to lie flat and maximize eyelets. The fabric may be very interesting without blocking. If a slightly thicker yarn with “memory” is used, the piece may be steamed lightly, and the pattern segments will tend to shift in and out from the flat surface, whether the piece is hand or machine knit.

The yarn used was a “throw away” swatch testing acrylic. A very quick, light press and a bit of steam and here it is in the resulting killed, forever flattened version

and it reverse side

Zig Zag ladder lace 1: on knitting machine

My previous posts on combining ladders and lace: 1, 2 . The chart below, found in a random Japanese publication, started the process of my sorting out a possible “how to” on the knitting machine

In hand knitting, the 2 empty circles generally indicate a double yarn over. On the machine these can be simulated by working with extra empty needles. For swatching, a few rows of stocking stitch will do as a start. In a final fabric, waste yarn may be followed by ravel cord and a crochet cast on. After the crochet cast on, the chain on the needles for the extra “yarn over” location can be dropped, leaving those needles “empty”, and the pattern may begin immediately.

One of the 2 yarn overs will be created by manipulating an empty needle, the other by transferring stitches by hand as one would in lace.

If the empty needle if moved back to A, a ladder is created that is essentially a float in front of the gate pegs up to the next knit stitch. For purposes here, the result did not give me enough yarn to be able to maneuver.

The first step is to decide on the repeat between transfers, and emptying appropriately spaced needles, seen here in A position

for the longer “float”: before the first row of the pattern, the empty needle is brought out to work, a row is knit, resulting in loops on those needles, that will create extra yarn slack

the loop is in turn dropped

a tool is inserted through the loop

turned clockwise for casting on in one direction,

and turned counter clockwise for casting on in the opposite. Note that in one instance the long leg of the e is in back of the knit on the purl side, in the second in front. This makes a difference on the knit side of the fabric as well.

to get the look of ssk and ssp as seen in hand knitting (instead of a simple decrease), depending on the direction you are traveling, the needle 3 stitch is moved to its right or left onto the center one to create the second “yarn over” . Both stitches are then returned together to the needle 3 position

and with the transfer and e wrap completed, one is ready for the next row of knitting. Bringing the 3 needles out to hold gives one the opportunity to check all transfers and wraps, makes the next row easier to knit

the turn of the zig zag: pick up from row below for increase, instead of e wrapping for a neater turn

my first swatch: 1/ ladder at start of row; 2/ shows chain moving along the knit side, emulating ssk and ssp decreases seen in hand knitting; all my e wraps were made clockwise, 3 shows the long leg of the wrap moving to front of fabric as opposed to the rear as in 5, each giving a different look to ladder’s edge; 4 indicated the pivot point for reversing the direction of the zig zagbelow shows the results of alternating the directions of the e wraps in each section: clockwise when moving to left, counter clockwise when moving toward right. The large eyelet at the top illustrates what happens typically when an empty needle is brought back into work at the top of a ladder.

Ladders may be created in any desired width. The look of the vertical knit edges becomes a matter of preference. Good note-keeping helps insure consistent results.

Knitting machine maintenance advice ;-)

Many eons ago, this flyer was included with purchases of new Brother knitting machines, still makes me smile

Broomstick lace on the knitting machine

Some illustrations of this fabric may be found in my previous posts: forming long loops and stitches using cast on comb and weights or ruler, some long stitch swatches, a few more tips and ideas from the earliest post on the topic.

Here are some ideas on creating a basic 3 loops “broomstick” cross. Most of my teaching has been on 4.5 mm machines, so the above swatches were executed in thinner yarns. For this post, my swatch is knit in a random scrap yarn from my studio, on the 260 Brother Bulky machine.

The basis of this type of stitch is to create long loop stitches, and in turn, to re-hang them in various configurations. The look I prefer among others I have tested, results when loops are hung in on every other needle, whether singly or in groups, and the next row is simply knit. Here, as in any machine-knit fabric, if there are 2 or more empty needles side by side, any other than a single needle must be e wrapped, cast on, or have a loop lifted up from the row below (used in increases), or the result will be a ladder vs. knit stitch formation on that needle.

Begin with waste yarn and some rows of knitting. As long stitches are formed, some weight will be required to keep loops from jumping up, forward, and off the KM. Since you are asking the loops to stretch quite a bit on a fixed-width metal base, some testing is required to determine the best tool for forming the optimum loop length. Yarn thickness factors into this as well. I found knitting stitches back to A loops too short and using a cast on combs and paper clips or any of my rulers made them too long, so I opted for the plastic rod insert from one of my window shades.

I like to work my loops from left to right, so the last row is knit from right to left. They may certainly be formed in either direction. In this instance, COL needs to be returned to the right before resuming knitting. This can happen before or after forming long stitches, by any method you like. Consistency helps eliminate errors.

I bring needles out to hold/ E position, lining them up to form new stitches one at a time, the yarn is brought around to the end of the “ruler”

guided under the needles yet to be wrapped, resting to the right of the next needle out to E on the left side

placed in the needle hook

and knit through, repeating the process across the row: the number of loops should match the original number of stitches

the spacing tool is removed; the next 2 steps may be easier to perform if the needles are once again brought out to holding / E first

pulling down on your knit will create the long stitches

working in groups of 3: remove first 2 loops on right, transfer to needle 3 on left

insert tool in the center of the group of 3, lift strands onto needle 1 on right

bring center needle (2 of 3) out and over multiple loops, all 3 to E position

repeat across row COR: knit 3 rows (or more, odd #), ending with COL, so the yarn tail will once again be on the left to begin the process of wrapping.

knit next row carefully, adjust stitch size and loop length if needed

the top row in the photo shows all 3 loops transferred onto the center needle, with crochet cast on (indicated on purl side by the blue arrow) on all needles involved in the plain knit areas before the next row of knitting

Hairpin lace diagrams can be a source of design inspiration for designing loop configurations. The crochet cast on any empty needles could be used where chains occur in crochet diagrams, and it needs to be loose enough for the next knit row to be formed easily. In my swatch, I actually had to hand-knit the first/ next row, my carriage jammed in the areas where the triple loops were in needle hooks as well as my cast-on chain.

The number of knit rows between forming the long stitches may be odd or even, providing one gets comfortable with working in both directions. The carriage gets switched frequently from side to side. Sometimes the least likely to drop your work carriage “free pass” is simply to take it off the machine on one side, bring it to the opposite side, and engage it on the machine once again, with no need to change cam settings or worry about traveling with it across your knit piece.

October 24, 2019: for folks who prefer videos, I recently found a very good youtube series on the technique by Elena Luneva. Knitting takes place on a Studio Machine. The ribber cast-on comb is used to create the loops/ stitches (Studio did not have a single bed accessory for that supposed purpose), the videos add another interesting accessory to use for this purpose on any machine. It is also always fun to watch the way experienced knitters handle everyday tools.

Combining tuck stitches with lace 2 (automating them)

Working with 2 carriages when both are selecting needles brings up some interesting issues. Studio machines are able in most instances to select and knit in the same row. Brother preselects needles for the subsequent row, and on that row, while knitting the preselection, once again, the preselection is made for the next pattern row to be knit.

A couple of my earlier posts on the topic: knitting with 2 carriages and a lace round doily which combines lace with slip stitch selection to emulate holding for creating the needed spiral.

Following up on the previous post, now attempting to automate the stitch, some of the logic in needle selection needs to be explored. The chart as drawn below simply addresses functions that may create the desired fabric. It is incorrect in terms of accuracy in actual knitting it

symbols used

reworking the repeat for use with mylar

the drawn mylar repeat, numbers reflect placement on my sheet

When both carriages are in use for pattern selection, they will both engage the belt. While either carriage is in use, the alternate one needs to be off the needle bed, or the belt may actually break as one carriage holds it in a fixed position, while the other tugs at it toward the fixed spot from the opposite side of the machine. Lace extension rails are used on both sides. There were variations over the years, including a pair to fit the bulky 260 KM. They are not always exchangeable between models, need to sit properly on the machine for carriages to be stable while stored to the side, and also for moving them off and onto the machine easily.

Pre-punched standard Brother lace cards usually begin with the lace carriage selecting the first pattern row moving from the left side to the right. As with any lace or tuck fabric, knitting begins with waste yarn that is weighted evenly and any edge treatment of choice. On the 910, because of the preselection factor, and to keep the pattern continuous in proper order, the knit carriage is removed from the right side of the machine, and the lace carriage does a preselection row from right to left. That will be its start and return position for the remainder of the fabric. The knit carriage is returned in turn to its home on the right end of the machine, on the extension rail.

Two types of fabric are being created. The goal is to have the edge stitches knitting throughout. To accomplish this, if the LC is in use, eliminate any end needle selection by pushing needles back to B; when the KC is in use, if the end needle is not selected, to get it to knit, it needs to be pushed out to E. The pattern sequence is an easy one when up and running, with 2 passes of the LC, and 4 of the KC, as seen in the charts above.

The knit side is shown below, the arrow locating the larger eyelet points to operator error: I had a stitch caught on a gate peg, and was not aware of the problem for several rows. The extra loop of yarn can actually be seen. Tuck fabrics are often far more interesting on the purl than on the knit side

the purl side, with an arrow indicating the same problem spot

The question that follows is how to program the same design for use with a punchcard machine. Here things get a bit more confusing. The electronic machines advance the program or card a single row for each carriage pass, no matter their direction or sequence. When the punchcard carriage is at rest on either side and the alternate carriage moves toward it, the card does not advance, so the needle selection stays the same, is repeated for a second time. A bit more planning is required and the repeat needs to be shortened to accommodate for this fact.

The chart below shows the amended repeat for punching a card. The first selection row is made with the card locked, and the LC moving from left to right. The card is then released, LC moves to the left, transferring stitches selected from the previous row to the left while selecting those for the first row of tuck. The next row, using the alternate carriage, begins the ongoing sequence

the actions of the carriages with each pass

The actual punched holes are shown below. The writing on the card is a ghost from a previous experiment. The red line marks starting row 1 for Brother knitting, blue border outlines a single repeat. A minimum of 3 repeats are needed for continuous reading by the KM

Fabrics with color change every 2 rows such as mazes and mosaics are easily knit on the electronic with 2 carriages. If worked on a punchcard machine, they would have to be executed using a yarn changer and only the knit carriage, unless the design motif is redrawn to factor in the issue discussed above. A previous post, part of a thread on mazes and mosaics, with a punchcard swatch photo.

The first preselection row in any patterning that involves color or carriage changes every 2 rows, is usually done toward the side of the machine that holds either the color changer or the carriage next in use. As seen above, there are exceptions to that “rule” as well.

Combining tuck stitches with lace 1

A simple chart, from a random Japanese publication

the isolated repeat outlined

symbols used

of note: in the above pattern, all transfers are in the same direction. My test swatches were knit on bulky 260 KM. Held stitches form loops on top of needles brought out to E position. The original stitch formerly in the needle hook grows in length, behind the newly formed loops. When patterning is automated using the tuck cam setting, the non selected needle will not be worked. The original stitch gets longer here as well, while the loops that in the hand technique rest on top of the needles, will now be held in the hook of the needle along with the last knit stitch. The latter fact is the limiting factor determining the number of rows that may actually be tucked, especially on Japanese machines. Yarn used and needle gauge also matter. Tucked fabrics, like lace, need to be weighted evenly for loops formed to knit off properly.

How to for my swatches:

knit base row (s), set up repeat so some stitches knit every row on each side creating a border, set machine to hold stitches

row 1: transfer every 4th stitch to the right. If you are in the habit of pulling needles holding multiples stitches to D before knitting the next row after transferring multiple stitches onto a single needle, this is ruled out when the carriage is set for holding, as those stitches would then not knit as intended on the next pass. To produce an eyelet, emptied needles are returned to B position after each transfer sequence

rows 2, 3, 4 bring alternate every 4th needle as shown in chart into hold, knit 3 rows

row 5: push held needles back into work (D on brother km), knit one row across all needles. Held stitches will knit off as a group, check that they have done so uniformly

rows 6, 7, 8: transfer alternate every 4th needle out to hold, knit 3 rows

row 9: begin sequence again, repeating rows 1-8

When transfers are made in a single direction, the fabric will bias in the direction of those transfers. In the bottom section of the photo below, the resulting lean to the left is easily seen. If a bias leaning fabric is desired, this is an easy way to get there. However, if the goal is to achieve a balanced fabric, then the transfers need to happen in opposite directions as seen in the top segment of the swatch.

the new working repeat

the number of held/tuck stitch rows has been changed to 4 rather than 3. When the row that knits off the loops occurs, the total number of knit rows for the sequence will be an odd one, resulting in the carriage being at opposite sides of the needle bed at the end of each pattern repeat. Transferring stitches may then be made toward the carriage: COR – transfer to right, COL transfer to left. This makes it easier to track direction when working the fabric as a hand technique.

Next up: automating the pattern for standard gauge machines using the lace carriage, and tuck patterning in the knit carriage as well.

Ladders with lace, “making things work” 2

My preferred, e wrapped 1 to 3 increase

knit side

purl side

The how: begin with transferring 2 side stitches onto the center one

knit row 1

knit row 2

insert tool as shown

turn clockwise, place yarn twist on needle to left of center one

insert tool as shown

twist counter clockwise, bring twisted stitch behind float on right of center, lift twisted loop and place it onto the empty needle to right of the center

pick up a loop from the triple stitch below last 2 knit rows as shown, and lift it onto center stitch

knit 2 rows, continue in pattern according to chart

Studio multi transfer lace punchcard use on Brother punchcard machines

Some Studio punchcard patterns

Pattern 113 (bottom left) has a single blank row between groups of multiple transfers (indicated by punched holes). These correspond with single rows knit at the completion of each set of transfers. They are highlighted with red lines in the related punchcard image below.

Essentially the same repeat, found in a different publication source, was interpreted for use in the 910 electronic in my previous post, nearly a year ago. Pattern 112 (middle left on the first image) has some noticeable differences. To start with, at the end of each set of transfers, there are 2 blank rows (red), as opposed to one in #113, making it suitable for use on Brother KMs almost “as is”. Studio punchcards for this type of lace generally begin with 2 blank rows (blue highlight). Brother cards generally begin with the first row of punched holes for row 1 of the pattern. The Studio first 2 blank rows would normally be moved up to the top of the punchcard if punching your own, or simply if the card is pre-punched, a different row # selection may be chosen for the first selected row.

In the middle of the repeat, where the first set of transfers is completed, there are several (six) unpunched rows,

and at the punchcard top, there are 4 blank rows. These last rows, added to the first 2 rows (blue) will total another set of 6 unpunched rows at the top of the alternating pattern repeat. These multiple blank punchcard rows result in knit-only rows when using Studio KM. In Brother, the knit carriage does not advance the card unless cam buttons are in use ie for tuck or slip settings. Generally, if multiple plain rows are desired, this is indicated in Brother appropriate row markings on the card, and need to be tracked by the knitter.

Lace cards generally require few punched holes but can be considerably longer. To insure 2 rows between each set of transfers I highlighted them on my card in light blue pencil, helping me place repeats properly. Following the highlighted markings above, the first 2 blank rows (blue) are dropped, a set of 6 is reduced to 2, and the top 4 (Brother lace usually ends with 2 blank rows) are reduced to 2 as well. My resulting punchcard is shown here in 2 segments that were to be joined with snaps for continuous use. I found in knitting the samples, that I was having a problem with the single row near the join being read correctly when using only snaps, the problem was solved when I taped the 2 cards together across their width. This particular punchcard roll was sold as for “Brother”, but markings are for Studio. Brother selection row 1 is marked on right. Thick pencil markings indicate the viewable point where rows are knit at the completion of each transfer sequence. These make it easier to know where to roll back the card to knit rows, as opposed to relying only on any of the row number markings. I prefer to unravel down to knit rows when correcting dropped stitches or other “mistakes”.

I omitted the extra knit rows (4 out of a series of 6) in my own sample (shown lightly pressed). This eliminates the visible break between eyelets in the knitting reference swatch jpg.

studio09

A WIP using the card showing the differences between “blocked” and not may be seen in the later post.

Machine knit cables: using patterning as a guide to transfers

If you have a machine that selects needles to the forward position, you may use a punchcard, mylar sheet, or program to select needles for indicating cable placements. On the single bed, the selected needles act as the signal to actually create the cable crosses. When working on the double bed, the needle selection on the row before the cables are crossed may serve to remind you to put extra needles in work on the ribber, thus providing some extra yarn for the crossings. Previous posts on topic

https://alessandrina.com/2011/12/19/aran-knits-a-new-thread/

https://alessandrina.com/2012/01/07/a-simple-braided-cable-and-card/

Keeping crossings all in the same direction and having ladders to mark vertical placements makes the process far easier. The stitches on either side of the cable may be knit, dropped every X# of rows, and latched up to create a purl ridge on either side of the cable, at times there is enough slack in the ladder created to achieve the same. End needle selection needs to be canceled (KCII) in any pattern with needles out of work. In simple patterns using selection to keep track, ladders are not needed to stay in a clear vertical.

An alternative repeat for combining 2X2 cables and 2 twisted stitches is illustrated below. The repeat is suitable for punchcard use, must be drawn in multiples to meet machine requirements (at least 36 rows in length). Spacing between twists and crossings may be far more varied in machines that use mylars or programs

for an all-over pattern

for a 22 stitch repeat or vertical panel, with ladders added

If using the ribber, stitches marked for “ladders” may actually be transferred to the ribber to create the purl ridges on either side of the cables and twists.

Pile knitting using Studio machines

I live in the northeast US, and the past few weeks have been taken up by a whole lot of time moving snow and not knitting or even thinking about knitting. A Raveler, however, recently asked about pile knitting, which got me contemplating knit fabrics again. I thought I would start a thread here on some of the techniques and possibilities involved, editing, and adding further information as I can.

Pile knitting may be done on any machine. The quality of the fabric varies, depending on the method and yarns used. Loops are often created every other row, and “normally do not pull out”. They may be made either on the main bed or on the ribber. Some of the techniques result in a much looser fabric than others. In those instances, using a ground yarn that will felt and slightly felting the finished knit will make the fabric much more stable. If it is to be used in garments, by default, it is best to make those pieces larger than required and to plan to use them in cut-and-sew projects.

Beginning with the machine manuals and suggestions, in Studio/Singer knitting machines, the ribber features specific options for such fabrics. These pages are from the Singer SRP-50 ribber manual and one of their punchcard books and share some principles while illustrating setting and card design. Food for thought on any adaptation for use on other brands

Two weights of yarn are used: a lightweight yarn for the pile, and a fine yarn for the background. The usual setup is for every needle rib, half-pitch. The finer yarn is threaded into the auxiliary feeder.

Studio machines use the P Carriage with the P pressor attached to drop the loops. If using a punchcard or mylar, the punched holes create the design, and the unpunched holes knit the ground.
The Singer P carriage information can also be found online in the associated generic title document, with these yarn recommendations including “woolnylon”, and a close-up of yarn positions and in singer_PCarriage

knit sample

Studio punchcard sets and Volume collections offer many designs and inspiration for DIY. A page from one of their collections

2026 follow up
Instructions in the studio manual for the slider show it in useImages from a 2026 search: Susan Guagliumi video from 8 years ago shows a version missing those front parts. The only images I was able to find of it online, outside the video, were on this website, which states “there is also a P-carriage for standard machines that is also equipped with a removable P-presser (a metal spring-loaded addition).”
A recent 3D printed model demonstrated here https://www.youtube.com/watch?v=IGjPwGqFJhQ

Toyota had a small accessory offered for knitting pile using the ribber and the simulknit setting. Both yarns are knit on the main bed; the ribber only catches loops in the “S” yarn. Manual available for the Toyota pile knitter

Kathleen Kinder was credited with first using FI designs for pile knitting, resulting in loops being created in every row rather than every other. In the method, loops are still required to be dropped after every row. Cards with bold areas of each color are most suitable. Since the fabric tends to spread horizontally, doubling the length may become necessary if the goal is to retain more of the motif shape.

A natural follow-up is to use double jacquard cards and color separations to achieve a multiple color pile. A color changer is a must when using multiple colors. Loops will be formed every row here as well, may be dropped every row, or just before each time the color is changed.

Pre-selection of needles in Brother poses an interesting problem: patterning needs to be retained, dropping stitches disrupts it, and there is no accessory, such as the P Carriage, to make the process quicker.

Brother KMs “pile knitting”/ ribber stitch dropping tools includes accessories for different brands.