Category: Hints and Tips

A lace mesh series: GIMP, superimposing, Brother 910

I like placing motifs, grounds, and borders myself whenever possible, in any knitting technique, rather than relying on adding or combining them via the built-in KM software.  It is simply my strong personal preference in designing and gives me additional controls over patterning. However, the ability to superimpose is a convenient feature, available on multiple machines and worth mentioning. I have used it more frequently in operating my Passap, than my Brother 910. That said, it would appear to be an easy feature to use for programming shapes onto mesh grounds. For illustration purposes, I am using a 24 stitch repeat. Electronics width and height potential depend on the use of mylar or PC download. The “rose” is not a workable, resolved repeat. When electronics were first introduced, at one point Kathleen Kinder wrote a book on electronic knitting (? 1984), exploring the full potential of managing designs by combining settings and flipping buttons for both the Brother 910 and the Studio 560.

A bit of review on machine buttons and functions for the Brother pattern case for those unfamiliar with it.  M= Memory: each of the tiny red spots on the garment representations lights up, as specs on motif are entered or reviewed. CE= cancel entry: corrects programmed numbers or cancels the red error light when it flashes. CR= cancel row: press in a number, say 2 on the panel, and the card moves back 2 rows. If you press the button and no number is entered, the error light flashes and the card stops advancing. This is the same as locking the punchcard to repeat a pattern row. RR= row return brings the card back to the set line. This is routinely done before shutting off the machine when knitting is complete or to remove the mylar for editing.  CF= card forward. The mylar returns to programmed design row 1.  Numbers pressed in using CR or CF do not change those programmed using the M button.

When the pattern selector button on the 910 is down, the pattern is centered on green #1. A reminder: Brother has 2 needle #1 positions, one on each side of 0. When the pattern has an even number of stitches, it will be centered with half that number of stitches divided evenly on each side of 0. For 24 stitches, the pattern’s limits are yellow 12 and green 12. If the repeat is an odd number of units wide, the center stitch then will be placed on green #1 (right of 0). If the repeat is 25 stitches wide, then the pattern limits are yellow 12 and green 13. If using a 24 stitch repeat, the machine automatically knows that the first needle position (FNP) for the pattern is yellow 12. When the pattern selector is in the upper position (motif A) and the middle position (motifs A & B) we can choose the FNP and with A & B the number of stitches separating them. One way to produce filet lace is to program A & B motifs. The lace mesh is the A motif, the “rose” the stocking stitch motif. The A motif can be on the left or right of the mylar, but it is always the taller of the 2. In most cases, it is the dominant pattern. The starting row for the combined motif is shared.

In lace knitting transfers and resulting eyelets are programmed as black squares. Superimposed solid patterns in stocking stitch occur in unmarked areas of the mylar or downloaded image, so they need to be “white squares”. In order to get the 2 to meet, the mesh repeat in the height required (column A in the illustration), and a single width is drawn or programmed in reverse (column B), with the result being read as (column C) when it is programmed as the base for a complete overlap. The basic mesh becomes the A motif in programming the 910, the stocking stitch “shape” is the B motif.  If end needles are selected during knitting, they need to be pushed back to B manually or use the orange L cams. It is possible in addition to mark the “L window” on mylar, but the mesh repeat is so regular you may not find that necessary.The “rose’ would also need to be drawn in black, and positioned or programmed, with first placement resulting in the image seen below right. The color reverse is then used converting white squares to black, and lace knitting could proceed based on the black markings resulting in eyelets.  As is already noted, there is no guarantee the image placement on the mesh the will yield a precise shape or the best possible results for motif edges, its definition, and its segments’ outline In terms of placement: if the all-over mesh is programmed centered on G1, and the motif is positioned with FNP other than G1, any simple, extra rows of mesh prior to starting the all-over pattern (below green line), will need to be programmed separately with adjustments also in FNP to match the superimposed segment. The programmed repeat for the mesh “rose” below would begin immediately above the blue line, and the extra mesh rows at the top would provide the transition to the start of the rose once again. The height of the pattern seen in the B column in the first illustration may be adjusted accordingly. 

Color reverse (button #6) will provide “black squares” for the creation of transfers to create eyelets. The mesh and superimposed design need to share the same starting row. The image above reversed shows extra white at the bottom of the chart that needs to be eliminated. Brother lace starts on a selection row (black squares), ends with 2 blank rows at the top of the pattern (white squares). This is reversed in Studio knitting.

What happens when starting row placement is the same for both motifs, and the color reverse is used: the first-row lace carriage selection is good to go. The height of the mesh above the rose may be adjusted to suit. Trying to place multiple roses in different locations on the finished piece using this method is more than my brain wants to even consider. Punchcard knitters are not completely out of the superimpose loop. If you are so inclined, areas on mesh punchcard ground may be taped over to test the repeat. Again, this works best for simple shapes. Tape may be shifted or trimmed as needed. If intended for extended use, trace holes over a blank card, punch the final version, and proceed. Images on punchcard machines are reversed on the stockinette side. If direction matters, flip the card over horizontally, mark and punch, or if the card is already punched, work with lace carriage on right, knit carriage on left. No worries about multiple programs or a mix of starting points, etc. Know the rules for where to begin and end for lace knitting.

Sharp single stitch points are not attainable. In the illustration below, the yellow indicates the “desired point”, red squares indicate the additional stitches knit, adding to the intended shape as the alternating directions transfers are completed. The one stitch start is actually converted to 3 stitches, 3 to 5, etc.Later model electronics included “stitch world” pattern books.  A usable mesh is # 103. Do not use 104, since it leaves 2 adjacent needles empty. If aspect ratio matters in the superimposed image, knit test swatches to determine gauge. Cell/ grid size may be set to knit proportions rather than square to make visualization of finished shape easier. The mesh created using 103 uses 6 pattern rows for each 4 knitted, so you must add those rows “ to the height of the overlay design. Similar adjustments are needed if other mesh repeats are used. Simply scaling the image may require some clean up as well before the motif can be placed on the ground design.

A lace mesh series: using GIMP

Eons ago I owned a BitKnitter for my Passap machine, and to this day I miss it and some of the other Cochenille software that is no longer available, especially when working with multiple colors for color separations of any sort. When using it for downloading the resulting motif, picking the same exact color for each “square” on the grid was a necessity for accuracy. If “only” black was involved, the same guide applied. Working in GIMP one can set the color mode to fewer colors to start with, reducing the palette. This can limit your editing ability sometimes, and switching between modes may be required. I tend to go autopilot when I work on color separations for any purpose and work with built-in colors rather than custom.

It is helpful to have previous experience with any program as well as with basic knitting before tackling and combining large scale designs and fabrics such as lace. This is not a step by step how to use GIMP (search for my other posts on the topic), merely an illustration of my experiment in working with superimposing an image onto a mesh grid.

To start with: a 1 X 1 grid is set up. “Black squares” become single pixels in downloads. For the single stitch 1 X 1 grid to be visible, I prefer to work in at least a 500X magnification. Because I do not own a hacked machine I am unable to provide a corresponding test swatch to the final chart.

The resulting image may be tiled to produce a large enough mesh ground, the grid needs to be turned off for this step

The tiled image will appear on a different part of the screen, shown in both versions below, I realized reviewing the above that the width was for more pixels than could be programmed on a 200 needle machine, I resized its width to 120 pixels

here the grid is removed for further processing 

the goal is to retain the black squares for the end bmp, so the ground is filled with a color that will later be removed gridded again if and when needed 

Today’s image is a letter (20 pixels by 24), produced in a new file with text from one of my built-in computer fonts. I happened to be working in RGB mode the same image as it would appear in indexed mode Here some edges “clean up” has been worked with the grid on, then removed for tripling the motif length (now 72 pixels) and pasting on the “mesh” ground 

Switching to indexed colors (6) if you have worked in RGB to this point, it may make cleaning up of edges easier.  I flood filled the A to insure only one red was in use. Below the A is selected (fuzzy selection tool) and copied for paste onto the “mesh”. Magnification reduction to 500X makes the whole file more easily viewed on my mac

the A pasted in placewhite color fill leaving only black squares of letter and ground

Superimposing may be used in some machines, but eliminates the choice of editing when one is “not happy with edges” until after sampling the knit, has several parameters and limitations. Above image gridded for editing:
feeling better, with the exception of the left side bottom of right leg of Aone last bit of clean up, switching between magnification  as needed happier grid removed, image magnification reduction to 100X for export as bmp and download to KM

When downloading a large image that constitutes the width of your piece, programming an extra square or 2 vertically for the height of the pattern in “white” on each side will insure that stitches in those areas are not selected for transfer by the lace carriage, and a knit border will be created.

Things become more complicated with more complex shapes. This is part of a filet crochet chart, and a rose now becomes my goal

use selection editor or fuzzy selectpaste and move to “best” spot not quite a rose

8/9/18. From the Brother electronic lace pattern book, worked out in a much larger repeat 

Back to the drawing board: the mesh and knitting method are altered. For a possible knitting method option see https://alessandrina.com/2017/07/28/unconventional-uses-for-punchcards-2-thread-lace-cards-for-filet-mesh/  The ground “mesh” is now composed of every other stitch, alternating every other row. The “rose is not lengthened. “Stitches” need to be “cleaned up” to approximate a more recognizable shape.

 When satisfied, export in format for download.

 

Unconventional uses for punchcards 2: thread lace cards for “filet” mesh


Mock filet crochet machine knit lace has surfaced in a Ravelry blog of late. The sample in question was made by Tanya Cunningham, using a hacked knitting machine and software to download the repeat. Sometimes, punchcard machines or early electronic users feel left out of creating particular fabrics. If one can settle for working with simpler and far smaller repeats, however, one can achieve interesting results on that scale.
Several years ago, I wrote a series of posts on lace meshes and lace patterns inspired by filet crochet. They are interspersed in the mesh category. There has also been a thread on this type of lace in Ravelry, and today’s avoidance of housework led me to think about pre-drawn thread lace patterns to create a filet-like mesh.
What to look for in a first experiment (Brother punchcard machines only): large unpunched areas creating motifs, with no side-by-side punched holes, and no more than 2 consecutive punched rows. Some samples are provided in-stock cards that come with machine purchases, such as this. The lace carriage (LC) selects on the first pass, transfers on the second. It advances the card with each pass of the carriage if it is operated consistently from the same side.
If 2 knit carriages (KC) set to select needles for any technique are in use in punchcard machines, as one is put to rest and the other one begins to move from the opposite side, the card does not advance on the first pass, so selection for the previous row is repeated one more time.
If all lace transfers are made in the same direction, the resulting fabric will be biased. For balanced lace fabrics, the direction of the transfers needs to be reversed, whether in alternating series of rows or with every other set of transfers. In a situation such as this, the LC makes one set of transfers operating from the left, with the next set of transfers operating from the right.
For the correct setup, the first-row selection with the card is made on the row just below the one marked #1 (in this instance, that would be row #40), then the card is set to advance as usual.
If the first selection row is made with the card set below the #1 line, the card needs to be already joined with snaps into a drum, or the card reader will be selecting the all-punched row, which is normally part of the overlap that sits over the last 2 rows of the pattern repeat.
I began with my LC on the left for transfers to the left and alternately placed it on the right after knit row(s) for transfers to the right.
A “simple” lace is produced with only one-row knit between transfers, and a more complex lace if 2 rows are knit between them.
The LC moves left to right and transfers back to the left. If the knit carriage is used for one pass only, it stays on the left. The LC is now taken off the machine and moved to the right, used for 2 rows, and will be removed from the bed to ready it for its return to the left side.
The KC follows with one pass from left to right.
The LC is returned to the left and operated for 2 rows, starting the sequence over again. The LC is always moving toward the KC to select, and away from it to transfer.
Brother knitters are used to knitting 2 rows after lace transfers.
It may be done with this card as well. The problem here is that when knitting for 2 rows, the knit carriage consistently returns to the same side, so that when transfers need to be made from its starting side with the LC, the KC needs to come off the machine until after transfers are made.
There is a lot more juggling of carriages and keeping track of what needs to be where. The elongation that occurs with 2 rows knit after each set of transfers, and the differences in the appearance of the yarn forming the eyelets (single/magenta arrow vs crossed/glow green arrow strands) for the respective methods are shown below. Three more candidates for experimenting with the technique.   Working the fabric on an electronic, the repeat used: Related PNGs:
24X6024X72The single knit row between repeats is fairly easy and rhythmic to produce. The first preselection row is made with the lace carriage, beginning on the left, the design is used as given in the punchcard.
LCOL preselects for transfers to the left as it moves to the right
LCOR transfers preselected needles to the left and preselects the same needles, now empty, a good time to check for any dropped stitches or split yarn. Remove LC from the bed to place it on the right before transfers in the reverse direction
KCOR knit one row to the left, leave it there
LCOR preselects for transfer to the right as it moves to the left, transfers on its return to the right, and preselects the same needles, now empty of any yarn. Again, remove it from the bed in order to place it on the left before transfers in the reverse direction
KCOL knit one row to the right, leave it in that position
LCOL begin the sequence again
preselection with the LC is always toward the knit carriage, and transfers are always away from it If working the same repeat as transfer lace, the knit carriage moves to and from the right with every 2 rows knit, so in order to make transfers with the LC to the right, the knit carriage needs to be moved off the needle bed for the LC to be able to operate from that side.
The process is a tad fiddly, if the technique is to be used for an all-over design, converting the design to the traditional transfer lace format would be worth the effort. Barring that, some sort of note-taking to serve as a reminder of which side the LC carriage should operate from is also helpful. The BMP for the full repeat including blank rows at the top Returning to another Brother punch card, more possibilities in ways to experiment
The above shows long vertical lines of transfers are possible in design motifs (punched holes).
Adding shapes to all over mesh may require some editing along edges where the shapes meet the mesh. Varying size swatches are recommended before committing to any large piece.
As always punched errors may be taped over. Red squares in the image below reflect holes missing in the card if the goal is to achieve a smoother circular shape.
When this technique is used, selection, transfers, and knitting occur in each single, completed row of the design. note the differences in circle sides a wider, amended repeat The slight bias zig zag at the top of the swatch results from a missing reverse direction transfer before continuing with plain knitting and binding off. Ultimately whether the final fabric is worth the effort in making it is a personal choice.
Sometimes small swatches work like a dream, and when large pieces are produced, problems multiply or the result is disappointing.
In the past, I have also tried to use thread lace-inspired patterns for drop stitch lace (ribber fabric), but have found the result far more subtle than expected.
As always yarn and color choice make a significant difference. The yarn used in these samples is a 2/15 wool blend, knit at tension 6.
BTW: Studio pattern books have multiple sections of published 24-stitch thread lace patterns. Not all Brother machines have the capacity for knitting this type of fabric, so not all of their publications include “suitable patterns”. If one understands what punched holes vs unpunched do, some of the Brother weaving and “pick rib” perhaps another post’s topic) can be used as-is or adapted.
punchcard http://machineknittingetc.com/pattern-library-for-punchca…
previous blog notes on thread lace 2016/11/03/thread-lace-on-brother-km/

2023 Brother electronic 930, the image is automatically mirrored
Using StitchWorld #545 Use a yarn that has previously worked well in lace transfer knitting.
On the 930, the Knit Carriage ends On the Left, after casting on. As in any standard transfer lace, it knits stocking stitch rows, does not advance the pattern.
The Lace Carriage begins On the Right, selects needles as it moves to the Left
LCOL the LC transfers to the right, slide it off the machine
KCOL the Knit Carriage makes a pass to the right, knitting a single row, stops and stays there
LCOL returned to the knit bed, the LC preselects as it moves to the right
LCOR transfers as it moves to the left, slide it off the machine
KCOR knits a single row as the carriage returns to the left and stays, knitting a single row
LCOR the LC is returned to the knit bed, preselects moving to the left and the process continues.
At times patterns are best executed with hand transfers as opposed to using the convenience of automating them. In instances such as them, begin the same way, with KCOL
LCOR make a pass toward the knit carriage, transfers stitches manually away from the lace carriage
LCOL make a pass away from the knit carriage, the same needles preselect, they should have no stitches on them now, this is a good time to check all transfers have been made properly and that there are no dropped stitches, slide LC off the machine
KCOL makes a pass to the right, knitting a single row, stops there
LCOL the LC is returned to the knit bed, preselects needles as it moves to the right, hand transfer selected needles away from the LC
LCOR the same needles will be selected on the way back to the left, and are now empty, slide the LC off the needle bed
KCOR  knits a single row as it makes a pass returning the the right, and the process begins again
In both automated and hand technique, the LC always moves toward the KC, transfers are always made away from it.
The final mesh is quite different than the standard meshes produced with LC performing all selection and transfers, followed by the KC knitting 2 rows

 

Tuck lace trims and fabrics 2

Working between electronic and punchcard machines needs to take into account that repeats on a punchcard KM must be a factor of 24 (2, 3, 4, 6, 8, 12). An electronic tuck stitch repeat may be any width.  Since the above is seven stitches wide, if punched accordingly it would occupy 21 out of 24 stitch units on a punchcard. As is unless those extra needles on the far right or left are left out of work for ladders or transferred down to the ribber, it would not be suitable for an all-over fabric. It can, however, be used for a trim. If the latter is the intent, only one series of vertical repeats as seen in the chart needs to be punched. The numbers below the image indicate Brother needle tape markings. The Brother needled tape has a center O position marking, with numbers beginning count with one and radiating out marked in groups of 5 in both directions. This is a 6-row tuck fabric, thinner yarns should be used if the pattern is automated, as tuck loops build up in needle hooks. If you wish to experiment with slightly thicker yarns, decrease the unpunched areas to 4 rows, or execute the repeat using holding. Held stitches sit on top of the needle shank, tolerance is determined by how many rows it either takes for knit stitches on sides of the loops jump off needles or accumulated loops in hooks or any stitches become unable to knit off consistently on the next all knit pass.
To test the yarn and repeat out, try the technique by using holding, then punch your card. Automating makes the process less prone to error and faster if great lengths of trim are needed. It is also possible to punch or program only the part of the card that is planned for the repeat. The single-width repeat may be programmed as pixels, on left, or punched holes on right. In electronics a single 8-row repeat is adequate, punchcard knitters repeat 5 times to 40 pattern rows punched. I prefer starting such designs on a knit row. To do that, the design repeat start may be shifted Using the trim as the cast on edge for a garment: determine the length required after a technique test. Knit a bit extra and remove on waste yarn, so more may be added or some be unraveled if needed or you wish to change the configuration using it as your cast on. Rehang and cast on later when it is completed. The flared-out portions of the trim will be used to “cast on” the edge of the piece, continuing with some needles out of work. An attempt at a line drawing of the “trim” sideways Using the curved out edge of the trim, hang half stitches if possible, or one full stitch away from its edge as illustrated below. Knit 4 rows. With a tool pick up all ladder loops created by NOOW (RC 1-4) and hang them on the center empty needle. Knit rows (RC 5, 6), hang ladder loops on still empty needles, knit across all needles, continue with garment

needle arrangement picking up loops 

The yarn used is cotton and appears to have a tendency toward biasing on knit rows as seen in the tendency to lean in one direction in the above photos. It has no stretch, so stitches that knit off several tuck loops remain elongated. A look at the structure on the purl side: For more trims in this family, please see later post Tuck trims 4 and other edgings

In Brother knitting when needles are out of work, the automatic end needle selection may interfere with the pattern, and this is a consideration in many stitch types.
All over fabrics, analyzing a published Brother tuck lace punchcard repeat:
Single bed: to test the pattern, arrange the needles as shown below the full pattern repeat.
Cast on and knit a few rows, set the change knob to KCII, knit one row. Push in both tuck buttons, and knit the desired number of rows. If using the pattern on electronic machines, the needle selection needs to match on the top bed. Depending on the model electronic, the pattern may have to be reversed for accurate needle selection.
I prefer to start on a row where all needles in work are selected, providing an added visual check that indeed the proper needles are in use.
Begin with waste yarn and ravel cord, followed by a permanent cast on.
I like to use a crochet cast on and bind off, with extra chains where needles are out of work. The fabric will stretch sideways depending on the number of rows tucked as well as needle set up, so casting on and binding off needs to accommodate that stretch in finished pieces.
Punched holes or black pixels represent knit stitches, as always unpunched areas of the card, or white squares represent tucked rows.  The knit stitch (blue) above which tuck loops (red) are formed becomes elongated for as many rows as unpunched cells or white pixels in the pattern until that same stitch is selected forward to be knit When using card 304, tucking happens for 3 rows forming loops that span across needles out of work, then all stitches on needles on rows with numbered markings on blue cells knit for one row. Orange gradient-filled cells represent rows on which tuck loops are being formed on the held single stitches, which in turn grow in length. The full 24 stitch repeat, shifted for my preference, with the smallest electronic 8 stitch repeats outlined with red border In electronic knitting, repeats may be planned across the number of needles in work based on personal preference. Here the repeat is adjusted to produce knit stitches on both sides of the swatch, 35 stitches X 16 rows. On the 930: the odd number of needles are automatically placed on the left, with the pattern used in the isolated design setting.
Air knitting the selection for the first row will bring proper needles to forward position, odd number on left, even number on right.
Unselected needles on the right and left must be taken out of work, knitting will continue on the remaining selections.  Double bed: there are a couple of options for varying the fabrics. In one, to retain the laciness of the knit transfer only stitches creating those long vertical columns on the top bed down to the ribber. In the other, any or all out-of-work needles on the main bed will be transferred down to the ribber. Hybrid combinations of both modes of transfer could explore the knit further in yet more ways.
If casting on in rib, set half pitch lever on H, racking indicator on 5. Cast on the desired number of stitches and knit base rows.
Set half pitch lever on P, transfer stitches between beds arranging them as shown with NOOW on both beds. Set change knob to KCII, knit one row. Push in both tuck buttons on the main bed, knit in pattern for the desired number of rows.
Lately, I have been experimenting with chain or crochet cast ons and bind offs with extra chains between needles in work, and actually began my single bed swatch in pattern immediately after the cast-on row on the needles preselected in air knitting for row 1. Some weight, distributed evenly across all stitches is necessary. The main bed remains set to tuck in both directions throughout, the ribber when used is set to knit in both.
The bottom of the swatch shows the single bed fabric, the top a double bed version.
When knitting on the double bed, in this instance, the stitches where those all knit vertical columns occur on the main bed, marked with red dots, were transferred down to the ribber. Here the main bed needles, continuing in pattern, are selected forward for knitting on the next carriage pass, here the elongated stitches and tuck loops are shown after they have been knit together on the main bed. Transferring all non-selected needles down to the ribber: the tuck loops still form on the main bed, the ribber is set to knit every needle in both directions. The resulting knit, very different in appearance and in width than the previous sample, using the same tensions
For how-tos, illustrations, and swatches showing fabrics knit with all needles in work on both beds, please see post: Ribber fabrics with main bed tuck patterning 1/ pick rib 

Machine knitting yarns info

More of my class notes, assembled from various sources.
Yarn thickness is determined by the number of times the standard length of yarn is spun.
The thickness number is calculated using the thickness of a single strand of spun yarn.
The number of spinnings and the number of plies (strands) produce the yarn ‘count’.
The thinner the yarn, the higher the number and the more yards to the pound. 

These guidelines were provided for knitting using Jaggerspun yarns. I have no affiliation with the company. I do still continue to use some of the lines and have a great appreciation for all their yarns. Their wool used to be the required fiber in my knit labs at RISD until students began to understand some of the basics in stitch construction. I have permission from the company to share content. Superfine merino and zephyr wool silk are both 2/18.

Some yardage references: 2/24 = approximately 5500 to 6700 yards per pound
3/15 = approximately 2650 yards per pound
2/15 = approximately 3670 yards per pound

A few more bits:
fixed length of yarn spun from a specified weight of the material
1’s 1 spinning
1’s Yorkshire woolen 256  yards per pound
1’s linen 300  yards per pound
1’s worsted 500-560  yards per pound  primary standard for wool and acrylic
1’s cotton 840  yards per pound
1’s    spun silk840 yards per pound
2’s mean that twice the above length of yarn was spun from one pound of raw material

yardage reference: the first number refers to the number of plies twisted together to form the yarn, the larger the second number, the thinner the spun strand; conversely the smaller the second number, the thicker the diameter of the strand
yardage may vary with plies depending on mill and country where the yarn is spun
2/24  5500 to 6700 yards per pound
3/15  2650 yards per pound  (530)
2/15  3670 yards per pound   (489)

in cotton, the markings are reversed
3/2 Cotton 3 x 840  divided by 2 = 1,260 yards/pound
20/2 Cotton 20 x 840 divided by 2= 8,400 yards/pound
one standard for hand knitting yarn: gauge is per inch, not for a 10 X 10 cm or 4 X 4-inch swatch
fingering = 5 or 6,  knits approximately at 8 sts/12  rows per inch
sport weight yarn = 3 or 4, knits approximately at 6 sts/8 rows per inch
worsted yarn = 2, knits approximately at 4 sts/ 6 rows per inch
3/15 machine knitting yarn: the second number by the first = 5, so this would knit at approximately the same gauge as fingering weight

stranding math
2 strands  2/24 = 4/24 = 6 = fingering weight
3 strands  2/24 = 6/24 = 4 = sport weight
4 strands  2/24 = 8/24 = 3 = heavy sport weight
5 strands  2/24 =10/24 = 2.4 = close to worsted
6 strands  2/24 =12/24 = 2 = worsted

A copyrighted Master Yarn Sett document with extensive information on a variety of fiber content from Handwoven Magazine

The American Craft Council standard yarn weight system  is included in their PDF on standards and guidelines for crochet and knitting http://media.craftyarncouncil.com/files/CYC_YS_s_and_g_rev2015_6.pdf

“Crochet” meets machine knitting techniques: tuck lace trims and fabrics 1

Any discussion of crochet like fabrics on home knitting machines, whether single or double bed, invariably lead to looking at gathered loops, whether created as a hand technique using holding or automated by using the tuck setting. The function of the card remains the same when cam buttons are engaged, regardless of whether knitting single or double bed. In Brother machines punched holes result in needles being selected to D position (brother has no C), those needles will knit (second color in FI, thin yarn in thread lace / B feeder). Unpunched areas remain in B position, and will tuck or slip, (color 1/A feeder FI, both yarns together in thread lace) based on cam settings. Another Brother feature is that the needle tape to help with markings for stitch counts, pattern repeats, etc. centers between 2 # 1 needle positions. This can cause some confusion when translating patterns from other makers that rely on needle position numbers only for their directions.

I often use punchcard designs on my electronic machines after isolating the repeat, most often for the sake of speed and convenience. Swapping out the needle tape for the electronic with one for a punchcard machine makes identifying and placing repeats easier. In Brother punchcard machines tapes the heavy solid line, followed by a thin line on alternate sides, reflects each 24 stitch repeat. Repeats on these KMs are fixed, there is no option for altering the starting position. When using electronics in some patterns, aside from the added convenience of color-reverse for minimal “drawing”, it is helpful to know that the punchcard design reflects what happens on the purl side, so letters, etc are reversed on the knit side. As a result, when translating for electronics, some patterns may also require being flipped horizontally. Using the markings on needle tape is pointless if the tape is not properly centered. Check needle “bow” mark at 100 on the left side, the last needle on that side should rest directly in its center. As the retainer bar begins to loosen a bit from wear, the tape may start shifting position, and cello tape may be needed to anchor it in place

Marking colors have varied over the years

“Trims” can be any width, from narrow to wider bands. Punching cards is enough work so that it is worthwhile to get as many functions or fabrics out of each card as possible. Various software makes it easy to check repeat tiling, or simply scan/copy the card with black paper behind it, cut it up, and cello segments together to sort out needle placement. I chart mostly in Excel, old fashioned colored pencils, and graph paperwork just fine

self-drawn punchcard for Brotherside by side repeats in this instance, left side needs some adjustment

got a pre-punched card? tucks occurring for 3 rows for an all-over pattern,  or trim choosing a section of repeat Studio card (use appropriate starting row for the machine)same needle arrangement, tucks will now occur for 4 rows

Love your ribber? use any tuck lace appropriate card. Transfer any or all of the needles to be left in A position (OOW) on the main bed onto the ribber, and you will have a pattern combining knit and purl stitches. Use waste yarn, ravel cord, and ribber comb with weights through waste yarn. Cast ons and bind-offs may require planning and choice depending on yarn used and the number of rows tucking. These in turn result in a stretch in width and diminished length proportionately in the body of the finished fabric. After casting on and setting up both beds, set ribber on P (so needles on both beds are directly opposite each other) to center ribber created vertical columns between those on the opposite bed.

Knitting in pattern with 2 carriages vs color changer, Brother punchcard KMs 2

After my recent attempt to resurrect my single bed color changer and frustration with my 910 behaving “flaky” when reading mylar sheets drawn using template marking pencils (perhaps, because over time of some of the marks flaking off the surface of the mylar, with changes their density as a result), I went back to the idea of using my punchcard machine. I pulled out an old friend, illustrated in my post 2012/10/15/mosaics-and-mazes-from-design-to-pattern/ , had forgotten about my other post 2016/08/25/knitting-in-pattern-with-2-carriages-brother-punchcard-kms/ and actually came up with a second alternative for starting to knit with 2 carriages. Here is a bit more description: I began with a card punched with repeats that are single rows in height, and would normally have to be elongated for use with a color changer. Since 2 carriages are used, the starting side does not necessarily matter. With COR, color 1, carriage set to KC, card set on row 1 but not locked, but rather, set to advance normally. The first carriage then is moved to the opposite side of the bed (in this case the left). The second carriage is now placed on the extension rail on the right, cam settings set for the choice stitch to be worked (in this first case tuck or slip). It is threaded with the second color, is used to knit 2 rows of col 2, returns to right. The carriage on the left now comes off the rail on that side and onto the needle bed, with cam buttons set for appropriate stitch type, it travels to the right,  and then back to its starting point. Yarn weight alters the appearance of any fabric considerably. As always, slip is short and thin, tuck short and wide.

The same method may be used with any punchcard requiring color changes every X even number of rows. FI can be knit with 2 separate sets of colors in each carriage, or with one carriage set to select but with no cam buttons engaged for solid color stripes between motif repeats (it will plain knit, with color in A feeder, the card keeps advancing). Cam settings may be combined for different or opposing textures or stitch types without any manual changes to cam buttons. Of course, also helps if your punchcard is punched correctly to start with ;-). Problems in the slip stitch red and white segment were due to tension adjustments being needed for stitches to knit off properly. 

Lastly, there has never been a single bed 2 color changer for the 260 bulky. Extension rails for the bulky machine were manufactured at one point. If a second carriage for the bulky is available as well as the rails, working this way opens up a range of complex fabrics for execution more easily.

And then, buyer beware! I am still experimenting with a patterned ruffle. So I tried the card first with 2 carriages, but the design was different than one of my aged swatches using the same card.

I went back to the color changer, assuming this yarn pair might work in it, and it did, but here is the resulting fabric, so it would appear the above is technically twice as long. Frankly, when the color changer works, when only one carriage cam setting is used or very few changes are needed, and if you don’t do things like pushing the wrong button, have your yarns happily mating or causing loops in all your brushes as they travel from the yarn changer side, it may even be quicker than using 2 carriages. What is possible may not produce what you originally intended, but sometimes the surprise can be a very pleasant one. If not, then it’s back to the drawing board to accommodate the techniques and yarns involved. Pictured below is part of the working repeat, whited out areas are not punched for these swatches, they are covered with cellophane. Denise Musk’s book on the technique of slipstitch provided the source/ inspiration for the experiments. For the second swatch, the card was flipped over vertically. 

Areas of the knit placement on THE needle bed may be changed to suit. I like working within the 24 stitch marking on the needle tape for this sort of work. Flipping the card vertically when using the color changer in this instance will allow that, and begins each row with knit stitches (every hole punched on right in the image above), and patterned knitting and needle selection stops shy of the “slipped” stitches (unpunched areas on left). In using the slipstitch setting this may not make a significant difference since the yarn threads stay in front of the gate pegs. This repeat is also suitable for the tuck setting. The yarn gets laid in hooks as the non punched area of the repeat is cleared. While not knitting or necessarily affecting the pattern, this can cause added issues with loops and yarn tangles on that side (one may be noted in photo of purl side of swatch below). Seam-as-you-knit can also now occur on the opposite side, away from yarn ends and color changer.

Purl side showing loop at non-knitting (or punched) side and edge curl on the left may actually be used as a “design feature”. The density of the tuck stitch helps keep it in place.

the knit side 

an “oldie” of mine, using the technique in a single color 

4/6/17 I am getting along better with the color changer by making different yarn choices, so I now have a WIP, and am going about a shawl design backward: ruffle first, body later. Reasoning: seam-as-you-knit should be easier if not taking place during ruffle knitting. If the latter is not bound off it may be continued with body knitting taken off on scrap yarn if needed to facilitate doing so. BTW, as with all knitting that uses patterning on only part of the knitting on the machine, end needle selection must be canceled on the knitting undercarriage. Any reverse movement of the carriage will advance the card for a pattern row, so that is an added possibility for errors as the knit grows in length. The pattern has 18-row segments, 36 for the full repeat. For 36 passes of the carriage, only 8 full rows of knitting take place. Every individual has their own design process. I tend not to sketch, but rather to make decisions as each piece grows. As for some math? 800 rows would actually take 3600 passes of the carriage, the shawl requirements TBD. (3276 on completion).

A previous post with notes on color changers: https://alessandrina.com/2014/01/26/some-notes-on-machine-knitting-color-changers/

Older model machines had no provision for a second yarn mast, and an accessory was available for mounting on their left side. Having the yarn in that position brings it closer to the changer and seems to help with undesired looping and sliding within the changer’s wheels. This shows the carriage traveling toward the extension rail, with the auxiliary mast in place

If the ribber setting plate needs to be moved forward in order to balance your ribber when in use, setting it as close to the needle bed as possible or even removing it may be needed if it starts to catch and hold the yarn

 the “finished” ruffle; HK markers every 20 repeats to help track rows knit and being joined on with “seam as you knit” technique
the finished shawl after a successful truce with  my color changer 

going green the series grows 

A shawl tale 2

My “spider web” shawl has been a popular production for sale item for me for a very long time. From time to time the line was joined by chenille and felted ones with variations in shape

wool rayon

felted wool
chenille 

Most of my chenille inventory traveled with me to my new residence. The yarn has some challenges in knitting and handling, which may relate to the core content holding the fibers in place, and its twist. Lace holes may disappear with blocking, fibers shed sporadically with washing, and so on. Quality and behavior are not necessarily pricing or source dependent. Swatching is always worth it. As I work on new ideas, I occasionally decide to “wing it”. I prefer shawls that work with a bit of neck shaping rather than simple triangles. So I thought: Faroese style shawl, 2 triangles, and a shape with a bit of holding at the center, just “knit it”. The first triangle knit was the striped section, shaped with increases from 3 stitches to the desired width. The wedge section had interesting issues with biasing, even with blocking. The solid green triangle, shaped with decreases actually knit to a size different enough so it had to be unraveled and re-knit. There are many hand knitting patterns published that offer directions for “asymmetrical” shawls, which use such differences as design features, and that certainly can be an option in machine knitting as well. Calling the item a shawlette or scarf also discounts many issues. That said, I got this sort of shape and wanted this, with close to equal shaping on  either side of the center wedge

The original idea had been to create a ruffled edging with color patterning using the slip setting, automating needle selection, pattern, and shape. Brother has imo created the worst single bed color changer on the market. It is the only one I know of where the yarn does not leave the changer and in turn travel with the knit carriage sinker plate. The chenille yarns simply did not clear it properly for me, sticking together, and looping far too easily (though smooth yarns had no issues). So then my 910 got set up, and I thought to try knitting with 2 carriages. For the pattern I wanted to create even this involved issues with carrying yarn up the design stripes, and after trying slip and FI patterning I gave up and went for the KISS principle, returning to single color shaping using holding to create the ruffled edging.

the finished chenille shawl

purl side

Some of the steps I would do differently or add in future pieces:

1. definitely gauge swatch, perhaps even draft shapes on the knit leader and use it to guide triangle (or another shaping) for shawl segment

2. shape both large triangles with decreases, requiring one to be started on waste yarn (yellow line) and rehung prior to section knit in holding. Red arrows indicate the direction of knitting for each piece

3. yarn markers every X # of rows along the outer edge of shawl or on inner ruffle edge if it is knit separately, may be helpful both for seam as you knit, or later for joining the ruffle by hand

4. if the color changer is required, try to use the double color changer, with knitting weighted as for rib (this is a very viable option for frequent color changes on the bulky machine). Drawback here is the pattern is no longer immediately visible, so any errors or dropped stitches may be missed in time for immediate repair.

…………….

 

 

Return to circles, knit “pies”, miters and spirals 4

I  have gotten used to seeing charts for crochet in the round, and prefer charts to written instructions in knitting as well. My hand knitting has usually been project-oriented in terms of experimentation or exploration. Reviewing the information provided by both Zimmermann and Thomas in their early publications has led me to new appreciation and admiration for their efforts and for the knowledge made available to their readers, and not just in their time.

Looking at the additional medallions by Mary Thomas, I thought I would play with attempting to illustrate them, some in rounds rather than individual wedges lining up flat with blank or grayed out squares between them. The first example is my imagined square medallion (straight, geometric), p. 239 in my Dover edition 1972, and created in Excel. The work is begun on 8 stitches, divided evenly among 4 needles, knitting with a fifth. The cast-on is equal to double the number of sides of the square geometric shape, 4. A hexagon would begin with 12 (6X2), an octagon with 16 (8X2). In this instance, the increases are arranged at the beginning and end of stitches on every needle.  When compiling information on machine knitting, I generally swatch to proof ideas. I am not planning on making accompanying samples or swatches for these.

I knit primarily on the machine and prefer hand knitting on long straight needles as opposed to rounds, so I find myself often referring to counts as rows rather than rounds. For square medallions cast on 8 stitches, divided into 4 needles, knitting with a fifth. In all patterns after the cast-on row is divided, the first round is knit in the back of all stitches to flatten them. Stitch counts after increases sorted high to low is helpful when knitting from the outside edge in, and in that instance they become decreases. For the square medallions, they are shown in that order, with counts for many more rounds than those in the illustrations. Beginning with the pentagon, they reflect stitch counts from the start of each segment shown.
The windmill medallion (square, p. 240) instructions given: beginning on round 6 “M1 into the second stitch from the beginning and the third stitch from the end of each needle. Continue thus on all even rounds”

The maltese cross medallion (square, p. 240) lines up the side of the M1 increase, in the center of each wedge. Increases are grouped together at the center of each of 4 needles in use may also be grouped on either side of 2 center stitches they may also be grouped on either side of 2 center stitches In a square medallion (bias, swirl, pp. 241-242) increases are placed on only one side, at the beginning of each wedge. Yarn overs are used to create eyelets for more ease when attempting to keep the square flat, and the increase round is to be repeated: “as required”. If double yarn overs are used, drop the second yarn over on the next round. They are made before the stitch. Single increases are to be made each round. Here are the wedge shapes side by side around a center core For a pentagonal medallion (pp. 242-43) cast on 10 stitches divided evenly, or as the number of segments increase, work 2 sections or more on any one needle. For the swirl double yarn overs may be needed to keep the work flat. Thinner yarns may require additional knit rows between increases. Stitch counts For hexagonal medallions (p. 243) cast on 12  stitches, two sections are placed on each of three needles, knitting is done with a fourth. Each increase round will add 12 stitches; 2 or possibly even 3 rounds may be needed between each increase row to keep the shape flat. STS column reflects their number after increases have been made 
The hexagonal medallion swirl (p. 243) is shown using both M1 and YO increases. Here the rate of increase in rounds is slower than above (2 per needle as opposed to 4), so increase rounds are separated by only one row of  knit stitches The octagonal medallions (pp.244-245) are cast on 16 stitches, divided into 4 needles, and knit with a fifth. To make a smaller center hole, 8 stitches may be cast on, doubled on the next round, and then divided. The first geometric medallion shows increases (4 per segment, 16 per round) in single rounds, requiring several knitting rounds between the increases. The second medallion uses more frequently (2 per segment, 8 per round), so single all knit rows separate roundsFor the octagonal medallion swirl  (p.245) directions are the same as for the hexagonal one, with a 4th segment providing extra sides If the perimeter or circumference of the shape to be knit are known, the process may be reversed from the edge in, with decreases replacing increases. The advantage of working from the center out is that adjustments i.e. extra knit rows between increases, changing increases to yarn over(s) for added ease or decoration, etc. may be made far more easily as the work grows. Considerations should be given to leans of M1 stitches so they point in opposite directions on alternating sides. Motif and pattern placement can only be planned after these building units have been sorted out.

 

Return to circles, knit “pies” 3

Elizabeth Zimmermann provided guidelines for circular shawls in her books and publications, including “Knitting Workshop”. For a basic pi shawl (p. 112, Schoolhouse Press, 1984) the assumption is that each section is twice as deep as the previous section and has twice as many stitches. Below CO row represents cast on stitches if the work is to begin from the center out, Column A the row count on which the increases take place, column B the number of rows knit just prior to the increase row (A-1), and C the number of rows available for any planned repeat (A-2), these are constants. The columns directly below each cast on (CO) number (orange) counts represent the number of stitches when increases are complete. The stitch count doubles when the number of rounds has doubled. Mary Thomas’s Book of Knitting Patterns, Dover 1972, p.p. 245-247 provides guidelines for circular medallions. She calls her first a “disc” medallion. In executing it the aim is to scatter increases so they are less visible and do not form spokes. Four stitches are cast on, with 4 stitches increased in the total count every other row. The number of stitches between M1s increases by one on every other row. My chart happens to read from left to right. As with any knitting in the round, the process may be reversed, starting at the circumference and moving toward the center. I personally like charts to help visualize results, and have revised her counts in the illustration below so increases are at the same rate but placed a bit differently within the rows. On rows with even numbers between decreases, start row with half that number of knit stitches before the first increase. Because one is knitting in the round, with knit side facing, all rows are knit. If the work were knit on 2 needles, knitting every row would produce a garter stitch. what happens if increases “line up” For her circular “radiant” medallion after the first 2 rows increases are made every 4th round. My chart is renumbered excluding the first 2 rows, so the increase rounds would occur on numbers divisible by 4, making it easier for tracking them. Each “building” round increases the number of stitches by 16.

In her “target” circular medallion, the building increases are arranged in concentric circles. Each increase row begins with a M1. Once RC 20 is reached, a stitch is added between increases on each increase round. This chart reflects the knitting progress, but not the shape. STS column on right reflects the total number of stitches after increases have been made. Each building round after RC 6 increases the count by 32. Formulas for more, varied geometry-based medallions are also offered in the book.  I finally “discovered” actually using formulas in Excel! The video that clearly and quickly helped me learn how to: https://www.youtube.com/watch?v=QFVkSnGgZZclooking at the flow in table form for the first 2 medallions

These formulas do not take into account changes in gauge or stitch type within bands. For similar shapes to be achieved in machine knitting, the number of transfers would be prohibitive. In order to achieve similar shapes, one begins with the radius of the finished circle and the shapes in the family may be knit sideways, using holding.

Hand knitters can work with 4 double-pointed needles, one or 2 (or more) circular needles, and crocheters can follow similar shaping methods. The advantage to long circulars is less bunching up as the work grows, and if you like working flat or want to try the garment on while shaping it, you can use more than one long needle, making the piece or the try on manageable. Working from the top down when knitting such shapes may give one more control over the size of the finished piece i.e. on length of body and sleeves, height between bands, extending a yoke into a shoulderette or cape. Stitch pattern size and repeats add to the math calculations. Garter stitch is the only hand knit stitch that approaches a square gauge, could be used in combination with patterned bands.

The charted patterns above rely on M1 to increases. Yarn overs may be used for decorative holes at increase points. If preferred, the hole may be diminished by twisting the stitch when picking it up on the next round.

When knitting in stripes, the “jog” at the color change in knitting can be eliminated by slipping the old color purl-wise and starting to knit the second stitch. TECHknitting provides more alternatives in her posts: http://techknitting.blogspot.com/2007/01/jogless-stripes.html
http://techknitting.blogspot.com/2011/03/jogless-stripes-pretty-picture-version.html. For a method using yarn ends and a needle when the yarn is cut http://imgur.com/a/NREsH.

For shawl shapes and their geometry using YO increases, see the posts and publications by Holly Chayes.

To start it all from the center out: I am used to doing the magic loop cast on with a crochet hook, and then moving on from there, Kitty Falol shows it worked with DPNs.