Hints and Tips – Page 7 – alessandrina.com

A look at single bed mock rib

The Brother Knitting Techniques book has a series of illustrations on how to manage a mock rib in various configurations on pages 7-15. The manual is now available for free download online and is an excellent reference.

This technique requires a waste yarn start, followed by a row of ravel-cord. The resulting knit creates ladders or stitches that will, in turn, be dropped, then latched up and reformed into knit stitches on the purl ground. Reducing the knit tension by as much as 2-3 numbers is recommended after the ravel cord row.

The needles marked in blue and green in the first image below are needles that are pulled back to the A position prior to starting the piece. After the waste yarn and ravel cord (hatched yellow) start, three rows are knit with the garment yarn. Using a transfer tool, pick up the sinker loops from the first row knit (orange), and hang them on the corresponding needles on the diagram (follow the red arrows).

One may at this point continue with needles (green) left out of work, or return the needles (blue) to the work position. If needles are left OOW, ladders will continue to be created. If they are returned to work, a loop is created on the empty needle on the first knit pass, formed into a stitch on the second pass, resulting in an eyelet. Every needle treated in this manner will now be knitting. If stitches rather than ladders are formed for the height of the rib, then those stitches (blue) will need to be dropped, and in turn, latched up. In both instances, the latch tool goes under the first ladder created, and 2 rows are skipped, the latch tool then catches the third parallel row, and pulls it through the first to make the required knit stitch. The process continues up the height of the “rib”. In this illustration, the main yarn begins to knit with COL.

A 2X2 rib is possible. From the Techniques book: cast on with waste yarn and ravel cord (1, 2)

an alternate: cast on with waste yarn and and ravel cord, knit 3 rows

pick up the sinker loop from a knit stitch, hang on 1 of the 2 NOOW (R)

knit height of the rib

latch up the ladder as shown in drawings above

drop/ unravel the second stitch to be latched up (L)

dropped stitches reformed for rib

continue across the row, then proceed with the main body of the knit

the rib, off the machine

stretched out

My sample was knit in a 2/15 acrylic, a bit thin for this technique, and if pressed, the fabric would be flattened permanently. If the intent is to have the rib retain its “spring and stretch” it is best to use a yarn with memory, such as wool. If slip stitches or FI are to be used for the body of the knit, they will create a much denser fabric. The yarn in the rib may in turn need to be doubled to produce enough substance. As always swatching is recommended before committing to a large piece in any technique.

From the Brother Techniques Book a few more to try:

2X1 rib using slip setting

2 X 2 rib: working with Brother cast-on comb, full text using waste yarn

From the KH 800 manual, a double welt. Knitting the single joining row of hems at a looser tension will help the place where the two layers meet lie flatter

Seaming, joining, picking up stitches on knits 2

I have an extensive library of both hand and machine knitting publications. I am not the originator of the base drawings for these illustrations. However, they have been accumulated from various decades-old sources, edited by me for content, color, size, etc. My editing program is Gimp. I will review, alter, or add to this library over time.
Sewn bind-offs on the machine
knitting taken off on waste yarn joining a hem open stitches to finished hem crochet bind-off through the top or bottom of stitches in the last row respectively weaving in yarn ends across a row on the purl side Mattress stitch: work a few rows with loose stitches so entry and exit points are visible, then pull on yarn and tug on finished segments as you go to adjust stitch size
1. under the single bar between a full knit stitch on either edge of knitting, best for bulkier knits
2. under double bars between a full knit stitch on either edge of knitting, faster on smaller gauge knit
3. worked half a stitch away from the edge, every row, under the bar on left, loop on the right

4. running stitch along and through the center of edge stitches, alternating sides every row
5. running stitch one full stitch away from the edge, alternating sides every row
6. joining purl stitches in every row

garter stitch 1. mattress stitch, knit side out, one full stitch away from the edge, adding a second strand of yarn to finish the join
2. weaving in joined yarns along the inseam, traveling in opposite directions

2 X 2 rib ending with one knit stitch 2 X 2 rib ending with 2 knit stitchesrib join through “edge loops” of knit stitches 2 X 2 rib join ending with 2 knit stitches, 1 full stitch from edge 2 X 2 rib join ending with 2 purl stitches, 1 full stitch from edge For more illustrations in addition to the above for joining ribbed stitches see the later 2022 post
Picking up stitches to continue knitting or joining on the machine: straight edges, curved edges open sts to bound off; bound off sts to bound off (steps 1 and 2)knit to purl; knit to rib garter-stitch decreasing evenly at intervals across a row grafting with purl side facing if you are left-handed or the yarn end is on the alternate piece, rotating the image or flipping it horizontally or vertically will provide guidelines. There are many alternatives for increasing and decreasing stitches. These pages are from the KH 800, a Brother model made in 1970-71, and cover the basics and the often underused technique of using a knitting needle to remove stitches from the machine for any reason, here intended for decreasing evenly across a row as an alternative to scrapping off on waste yarn or using a garter bar.
Long and thin double-pointed needles are best on the standard, and sizing is more flexible when working on the bulky. If a double-pointed one is used, have a needle stopper on one end, and swap it out to the opposite side when shifting stitch positions. The work could be turned over with this technique as well. There are wide varieties of stitch holders that may be used to store or move stitches around when tools with enough prongs to serve the purpose are not available, as well as safety-pin-like plastic ones that can hold single open stitches or serve as markers at the edges of the knit. Sometimes appropriate lengths of ravel cord and a yarn needle can serve the purpose as well.

Seaming, joining, picking up stitches on knits 1

This time of year I am usually producing machine knit felt hats for sale, on my 260 Brother bulky KM. They are knit sideways and require seaming on their completion. Photos of some steps in the process, taken a previous year: screenshot_82 for a sense of scale before felting after blocking and drying
screenshot_84 My customer handout:
Knitting has traditionally been felted to make it weatherproof, warm, and long-lasting. Examples include Scandinavian mittens, caps, and jerseys, Estonian multicolored jackets, closely-knit felted jackets worn around the North Sea Coast from the 17^th century onwards, and knitted and felted Tudor caps.
Wool and hair fibers have microscopic scales, which all point in the same direction, and when such fibers are subjected to heat, moisture, movement, and friction, the fibers will become swollen and soft, and will move against each other in the direction of least resistance. Adjacent scaly surfaces cannot move against one another if the scales on each surface are opposed, and if they are forced to, the scales will lock. Felting is a progressive process that cannot be reversed, only halted.
These hats are knit (or crocheted) in very large, loose stitches. Their shape comes from varying the number of stitches along the surface of the hat, with many more rows on the brim area than on the crown. Most are reversible. In making them, I like to blend many shades of woolen yarn, sometimes adding boucles or mohair. The coloration and stitch structure varies whether viewing the purl or the knit side. The shaping is in the knit.
The large, loosely knit forms are felted by agitation and washing in hot and cold water until the desired shrinkage is obtained. The brim will fold and mold differently depending on whether the hat’s knit or purl side is worn on the outside. No two hats are exactly alike in size or color. They will retain their shape if folded flat and may be cared for as one would care for any fine, washable fabric.
If hand washing: use cool water only, mild soap, do not soak, some molding or blocking may be required.

There is a lot published on methods to graft open stitches using Kitchener. Hand-knit magazines both in Britain and here have begun to present joining a variety of pattern stitches with charts that visually clarify the process. A small portion of such a chart: With bulky knits such as my hats, I like to take open stitches onto circulars and sew them together by hand as shown below, beginning on right, and with the knit side facing me.

joining knit ending on waste yarn, purl side facing joining knit ending on waste yarn, knit side facing joining garter stitch ending in waste yarn Diana Sullivan offers youtube videos showing how to join pieces with waste yarn endings with their purl side or knit side facing respectively.

Seam-as-you-knit is an option for joining vertically. It is a technique that may be used to attach bands, parts of a sweater, or strips of knitting, whether for the sake of additional width, changes in color, or attached with purl side facing the knit side if that is the goal. The piece on the machine is always purl side facing. With each row knit, a “loop” is created on the carriage side, while a “knot” is formed on the opposite side as the row is completed. The process then reverses as the carriage returns to its original position. The technique may be done on either, or even both sides at once. The first piece(s) is (are) completed and taken off the machine. Begin the join to piece with the cast on row or waste yarn. For a test, with COR: pick up the first knot or loop on the completed piece. Hang it on the left end needle/ stitch on the cast on work (opposite the carriage). Knit 2 rows. Go to the next knot or loop on the completed piece, place it on the same left side needle/ stitch. You are hanging on the far needle opposite the carriage every 2 rows.

The knit fabric, purl side facing A one-eyed tool is inserted from front to back through either a loop or a knot, and hung on the first needle hook/stitch on the right, left, or even both sides of the piece every 2 rows. Joining “loops” generally works well in standard gauge knitting. On the bulky, or where a “tighter” seam line is needed, join “knots”.
The same method may be used to join the side edge of any piece of knitting to any portion or location on the one in progress.
When hems need to be hung at the top of a knit or within its body if only one color is used, if long seams are to be joined, or a width needs to be rehung for joining to match its mate, it is helpful to have yarn markers across the row, or periodically along the sides of the pieces at fixed intervals. These illustrations are from the Brother Knitting techniques Book

MK ladders, and a bit of crochet

I have recently been thinking about collars and edgings again, this time adding crochet detailing to help cut the edge curl and add interest. In a previous post, I showed an edging done in drop stitch (double bed lace). Here to simplify things, I decided to work with ladder spaces to create the fabric. If a large width of this fabric is required, multiple bands would need to be joined to achieve it, crochet is then applied in turn to the finished knit piece. Seam as you knit can make the joining nearly invisible. Using Excel, I tried to also create crochet symbols using its shapes menu. The number of rows knit in open pattern or all knit prior to binding off is at your discretion, depending on your needs and planned final product. For my sample I began knitting with COR, and to end with COR for bind off row, I chose to work with even numbered groups of rows. Consider fiber content if the intent is to permanently block as flat as possible, or not.

my chart symbols

needle set up, waste yarn cast on, knit for the desired length bring one empty needle into work knit one row, bring remaining empty needle into work knit one row knit rows desired for top band transfer eon from L to the right latch tool bind off around gate pegs for all needles/stitches

do not cut yarn, lift work off the machine; turn work over (knit side facing)
chain 5, slip stitch into eyelet created by transfers, repeat across the knit, end with a slip stitch into last eyelet space detail_4121 turn work over (purl side facing once again), chain 3, 2 double crochet, slip stitch into the center of chain 5 space, repeat across the knit, end with a slip stitch into last chain 5 space unblocked trim, 2/15 acrylic yarn

detail after steaming, the trim is side leaning

To use: rehang open stitches on every needle (or other arrangements) eliminating ladder spaces and bind off, join to another piece of knitting, etc.

Thread Lace on Brother KM

This post originally did not offer repeats for the design, they are presented here in a 2024 review of content.

Thread lace has also been called punch lace over the years. The “lace holes” are formed by knitting a fine thread with a significantly thicker yarn as the “second color”. When the fine yarn knits (B), a larger stitch in it alone is formed, with the thicker yarn floating behind it. The thicker yarn goes in Brother’s A feeder, the thinner in B. In FI patterning, the unpunched holes/ blank squares/ no pixels are knit in the yarn in feeder A, and punched holes/ black squares/ pixels are knit in B feeder yarn. In thread lace both yarns knit the unselected needles, corresponding to blanks in the card or blank squares/ unmarked pixels. The tension may need to be adjusted due to this fact.
Test swatches for tolerance to pressing/ steaming to make certain the final garment will bear blocking and cleaning. I had a sweater front finished using an industry “clear” thread, thankfully tried to iron it before finishing starting other pieces, and discovered a lovely melting quality to the clear “thread”. In theory, clear serger thread should be safe to use, there are 2 easily available manufacturers. YLI brand (nylon) is stocked at most chain stores that carry sewing supplies. One “light / clear” is “whiter” than others; there is a “smoke” version as well, sold on cones. Both produce a bit of a sheen on the surface of the knit fabric. Sulky (polyester) clear is sold on spools and is superior for sewing pieces together, zippers, etc with no “sharp” when the cut ends poking at the skin, but at a different price point and quantity.
This was my garment’s test swatch, the black is a wool rayon yarn.punchcard repeat:the associated 24X72 png The fabric is much quicker to produce than traditional transfer lace.
Cards can easily be drawn by filling in solid shapes over a mesh ie the repeat seen in the 1X1 card.
Double length may produce an interesting fabric as well.
End needle selection needs to be canceled. If end needles are selected because of the pattern repeat, push those needles back to the B position manually before knitting the next row. The latter step ensures that both yarns will knit together. On electronic models one can program the number of repeats planned and add blank rows on either side of the repeat prior to downloading for all knit borders on both sides of the piece.
Either side may be used as the “public side”, depending on personal preference. The thread lace option is also available in the 260 bulky machines. Here a very thin acrylic was used as the “thin” at the start of the swatch, monofilament for the remainder (bulky KM) punchcard: 24X54 png A floral repeat card

the 24X80 png The thin rayon is noticed especially over a dark ground in the finished piece, not as much as in this view. The fabric will lie flat when pressed, here it was steamed lightly A closer look The old sample, knit with monofilament as color 2, the repeat is suitable only for an electronic, even if only half is used Uncertain as to the repeat in the present time, here it is reconstructed to a 52X48 png. A new proof of concept swatch, knit in rayon yarn and a shiny sewing cotton Taking it to a garment (standard KM): color 1 = wool/rayon blend, color 2 = sewing thread. Note the difference in color where there is no needle selection for pattern, and how one color is more prominent on one side than the other. Sometimes the latter may be used to advantage when the goal is a plaited fabric, but no plaiting feeder is available. Simply program in a blank row, and position threads using the thread lace setting to produce the knit.The card: the 24X56 png some needle selection was eliminated in the knit piece to allow for a transition to the new, smaller design repeat The chart for the small repeat used in the upper body A larger, electronic repeat found on an ancient 560 mylar of mine to play with
32X40 32X80
64X40 I knit on a 910 electronic, with no option for such fabrics built into the knit carriage. I was able, however, to modify and use my punchcard carriage with the intent of producing yet another “unconventional”, ribbed fabric. Added tips: the tension dial usually ends to be a bit tighter than stocking stitch. The fabric produced is also thinner and shorter than stocking stitch, as is fair isle. The finished fabric tends to elongate with rest after blocking.
The setting may be used instead of plating. A plated, solid fabric is produced by non-selected needles. The thread lace thread tends to appear on the knit side, as opposed to the plating yarn, which appears on the purl side. The color mix may appear less even than in traditional plating. Simply lock the card or needle selection on an all “blank” row.
If the “lace” thread is too thick or too contrasting in color, the eyelet pattern may be lost.
Simple geometric shapes are best.
Some knit weaving patterns may also work well.
In terms of altering the repeats using the buttons on the electronic models, double length or sometimes double wide as well as vertical mirroring may produce interesting results.
Sewing or serger threads may serve as the thin yarn and match yarn color well if that is desired. A sort of “sock” may help with more even feeding, the mesh used here was from a florist, netting from supermarket products ie unusual fruit can come in handy as well On the select/memorize row both yarns are fed into the same feeder (A) as the thick yarn, and the “lace” yarn is then removed and placed in the second feeder (B).
An option for drawing your own patterns: shapes can be superimposed on mesh designs as described in “filet crochet” posts, with no elongation of the motif.
A sample of a floral on a transfer lace mesh, one of my one-off scarves from eons ago Punchcard machine owners may use tape over sections of card number 2, or card 1 which in turn gives the option of testing the design elongation X 2 for both eyelets and motif as well. The tape may be moved to suit, and once the pattern is satisfactory, the final pattern design card may be punched.
Both Brother and Studio offer the cards in their standard punchcard assortment with the purchase of respective machines. A later blog post on the topic with additional information on yarn placement, settings, and more: 2019/02/25/tuck-stitch-meets-thread-lace-repeats-and-vice-versa/

Knitting in pattern with 2 carriages, Brother punchcard KMs 1

I touched on knitting with 2 carriages in some previous posts:
2011/03/30/knitting-with-2-carriages/
2011/03/29/lace-meets-hold-and-goes-round/
2015/03/31/combining-tuck-stitches-with-lace-2-automating-them/

If 2 carriages are in use for patterning extension rails are a must. For this discussion we are excluding the lace carriage as the #2, the intent is to use 2 knit carriages with each set to desired cam functions. As one carriage is put to rest and the other one is set to move from the opposite side, the card does not advance, so the last row selected is repeated one more time. In one of those lightbulb moments today (any excuse not to do laundry) it occurred to me that starting out with an odd number repeat pre-punched card, coming from the opposite direction at the end of each odd row repeat, an even-numbered repeat would actually be knit. The card below is a Brother issue with all standard knitting machines. Card number (2 in this instance) may vary, depending on the year of purchase. Color changes here as well would have to be planned for every even number of rows, so respective carriages can travel to and from each side.

The swatch below begins with locked selection row on punchcard row marked #1 (standard location); tuck setting is used in first 2 segments, FI on third; pattern produced is “OK”, but not actually tucking for 4 consecutive rows; note how much narrower FI is than tuck. Tuck tends to be short and fat, slip and fair isle short and skinny when compared to plain knit in same yarns

Since Brother preselects for the next row of knitting, setting the first selection row one locked below the usual spot on in this case #48 got me what I wanted, each color now tucking for 4 rows

Then something a bit more exciting occurred to me; one is an odd number, so any card where single rows are punched could be executed in theory, changing color every 2 rows (remembering to start with first selection row one row below # 1-row mark on the card). This sample was knit with 2 carriages, using a maze card, illustrated in a previous post, in which each row had been punched only one time, requiring for the repeat to be elongated X2

the image from the previous post

Using 2 carriages allows for combining yarns using different tensions, cam settings, fiber content, or sometimes using materials that the single bed color changer is not “friendly” with. Also, there is no pushing the wrong button, causing errors in sequence, or dropped knitting if no yarn is picked up.

A punchcard carriage may be used on electronic machines. I work on a KH892, and a 910. The 910 is from a much earlier model year than the punchcard machine. The back rail for the KH to travel on, is a different shape, with slits as opposed to smooth, and a bit more raised. The electronic carriage set on KC locks on the belt and advances the card appropriately, but the fit is quite snug, making it hard to push, while the 892 behaved well on the 910. If borrowing carriages and sinker plates from different model years or one type of machine to use on another, proceed with caution and listen to your machine. Sometimes the span of time between model issues is irrelevant, even if model years are only a year apart, and the swap is not the best for successful knitting, may “work” in one direction, but not as well in the other.

sample back rails: 910 892

Dec 7, 2018 Knitting studio simple lace with 2 lace carriages transferring stitches

A bit of holding 5: intarsia and more 2

So you have some shapes you love and know: wanting to go large, mixing them up, requires thinking things through. Testing on small swatches will help determine holding sequences and whether the results are predictable or even liked. I no longer have access to Adobe Photoshop or Illustrator, so some of my image editing is now achieved in Gimp. Labeling below is with Skitch, and charting is with Excel.

A starting freehand swatch experiment and some observations: shape variations in red areas occur by altering sequence for knitting first and last 2 shapes in the holding position

Planning possible sequences out in charting can be confusing. The image direction will be reversed on the knit side. Approaching the technique like intarsia with individual yarns or bobbins eliminates the need for some of the concerns where 2-row sequences or specific starting sides are necessary to keep yarns continuous or for the execution of the desired shape. Trying to imagine the shapes that create the larger one together in a simple 2D drawing can get one started, but then shapes need to be rearranged. I usually began by “playing”, trying to figure out steps needed, and follow that by trying to produce an executable chart. Making the process as easy as possible to track is always a consideration.

possible stitch counts and adding a center-line “stem”/ stripeits knitting sequence a resulting swatch, stitch counts not consistent with the chart

In the chart below the design is worked with 2 needles brought out to work or pushed back into work at any one time, making tracking changing numbers in hold unnecessary. Pink rows indicate starting and ending knit rows, orange “stitches” are cast on and bound off in turn, creating a shape extending out from the edge of the knit. Arrows indicate where shapes meet to create forms. knittable_marked

Holding sequence for each shape may be worked begin with carriage on either side; with experience, this may be planned at times to eliminate some of those cut yarn ends that later must be woven in. Getting back to arrows indicating carriage moves, using the center shape for illustration purposes and beginning with COR direction if beginning with COL, simply flip the image horizontally

600_078 The yarns used were “throw away acrylics” in white and red. The green is a rayon chenille, which required a looser tension, resulting in the other colors looser than I would want in a piece of the final fabric.
An idea for a larger image in the process of being editedA possible sequence in knitting if it is to be executed as shown. The arrow marks rows that knit all needles across the width of the piece. The piece segments are numbered to create a starting line for later joining.
If the goal is knitting as close to a flat circle as possible, eliminating rows will create a smaller center hole as well after the form is completed and seamed. Knitting segments 1-6 should be adequateLarger pieces ie shawls, adding knit rows without adding stitches can be done by altering #8, 1, 6, 7. The red line indicates changing angles. Blue and green lines below indicate increasing rows knit at the center of shapes as a result. Knitting and cast on sequences flow around left purl edge, straight or diagonal edges on a chart such as above may become foundation rows that are later seamed. Sort out your sequence and preferences on smaller swatches, keeping notes as you go. Additional shaping can happen along the edges of any plain knit rows between shapes by increasing or decreasing on either or both sides to create crescent shapes or triangle variants.

Now a quandary if gauge matters: knit stitches are not square. One option is to generate a grid appropriate graph paper. In holding sequences happen in 2-row sequences. Graph paper cells may be created at twice the height desired. Each rectangle will represent a single stitch, 2-row sequence. To create your own knitting graph paper in excel please see post as a place to start. A common knit ratio is 4W X 6H. An editable workbook in 2W X 6H ratio that takes into account the following outline in 2 row holding sequences: landscape2X6. Links for designing knit graph papers online:
http://www.tata-tatao.to/knit/matrix/e-index.html
http://www.theknittingsite.com/knitting-graph-paper/
http://sweaterscapes.com/lcharts3.htm
http://www.thedietdiary.com/knittingfiend/KnittersGraph.html
http://incompetech.com/graphpaper/asymmetric/

Using the 4X6 model reduced to 2X3 this is a sample generated using excel, with borders in a 2X6 ratio, so in execution, every single cell represents one stitch and 2 rows knit. The shape is one from the shape menu in the program, easily resized. The yellow bars show the gradations in holding. These cells are too small for adding text within the program itself. The math can be double-checked: there are 70 stitches, 34 rows in the rectangle at the center of the shape. Holding happens over 5 chart units (10 rows actual knitting) at the top and bottom of the center shape; 70/5 = 14 X5, matching the drawing The accompanying, editable workbook Excel 2008 landscape2X6

So the goal is a shawl or garment, graph paper is becoming impractical to follow? Time to pull out your knit leader. Draw out each wedge or piece full size, number segments breaking sections into knitting sequences, and let the KL guide you. For consistency, if the same shape is to be repeated many times and accuracy matters, it may be worth “air knitting” it while noting shaping as you go, keeping a row by row flow chart. An editable workbook to help track holding patterns, increases, decreases, etc. as a starting point for your own preferences: tracking knit.

Gauge or shape does not matter? time to scrumble it all and be surprised!

A bit of holding 4: intarsia and more

Picture knitting/intarsia may at times be achieved using holding techniques. As in any such knitting, supplies include extras such as bobbins, clothespins, or weighted clips, but no separate carriage. If the ribber is in use and one is working on a large piece, ribber covers allow the yarns to hang in front of the ribber bed.

Some of the rules for accomplishing this using short rows: it is helpful to work from a chart. Two-row sequences are required, so having the working chart double-length makes the process easier to visualize. “Follow” knitting directions with any tool to determine that the pattern is executable, with no long floats or slits.

The bottom of any diagonal line is always knit first.

Needles are brought out to hold on the carriage side, and pushed back into work opposite the carriage; one exception to this rule is if “automatic wrapping” is used. In the latter one, fewer needles are brought into hold than needed opposite the carriage, the row is knit, then with the carriage on the alternate side the first needle in hold next to stitches just knit is brought out to hold, resulting in a “wrap” and correcting the count to the desired number. Any number of needles may be pushed back into work at any time. More than single stitches brought to hold on the carriage side will produce floats.

When knitting shapes the only needles in work are those being worked to create that shape.

Base rows of knitting, whether in waste yarn or as part of the pattern, are needed prior to working in the holding position.

Remember that you are working on the purl side, so any image will be flipped horizontally on the knit side. Reverse the chart horizontally before working it if direction matters.

Begin with a simple shape. Letters indicate the knitting sequence for short-rowed sections. Patterning in these charts begins with COR, bold lines separate areas of plain knitting, letters indicate the order for executing short row segments. The fabric produced lies flat, with no noticeable 3D protrusions.

marking sequences with numbers is easier for me to follow; color changes help define segments, but do not reflect final colors in the design

a supermini swatch: holes are typical both in intarsia and in short rows if no wrapping occurs be prepared to weave in a lot of yarn ends going larger, note the wider “steps” created more complex geometry: line drawing on “graph paper”the start of color placement sequence for executing segments at the completion of the design in actual knitting the pattern must be elongated X2

I find it helpful to use familiar yarn and to work variations of a familiar shape prior to taking on more complex patterns. Below is a cousin of the first shape illustrated in this post, with a pattern worked beginning COL, repeated across the row, increments in the number of stitches worked in short rows but mirrored on both shape sides (shown in the first swatch segment).

filling in to produce a flat fabric, with straight sides: the bottom segment the top segment the amended chart

Some of the same shapes may be placed on a shaped edge. The repeat will likely need some editing; arrows indicate the direction of knitting for that row. If the background color is used for casting on and binding off, then the isolated shape floats on the ground, and the horizontal line of contrast color is eliminated.

creating an outline of shape with Color 1 horizontal rotation to achieve “leaf” shape melding shapes don’t like wrapping? for smaller holes offset the return to work position upper half of the shape by one less needle at the start, added at the end.
A first look at knitting direction and at stacking shapes, with bound-off stitches

combo_2935 The start of a smooth shaping sequence for those “leaf shapes” on the machine

The yarn used is acrylic, so pressing helps to make the shapes lie flat. Once again, using wool or any other yarn with “memory” will result in considerable curl at the side and at the top and bottom of the knit piece, so that is a consideration in putting in the effort. The more striping, the more yarn ends to weave in and row counts to watch. Using space-dyed or sock yarns may produce pleasing though unplanned stripe patterns in any of the shapes. My samples are not resolved final fabrics. There are many inspiring patterns available for purchase or at times free on the internet for hand knitting, usually in garter stitch as well as holding, resulting in a nearly square gauge, flat-lying knit.

Taking it to garments: accessories are easiest, since the gauge may not be significant. Shawl shapes in HK are often knit on circular needles, without the constraint of the fixed number of needles on any particular model KM. Sometimes, with adjustments, the same shapes may be rotated sideways on the KM. Segment sizes may differ due to the resulting change in gauge. Sampling techniques and shapes in smaller versions help work out the kinks.

Sources for inspiration: large-scale shapes

http://www.garnstudio.com/pattern.php?id=7365&cid=17
http://www.garnstudio.com/pattern.php?id=7543&cid=17
http://www.garnstudio.com/pattern.php?id=7375&cid=17
http://www.garnstudio.com/pattern.php?id=7099&cid=17
http://www.garnstudio.com/pattern.php?id=6729&cid=17
http://www.garnstudio.com/pattern.php?id=6333&cid=17
http://www.garnstudio.com/pattern.php?id=6001&cid=17

more details, varying concentration, and placement: free pattern
http://www.garnstudio.com/pattern.php?id=7606&cid=17

for purchase on Ravelry
http://www.ravelry.com/patterns/library/endless-rainbow
http://www.ravelry.com/patterns/library/rigoles
http://www.ravelry.com/patterns/library/dreambird-kal
http://www.ravelry.com/patterns/library/scarf-with-flames
http://www.ravelry.com/patterns/library/phoenix-wing—phoenix-flugel
http://www.ravelry.com/patterns/library/spring-plumage
http://www.ravelry.com/patterns/library/hundertwasser-neptunia
http://www.ravelry.com/patterns/library/swingtrelac

A bit of holding 3: shape variations and more

Hand-knit spiraling shawls and shawlettes often involve shaping on every row. Increasing essentially requires casting on one or more stitches. Below are cast on illustrations from varied sources I used in handouts in my intro to knitting classes

A simple decrease occurs when the last stitch on either side is transferred moving away from the carriage, the empty needle is placed out of work, and the row is knit.

This illustration shows a fully fashioned version, which gives an edge that makes seaming easier and more attractive, and eliminates the small bumps usually seen along decrease edges, the process adds to knitting time involved in finishing the piece. Decreases may be made on every row.

Simple increases: a factor that is often first noticed when approaching seaming is that the carriage side creates loops, while opposite the carriage one gets what looks like a knot, both alternate as starting position of the carriage swaps sides. To speed things up for single increases, one alternative is to bring an empty needle into work on the carriage side. This creates an elongated loop rather than a full stitch. Unless intended as a design feature, the edge is not the best one for seaming. A better-looking increase is created by putting a needle into work opposite the carriage. For a “good edge” two rows minimum of knitting need to occur prior to the next increase. Continuing on the thread begun in the last 2 posts, I experimented with every row increases and came up with what I consider a reasonable compromise. The method for increases on the right edge:
*COR: bring an empty needle into work on the carriage side, knit a row. Insert transfer tool into the loop created as shown, turn toward carriage (in this case clockwise), essentially creating an e wrap, hang on adjacent empty needle hook.

increase every row

COL knit to right*, repeat * *
In the previous 2 posts’ samples I did not wrap any needles. Wrapping in both directions can create an interesting line along the center of the “leaf” or “other” shapes, seen in the photo below

Interpreting hand knit patterns for use on the machine requires translations of some of the vocabulary and directions are given. If an edge stitch is made in garter or slip stitch variations, disregard and simply add it to the total number of stitches on the segment of the needle bed that is being worked on. Wrap and turn is executed by wrapping the yarn around the adjacent needle in hold prior to knitting back to the opposite side

2: knit <- 1: wrap COR 1: wrap COL 2: knit ->

pw2: picking up wraps and knitting them together happens when needles with wrapped loop and stitch behind it are brought back into work.
The terminology may vary in self-published patterns, some are accompanied by very good tutorials. Ravelry HK searches can provide inspiration for many holding technique variations. Other terms to look for in image and pattern searches include swing knitting, and on occasion, tapestry knitting.

Charting shapes for automating short row knitting and programming

In machine knitting, stitches are usually brought out to hold opposite the carriage. If multiple stitches are brought out to hold on the carriage side, floats are created. Triangles stacked vertically as seen in the previous post will create a spiral curve along the line where stitches are held. The carriage needs to get to the opposite side and back after each ‘decrease’ or ‘increase’, so pairs of rows are used to execute and reverse angles in short row shaping. When multiple rows are knit independently from the rest of the knit, slits are created. In two-row sequences, these are generally similar to holes created in lace, in longer sequences much larger slits are produced. The latter are often used as planned design elements. The small holes being visible may not pose a problem for the knitter. If they do, wrapping the adjacent needles can help eliminate them, but the doubled yarn in the wrapped needle may create small, sometimes visible bumps on the knit side of the finished piece, creating a secondary pattern.

Reducing eyelet size: in traditional wrapping required needle(s) are brought out to hold, and the yarn is wrapped under and around the last needle in the hold position on the carriage side before knitting the next carriage pass

COR COL

The “automatic method” for wrapping

Decreasing: if COR (COL), 1 stitch to the hold position at a time, set the machine for holding. Bring one needle on the same side as the carriage into the hold position. Pass the carriage to the opposite side. COL (COR) repeat if shaping is 2-sided, or if shaping is only on the starting side, knit back to it, and with COR (COL) repeat process. Increasing single stitch: bring 1 needle always opposite the carriage into the work position.

Decreasing: more than 1 needle or stitch at a time: if COR (COL), place 1 fewer needle than required into hold on the opposite side as the carriage, knit 1 row to left (right), toward the needle in hold. When COL (COR), bring into hold the last, additional needle. COL (COR) repeat the directions if shaping is 2-sided, or if shaping is only on the starting side, knit back to it, and with COR (COL) continue decreases on the single, opposite side.

Increasing: to remove stitches from holding, COR (COL) place the desired number of needles into the working position on the side opposite the carriage, knit one row, repeat with COL (COR) if shaping is on both sides, or knit back to starting position COR (COL) and continue increases on the single, opposite side.

Charting out shapes knitting or programming stacked equal triangles/spirals: the wedge illustrated in the previous post “Air knitting” is often used to think out fabric issues before swatching using yarn. Drawing lines to follow the carriage movement direction required to keep the knitting continuous, whether on graph paper or within software programs can help sort out shapes that will work in short rowing. Holding needs to happen in 2-row sequences. Below, black lines and arrows indicate the direction of knitting for each row, in this instance beginning with COR. Blue = knit stitches, yellow = all knit rows at the completion of each wedge (2 or multiple of 2, depending on planned design). This repeat is suitable for knitting a continuous strip with ruffling/spiraling at various degrees, not for ‘pie’ shapes.

Working out the repeat: the red line represents the starting, selection (KC), knit row, the numbers at the bottom the width of the repeat, the numbers to the side its height. The first repeat A results in the fewest punched holes, drawn squares, or programmed pixels, requiring being knit double length. The remaining repeats (B, C) are drawn double length, standard card rotation is used. Eyelets form at the held edge. C takes automatic wrapping to decrease eyelet size at the held edge into account. When any sequences are programmed for knitting using slip stitch, the end needle selection is always canceled by using KCII or turning non-needle selection cams in punchcard models.

A B C the start of a miter shape: blue repeat, extra knit rows in yellow, auto hold on the bottom right

Going 3D: in many designs, the original repeat may simply be mirrored to be executed. If this is done here, one can see there is no longer a continuous knitting line, directional arrows are moving in opposite directions or toward each other from the center point

restoring continuity and shifting rows around to create a workable repeat one shape knit 3 different ways: red row = KC II, all knit

An executable 24 stitch, 26 rows repeat: black arrows alone indicate movement of carriage on the first row of the repeat, black arrows on red line indicate starting point and direction of movement of carriage for KCII rows. A begins to knit repeat with COR, B with COL. The triangle’s vertex can be squared off, the height of the repeat shortened, to make 3D shapes much rounder

Not just for electronics: some punch card repeats to try (also suitable for any machine). End needle selection is canceled. Selection rows are always toward the first pair of rows knit in a holding pattern, so for the first 2 cards, they would be from right to left. Single rows are punched but 2-row sequences are needed, so cards must be elongated X 2; miter shaping repeat is shown on the left, spiral on the right. Narrower shapes may be created and knit on the appropriate segment of the 24-stitch repeat needle positions. Use needle tape markings as guides for placement. The preselection row is from right to left, the pattern repeat begins with COL. All punched, extra series of pairs of rows of knitting may be added at the top. Note: just a few rows may not be added with a small segment of an additional card with clips, the whole repeat may have to be split into sections to allow for the extra rows and their smooth passage through the card reader. As an alternative, more rows of all holes could be added to the original card when first punched, tested, and then trimmed if not needed. It is useful to try out the repeat as a hand technique first in any of these instances, to determine personal preference.

Going 3D: punch only actual holes (black pencil marks were originally used to mark squares that needed to be unpunched for the auto wrap on right, not the best choice for B/W scans). Two-row sequences are punched, so no elongation is needed for either repeat. Miter shaping is shown on the left, spiral on right; mem <– indicates the direction for KC row; decreasing angles are auto-wrapped, increasing angles need not be as seen in the top of miter on left, where needles are returned back to work to create the reverse shape.

Some ruffle possibilities: all knit rows were added to the card on left with snaps, and are composed of all punched holes. The number of all knit rows between held segments determines the spacing between wedges and the degree of spiraling of the final fabric. KC row needs to be R to L for A, left to right B. Holding sequences are now staggered, changing the angle of the resulting curves. A short float is created where 2 stitches are brought to hold on the carriage side.

A: elongate X 2 B: use as is

The recommended minimum for punchcard length is generally stipulated to be 36 rows. Card A without the added rows is 28 rows high (the last 2 rows are for card overlap when adding snaps), so the repeat below, with the extra segment removed, would need to be punched twice

eyelet pattern reflects shaping

B: dotted lines outline segment: yellow dots on the purl side, the 1 needle floats one possible card revision: red dots indicate punched holes, stitches in hold as the carriage moves from the left to the right any difference in the swatch, in this yarn, was almost imperceptible; results would vary depending on yarn thickness and fiber content.

the swatch as a “ruffle”