Hints and Tips – Page 9 – alessandrina.com

Transitions in ribbing from EON to FNR fabrics

It is always helpful to use a familiar yarn when testing techniques and to have some idea what baseline tensions produce each desired fabric before combining fabric types, structures, and techniques. This will ensure that the knit result will be both manageable to produce, and will match your desired concept.
Any time an empty needle is brought in to work, the first knit pass will create a loop on the empty needle; the second pass will form a full stitch, resulting in a hole. This is seen in lace transfers or when bringing empty needles into work closes single ladder spaces.
Use garment yarn double thickness in the EON needle rib if the aim is to produce DBJ, which will yield a different thickness knit. Test for other fabrics ie patterned English rib, etc. Swatching is worth the effort, avoids producing whole pieces where combined results are disappointing.

EON rib set up for your brand machine
Knit 20+ rows
End and begin the test with COR; trim off one yarn end, to be woven in using your favorite method
Racking handle at half pitch
Bring all needles into work both beds
Observe the needle rule appropriate for your double bed fabric Set both carriages or locks to tuck
Reduce stitch size tensions by one whole number, knit one row, which will produce a “zigzag” across all needles, with a loop on each needle, both beds
Set both carriages to knit circular; this will be a slipstitch, tension may need to be loosened by one number to accommodate the added yarn, knit 2 or 4 rows
Set both carriages to knit, enlarge stitch size one or 2 numbers if needed, knit one row
Proceed as required for pattern

Depending on which direction your first row of “garment” fabric needs to be selected if using a color changer, planning for that may affect which side of the machine needs to be your final location before knitting the first row of pattern.

The swatches below illustrate the transitions, are in their “just off the machine” state. I used the same tension throughout. The EOR rib was knit single strand, the resulting difference in width is easily seen, though the density difference is obviously not observable in a photo. The yarn used is one of my “throw-away” acrylic/ wool blends.

side 1 “holes”
side 1 “no holes”side 2 “holes”side 2 “no holes”

Unconventional uses for punchcards 1: tracking racking positions in ribbed fabric

In a long-ago post I shared the punchcard image below. The card is used double length throughout. Cast on in your favorite method. “Memorize” the first row of pattern, set card to advance EOR, set KC to tuck in both directions, set RC (ribber carriage) for normal knitting throughout. This is a racked pattern. The numbers to the right of the card are for the racking position on each visible row (takes into consideration your eyes can view card 7 rows above card reader teeth). There are only 2 positions in this card as written, 4 and 5, so the results are vertical columns in a textured rib

the corresponding swatch, both sides are shown

The tracking for the racking sequencing may be created for any punchcard, whether punched holes are required in the card for patterning or not. The image below is taken from the Brother Ribber Techniques Book. If KC is used, no holes are punched, and the carriage is set to plain knit, though the card advances, all needles knit. End needle selection is not a factor.

the racking handle movement repeat isolated

In the card, for use on Brother, the first row of the repeat with the machine on racking position 10 would be placed on row one pre-marked position found on stock brother blank cards. Always check markings for your machine. I have a roll purchased for Brother kms specifically that actually are stamped for Studio, with # 1 two rows below where it should be on right. No holes need to be punched in this instance. Needles are brought into work and filled as illustrated on the ribber book page. Knit one row across stitches with the card set to advance normally. In this instance marking row numbers in preferred colors will indicate when the racking sequence changes direction. Green rows rack to left, orange to right. The racking handle position repeat is 20 rows high (shown on left), a minimum of 36 rows for the card to roll properly) is met by repeating it twice, and the “motif” is broken up to accommodate the fact that the reader is working on 7 rows below the row number visible on the machine exterior. Rows 34 and 35 would become the 2 every square punched rows always placed at the top of pattern cards. The blue numbers on right reflect the racking handle position for that row before the next row is knit. They can be marked on any blank square if the card is blank, or alongside existing row numbers as seen in the punchcard for the checkered swatch. It is helpful to have consistent habits if one needs to stop for any length of time ie. always knit row, rack to position or stop after knitting, rack upon return.

The machine can be set for double length for racking after every 2 rows knit.

Using the method for cables and crossed stitches (3 posts)

Lace cards on 260 bulky PDF

Brother KMs: punchcards and their use

I have recently become involved in a year-long project at UMass Lowell and will share details as they develop. Most of my blog posts are written for those who already have a basic knowledge of techniques. Since I may soon be involved in teaching basics to non-knitters on Brother models, I am in the process of getting some informational notes together and thought I would share them here as well.

The first 24-stitch punchcard readers appeared in the mid-1970s. The reader sits on the far right of the knitting machine; it actually reads 7 rows below the row visible at eye level on the machine exterior, establishing a numerical relationship between motif repeat design rows and those viewed

cards may be purchased pre-punched (1), as individual 24X60 blanks, or in continuous rolls (2); a card punch (3) is used to punch holes rows: for any card to roll in a continuous pattern vertically (rows), cards are joined to form a roll. A minimum of 36 punched rows is required. Snaps are used to join the beginning and end of a single card or multiple cards sequentially. There are excellent, free downloads now for pattern books including designs for all varieties of MK fabrics. It is possible to have the machine knit rows in double-length ‘automatically’, it is the only built-in possible alteration of the pattern. Masking or cello tape is a temporary solution to testing repeat variants or to repair errors (both sides of the card), otherwise re punching of the whole card is required for any changes

stitches: the maximum repeat width (stitches) is 24, 24 squares, one line on the card. On Brother KMs the repeat is centered with 12 stitches on either side of the center “0” marking (2). The needle position indicator is marked in thick and thin lines (1), each representing one whole design row repeated in width. If one wishes to shift motifs on the knit piece, invisibly join designs, etc., the only alternative is to determine the width and needle locations required and then to shift the knitting position on the bed by repeat or its segments.

needle tape

Motifs must fit together within the 24-stitch limit, so individually they must be factors of that number: 1,2,3,4,6,8,12,24 (height calculations must have a minimum of 36 rows punched, so different math is involved there as well)

Anatomy of a card: all squares are punched top and bottom for 2 rows each. They are not part of the design and overlap the first and last pairs of rows, respectively, when snaps are in place. Hence, the design motif remains continuous.

Any image will be reversed on the knit side, of note in planning lettering or motifs where direction matters. With the change knob set to KC or SM, punched holes in the card will preselect needles to the D (Brother models skip C) position, and unpunched holes will leave them in the B position. A 24-stitch repeat with needle selection for row 1 (card is from a set supplied by Brother with machine purchases).

Markings as they appear on the needle bed: The extra markings on the needle tape in my machine are water-soluble ink marks from one of my projects to help track techniques.
End needle selection: The card in place in the reader: line up the two pairs of holes at the right edge and clip those together with a card clip, do the same on the left.
The numbers on the right side of the card should be continuous. If there is a gap in the numbers, the back piece has been put in on top of the front one, and if fed in this manner the card may jam. Unsnap and join the card properly to knit patterns in a continuous loop.
Preparing for pattern knitting from a Brother manual: The elongated triangle is used to knit each punched row twice.

Working with motifs in networks with 24 stitch limit: checkerboard is formed with the isolated motif, originally measures 8 stitches by 16 rows; repeats in the charts below are outlined in green, and colored squares correspond to holes punched in the card

adding simple patterns staggering horizontally for brick repeat (now too wide for the card) staggering vertically for half drop repeat, (row adjustment)checkerboard begun with an 8 stitch repeat half drop: repeat begins to change in width brick triangle added larger repeat variations

Electronic machines are able to use punchcard designs as well. Only one pattern repeat needs to be programmed. Factors of available maximum width in stitch repeats, depending on machine brand:

24: 1, 2, 3, 4, 6, 8, 12 30: 1, 2, 3, 5, 6, 10, 15 40:1, 2, 4, 5, 8, 10, 20 60: 1, 2, 3, 4, 5, 6, 10, 12, 15, 20, 30

More to ponder: knit stitches are not square; they are rectangular, so representational knits, no matter the size, require some mathematical adjustments to retain their aspect ratio. An interesting illustration of this is seen in attempts to knit a circle.
Common ratios for knitting are 4:5 and 2:3 (height to width), with stitches usually wider than tall.
Gauge is the stitch-to-row ratio that allows one to calculate height and width for finished knit pieces. It is the basis for creating and shaping the items, which in turn may then be assembled into garments or size-specific end products.
The Diophantine equation (referred to in knitting as the “magic formula”) may be used to calculate increases, decreases, and shaping. There are many excellent how-tos and calculators to aid in the process. The old Brother accessory calcuknit and its emulator took some of the “work” out of the process and were later replaced by similar functions in consoles or software. Sometimes charting out the shapes based on such calculations was referred to as “ragu charting”.

A postscript: punchcard machines continued to evolve and became easier to operate over the years. Those markings on the end of the needle bed did not always skip the letter C. The KH 800, 1971-72, which preceded the 24th punchcard models, had several more needle positions, including the now-missing C

An illustration of one of its fair isle cards and accompanying instructions for the settings Fine gauge machines with 3.6 mm needle spacings are considered fine gauge, ie. SK-270, SK-272, SK-370, and SK830 models. A punchcard volume with 30 stitch suitable repeats (Studio) can be adapted for electronic Brother models https://mkmanuals.com/empisal-knitmaster-fk-370-270-pattern-book.html

Machine knit hems 1

I was recently asked about hem-making techniques, here are copies of some of my handouts in the intro to knitting classes on the topic.
A good illustration from an early model Brother manual illustrates the transitions in tensions and their use, settings will of course depend on the yarn being used

Carpet or pile stitch knitting on Passap and Brother KMs 2

Trial swatches do not necessarily require a permanent edge. The main bed cast on with all open stitches is familiar to knitters accustomed to using a single bed Brother cast on comb. A quick version of the same type of cast-on is also doable when both beds are in use, and the goal is to knit all stitches only on one bed or the other. The broken toe cast on for ribbing is so-called because if the comb and weights are hung in the wrong location on the needle bed when stitches on the opposite bed are dropped, so will the comb be, along with weights, heading for your feet. If the ribber is going to be the bed doing the knitting that anchors dropped stitches or pile in Brother kms, please note prongs of ribber comb line up directly in front of main bed needles (blue arrow) and to each side of the loops on ribber bed needles (red arrow). The ribber comb wires will anchor down loops on the needle bed, where plain knit rows will be formed. As mentioned above, this method will result in stitches all being open, does not produce a permanent edge, and is suitable for quick swatching or for waste yarn at the bottom of the weighted fabric. It is possible to perform this cast on with a ribber comb with wire already inserted in both brands, but the broken toe method is potentially less hazardous to needle health. brokent_toe_arrows Analyzing what is required to move between km brands to achieve 2 color or isolated pile motifs: in Passap with the back bed set to FX, one arrow key, EON pusher/ needle selection changes every 2 rows. In Brother, this may be achieved on the main bed by pushing in one tuck button and programming a repeat. The alternate, adjacent cam button, left in its normal position, will knit every stitch when the knitting direction is reversed, regardless of whether any needle selection is happening. On the ribber, lili buttons may be used for alternate needle selection. Its levers determine whether tucking or slipping, in one direction or both, occur. The number of stitches on the ribber must be even. An easy visual check is to check markings on needle tape, which consists of what I refer to as dashes and blanks. For an even number, begin with one, end with the other. Passap will automatically revert to the alternate pusher for patterning on the subsequent 2 rows. In using lilis this is not an automatic function, and some handwork is required to obtain the same effect by changing the first needle selection every third row, as seen in this post.

If the ribber is chosen as the loop making the bed, the needle selection on it needs to be manual for any pattern other than across whole rows. In my swatch, to knit across all needles, the ribber carriage is set to slip in one direction, knit in the other. The all-knit rows in pile knitting need to follow the ones with tuck loops on the opposite bed. Extra needles are on the main bed, which creates the fabric backing. The ribber carriage can be disengaged and used to drop stitches after all knit rows on the main bed.

In the actual knitting, if a plain one-color pile with plain color backing is the goal, some rules may be broken. The thickest, most stable pile is achieved when the yarn anchoring the loops is as dense as possible. If the goal is to knit every stitch across each row to create loops and in turn drop them, one is, in fact, working an every needle rib. This makes it possible to create tuck loops on either bed, creating the backing across the whole row, because in fact there are stitches on each side of the tuck loop on the opposing bed, anchoring it in place. Normally, when 2 or more needles are tucked side by side, rather than the stitch formation usually seen in tuck patterning, the loops do not get anchored, drop off, and create a float like those seen in slip stitch patterns.

In my first sample, the fabric is cast on the main bed, and the loops are formed on the ribber. The carriages are set for the main bed to tuck when traveling to the right, knitting to the left. The ribber is set to slip to the left, knit to the right. The ribber is used to drop the stitches, simply by disengaging it from the main bed and running it across from one side to the other. Dropping stitches occurs (on either bed) after all stitches have been slipped there for one row (no needle selection if patterning). The starting side for my swatches was on the left of the machine. It is helpful to have a ruler or tool to help push loops down between the beds after dropping each row of loops, and also to occasionally drop the ribber to check whether any loops may be caught on gate pegs.

In this swatch, I had some problems (blue arrow) on the right side related to changes in tension while determining what might be the best. Section 1 has every needle tucked on the main bed. Section (2) begins to try to emulate the Passap pusher selection using an EON 2 row tuck repeat on the main bed, resulting in things going awol and loose, even at the tightest tension possible on the main bed. Any time patterning is used on the main bed, end needle selection is canceled (KCII). The tuck repeat

The settings (here, lili buttons are not in use

To create every needle loops for the pile on the main bed: CO is on the ribber. With settings on the image below left (no lili buttons in use), the ribber tucks loops on every needle traveling to the right, knit all stitches moving to the left. Moving to the right, the main bed knits on every needle, slips the whole row moving to the left, giving the opportunity to drop stitches off. With settings on below right, the lili buttons are in use, and the ribber now produces an EON needle selection, every row. Left alone, the selection is what would be seen using the 1X1 card on the main bed, its repeat. The yellow yarn is a 2/8 good quality wool knit at 4.2 on the main bed, 3.2 on the ribber. Switching to a rayon twist of similar thickness created instant havoc. The dark grey was a mill end, tighter twist 2/8 wool. Red arrows show what happens when loops are caught up on gate pegs and not immediately noticed. The green arrow indicates longer loops that can happen when knit stitches on either side of the opposite bed do not knit off properly. The result is a dense wool fabric, so the tendency to roll at the top and bottom of each piece toward the “knit” side of the fabric needs to be considered at the top and bottom edges of finished pieces.

knit with no lili buttons in use

In 2 color knitting, or creating isolated motifs, whether on one color or striped ground, anchoring loops by tucking on every needle is no longer possible, making reverting to EON needle selection on ribber a necessity. The results are dramatically different. These swatches were made using lili buttons or hand selection on ribber, loops on the main bed. If things don’t work in one color, they will not in 2, so one color, every needle pile is a place to start evaluating the results

1X1 lili selection left me with “where are the loops?”

In the bottom section here I tried 1X1 hand selection for 2 consecutive rows, the narrow band in center back was back to 1X1 to separate areas using lilis, at the top I used lili buttons and brought an extra needle into work on ribber before traveling to the right every third row (making needles in work on ribber an odd number), returning it to out of work before knitting back to right. Dropping stitches every 4 rows makes tracking the sequence easier. The resulting pile is far more “subtle” than samples worked with every needle tucking on the bed creating the backing

So far, I still have had no luck with getting anything that does not look like a variant of drop stitch lace when attempting patterns separated for 2 color knitting, either in embossed one color, or in striped 2 color versions.

For stitch dropping tools for different machine brands, see Brother KMs “pile knitting”/ ribber stitch dropping tools

Carpet or pile stitch knitting on Passap and Brother KMs 1

Pile, carpet, or loop stitch are terms used for a raised relief fabric made on KMs using both beds, with or without programmed patterning motifs on either bed. Two-color patterns are sometimes also called “punch pile”. Depending on the machine brand and the thickness of the yarn, loops may be formed every row or every other, varying the pile density. Beds are always at half-pitch, the same setting used for every needle rib. The “needle rule” is disregarded. The first and the last needles are always on the non-patterning bed to anchor down any loops close to the edge of the fabric. In machines with automatic end needle selection, the function is canceled. Some yarns and designs will even tolerate loops being dropped at the end of knitting. Sometimes dropping them every few rows will work. If any yarn splitting or fussy knitting off because of fiber content occurs, then dropping stitches may be needed after every row of loops formed. If using multiple colors of yarn on either of these 2 brands, having them equal gauge/weight is helpful.

The Passap knitting machines, as well as the Brother, did not have a built-in yarn feeder to facilitate knitting this fabric such as that possible in the Studio brand. Particularly with the advent of the E6000 Passap model, for a while, there was keen interest in how to produce similar fabrics. Susanna Lewis was among the first to describe knitting pile across multiple brands, whether punchcard models or, later, electronics.

The fabric loops are created with one pass of the carriage; the next row of knitting is intended to anchor down those loops, and with no needle or pusher selection, no stitches are knit on the patterning bed. This fact gives one the opportunity to drop loops without disturbing pattern selection. Some of my drop stitch lace previous blog posts discuss designing such fabrics. Color separations are required. The E 6000 console performs many of these automatically; one simply has to plug in the appropriate “technique” number. The default DBJ separation made by the console in Brother electronics may not be used because blank rows for no needle selection need to be added to attempt the long loop or stitch fabrics. This, in turn, requires the knitter to do the work. Design rows are expanded

Graph Motif Color
Row 1 Row 1 Color 1
Row 2 Row 1 Color 2
A blank row is inserted on top of each of the separated rows, so for each 2-color design row, there will now be 4 charted rows

The E 6000 has some built-in technique choice options for knitting and automatically adds blank rows in charts where needed. This allows for the locks, empty of any yarn, to travel from and then back to the color changer, achieving stitch dropping. My preference is to work with stitch-dropping tools instead of the extra rows “knit” without yarn. Also, if the goal is to work between KM brands, keeping the separations more compact is practical, particularly if one plans to use the end chart with a punch card or a mylar sheet for programming.

I had tried some pile fabrics on the E 6000 in the past, found the knitting too loose for my liking, but by light felting (wool yarn), I had a stable, attractive fabric that could easily be cut and sewn in combination with other knit companion DBJ fabrics. Another option in wearables to add stability may be an iron-on knit interfacing used on areas of pile knit. When I pushed the back bed tension as much as physically possible with the yarn used, and was happier with the result. The only problem I encountered was in thinking I could knit a few extra rows on the back bed only before dropping the knit off the machine for inspection. The adage still applies: if more than a row or 2 are to be knit across all stitches on any single machine bed, each yarn has an optimum tension required for stitches to form properly. Pushing limits will lead to problems. I had a lovely lock jam. For wide ribs, the same principle applies: the more stitches on either bed, the closer the tension on that bed to what number would apply to stocking stitch on that bed.

CARPET STITCH KNITTING ON PASSAP E-6000 with release stitch tool. Use any 2 color Fairisle pattern from the pattern book that accompanies the machine. Both Passap manuals are now available for free download online. I randomly chose # 1407 for my test.
Start with all stitches on the back bed. If the piece is started with ribbing, transfer all the front bed stitches to the back bed. For test swatches, if open stitches do not matter, it is possible to do a quick single bed cast on the Passap in a couple of ways; the “broken toe” cast on will work across brands. Have an extra needle and pusher on each side of the back bed when setting up work for patterning. Set the back bed tension as tight as possible, with the front bed 1 – 1.5 tension numbers looser than the back bed. As always, test a small swatch before committing to a larger one.
Start with all stitches on the back bed, with an extra pusher on each side of the back bed when setting up for patterning

One-color carpet stitch in design: Technique 256, handle down, black strippers are recommended. I rarely, if ever, use black, go for orange first, sometimes combining with one blue or switching to 2 blues if the fabric calls for it. Ignore console instructions. The back bed is set to FX left arrow key <–, not BX as instructed. Do not use the AX setting by mistake. FX will tuck right to left, knit left to right (toward the color changer, which in Passap sits on the right side rather than on the left as in Brother machines). Knit rows help anchor loops. Back bed pushers are in 1 1-up, 1-down setup.
Using one arrow key means the same selection is repeated for 2 rows before the switch is made to the adjacent pusher and the corresponding needle. The front bed is set to LX (slip) throughout. The racking handle is down (setting for every needle rib). Two rows are knit, then the front bed stitches are dropped (Passap knitting beds are in reverse position to Japanese machines set up with their ribbers). If loops are long, they may need to be pushed between the beds before knitting the next row. Passap machines have pushers for this purpose; in Brother rulers or any number of tools may be used for the same purpose.

Two-color carpet stitch: Technique 185, black (or other) strippers, 184 may also be used; its graphic gives the added reminder for 1X1 pusher set up on the back bed. The back bed tension setting is the same as for the one color pattern; the front bed knits in LX throughout. In theory, stitches may be dropped every 4 rows. Some yarns may split and catch the alternate color, requiring dropping after each color is used; others will tolerate much less frequent dropping. It is all an experiment to start with.

Again, the back bed tension must be as tight as possible, the front bed at least 1.5 tension numbers higher, until tests determine what is best for the yarn being used. Multiple strands of some thinner yarn may also be worth a shot. Weights are needed on the knitting, no matter what brand of machine is in use.

One-color trial: back tension too loose, note change in texture after tightening back lock tension; the loops are formed on the purl side

the 2 color version, with adjusted tension on the back bed

note the vertical stripes in backing
a one and 2-color sample

At the end of knitting the pile, add anchoring rows of knitting on the back bed only (tension may need to be changed after a couple of rows), proceed as preferred.

embossed one color pile (black 2/8 wool) Passap black pile

One-color pile, striped background:
Technique 185, black strippers, handle down. Locks set as above.
Knit two rows with the pile color
Set all front bed pushers down to the rest position, and change to the second color
Knit 2 rows, the back bed only will knit
Drop the front bed stitches, set all front bed pushers to work position-

Previous posts with info on accessories useful for dropping stitches and loops 1, 2, 3.

This method is a hack intended to emulate pile knitting created on the Studio machine. The ribber features had specific options for such fabrics. These pages are from the Singer SRP-50 ribber manual and one of their punchcard books and share some principles while illustrating setting and card design. Food for thought on any adaptation for use on other brands. Studio settings were reviewed in post-2015/02/20/pile-knitting/.

The comment on this post, clarified in an email, was actually in reference to knitting a solid single–color pile on the Passap. Tech 256 is intended to be used with a stitch pattern. This is a fabric that is slow to knit. My Passap had long been unused, and I had issues with yarn splitting and the yarn mast not maintaining even tension, which accounts for the occasionally pulled loops where they did not drop off properly, and the changes in some of the stitch sizes in a few rows on the reverse side. Looking at the Studio information again, I went back to the drawing board for a solution and a proof-of-concept swatch
1. cast on so that all stitches are on the back bed
2. knit a few rows in stocking stitch, sorting the tightest tension at which your yarn will knit. Also, experiment with the front lock tension to produce as large a loop as possible that will also drop off properly. End to begin your test with the locks on the right side:
3. bring back bed pushers to the up position, set the back lock to EX with the left arrow key. All needles will tuck moving to the left, and knit on their return to the right
3. the front lock is set to CX; it will knit on all needles to the left, creating loops on the front bed, while the back lock does the same, slips all needles moving to the right.
When the locks reach the left side, there will be loops on every needle on both beds. As they move from left to right, the needles on the back bed will knit, securing the loops there and anchoring the ones on the front bed while the front bed is slipped
4. with locks again on the right side, use stitch ditcher or another tool to drop off loops on the front bed, returning needles to proper work position, follow with a pass using a single eye tool to push loops between the beds, checking that none are left in the needle hooks
*make 2 more passes with locks from and returning to the right, drop off loops**, and continue from * to **
The difference in the size of the long stitches between loop rows in the photo was eliminated by tightening the tension on the back lock. It is evident that even are anchored even in those segments. As with any fabric, the larger the intended piece, the more likely some further adjustments may have to be made.

Geometric shapes in drop stitch lace 3, end release

I began to think about color separations again, in reference to pile knitting and returned to the chart used in the circular shape in the #1 blog post in this thread. While studying it, it occurred to me that the fabric might be created by releasing the stitches at the end of the knitting. Brother punchcard books (now downloadable for free online), at the back, usually had a page with “lace-like patterns by KR” illustrating some of the possibilities in what I have been referring to as drop stitch lace. Once again, all stitches are transferred to the non-patterning bed. Selected needles whether by hand or by the machine, are in this instance, not released until the very top of the piece is reached. In long pieces of this type of lace, I find dropping stitches at regular intervals rather than waiting until the end helps things run smoothly, and gives one the episodic opportunity to evaluate proper stitch formation, to move up weights, etc. I found in my first swatch my inexpensive grey wool was really sticky and kept trying to knit with the white after the color was changed, explaining the mess on the left of the purl side image. Also, it pays to have some weight on, or at least to keep an eye on, the color changer side. As yarn colors are carried up (every 2 rows) between color changes if they are not long enough they will pull in the fabric on that side. If the end product is to be gathered at one end i.e. in a skirt, that could be an asset, but not so if the intent is to have it lie flat.

The pattern is programmed beginning on a row with black squares in it, ends on a blank row. The selection row in this instance is done from right to left (toward the color changer), the next color is picked up, and the process repeats every 2 rows. At the desired height I like to have the ribber knit the last row on only its needles before the stitches on the main bed are dropped across the width of the knit. Tugging on the comb and weights will speed things up. The fabric grows significantly in length, so watch where those weights are headed.

my first try, purl side

knit side

Along with changing the “nasty” grey yarn in the next swatch, I moved the knit further away from the color changer, and things went very smoothly. If where the repeat is placed in the knit matters, however, then the needle bed would need to be programmable as well to change the center needle position

the illusion knit inspired method of charting and working the released stitches does not work for this technique, the result is simply very large, striped, single color per 2 rows, loose stitchesEnd release does not work in every design. Sometimes in long pieces, portions of some rows will simply not release, fuzzy yarns may result in the same. In addition, if long stitch shapes are distributed on knit striped grounds, the release needs to happen at a minimum when the top of each shape is reached. A sample with drop-stitch interrupted by all knit rows and with only one color released 500_986

Geometric shapes in drop stitch lace 2, Brother KM

Occasionally I do play with hand knitting and charting for it. A couple of years ago I wrote on the topic of illusion / shadow knitting. The repeat is 24 stitches wide, so it is suitable for use on punchcard machines as well.

a chart from that blog post

the resulting hand knit, on the purl side

While working out the circle in the previous post it occurred to me that the results were quite similar to shadow knits, where depending on the angle from which the fabric is viewed, images begin to appear in the striped fabric. The above chart is missing those all blank rows that result in no needle selection. The solution for using this type of color separation for drop stitch on the machine is to use double length. Other KM settings remain the same as in the previous post. The first selection row is from left to right. The big difference is that once again, there will be the same needle selection on the next row. With some needles in B and some in D, a slider or pusher will not move across the needle bed. In the past, I tried to drop stitches selectively on the main bed with rulers or whatever was handy. Now, instead, I found pushing the whole row back to B, allowed me to use my new tool to move back and forth across the needle bed, making faster work of the process, and returning needles in position for the next main bed row to be selected on the first pass, knit on the second. The swatch was casually steamed

knit side

purl side, viewed as it would appear in a sideways knit

Without the “tool”, all stitches can be brought to E and back to B with a ruler, piece of garter bar, ribber cast on comb, or another handy toy. Dropping stitches is done while carriages are on the right, they return to the left knitting only on the ribber. In the previous post, the ribber only knit first, both beds knit on the second row, and stitches were, in turn, dropped with carriages and yarn on the color changer side (L), after no needle pre-selection across the main bed.

Geometric shapes in drop stitch lace 1, Brother KM

These pattern repeats may become quite large, and are suitable for designing and downloading with software. Testing repeats in a small section to start with insures methods and accuracy when planning the larger ones. Here I would prefer a wider, brick repeat, however, I am working with mylar on a 910 so in this test, settled for a vertical repeat, the result is shown below. The pattern reminds me of shadow knits.

knit side purl side purl side, as it would appear in a sideways knit 500 charting things out

As it stands, the repeat is 32 stitches wide, 32 rows high. The colored 3-row segments on right, if collapsed would result in an all-black row, with no overlap. Colors are changed every 2 rows unless the repeat is designed differently. Care is needed on the color changer side, making certain both colors are not picked up together as the color is changed, resulting in the ribber knitting both yarns together. KCII is used, canceling needle selection. An extra needle is put into work at each end on the main bed. This fabric widens considerably, so casting on and binding off need special consideration. Before pattern knitting starts, all stitches must be on the ribber bed alone, with needles in work, but empty, on the main bed.

I chose to knit my swatch with a first-row selection from left to right. The KC is set to slip in both directions, the ribber N/N throughout. This knits all stitches on the ribber, selects needles for main bed stitches to be knit on the next row. On RC 2, selected stitches will knit, while preselection for the next row will place all main bed needles in B position as the carriage moves to the left, leaving them ready to get “dropped”. Use your tool of choice to drop stitches and return them to the B position once again. Color is changed, and the sequence repeats.

Previous blog posts on the topic: 2 colors per row, Japanese machines, on the Passap, an edging, stitch dropping tools, and occasional bits of info in other threads, ie. on drop stitch “bubbles”.

I prefer to automate needle selection whenever possible. Published material often requires hand techniques. Some samples are readily available for inspiration: the first image shows basic settings and some variations from the Brother pattern books. Stitches to be dropped are created on the ribber. Pattern 942 may be released at end of knitting. Cards (or mylars) may be marked to track racking handle positions, addressed in my previous post: 2015/11/07/unconventional-uses-for-punchcards-1/, or rows marked in color for other repetitive functions

from the ribber techniques book page 23:For a cumulative list of related posts please see: 2017/11/04/revisiting-drop-release-stitch-lace/

Brother KMs “pile knitting”/ ribber stitch dropping tools

I am pondering returning to some drop stitch lace experiments on my Brother KM. I have blogged previously on drop stitch lace and some of the tools that can help speed up the technique. Studio has marketed a “pile knitting” accessory usable for this purpose, still being manufactured. A recent web search revealed its cost is presently in the range of approximately 13 to 20 dollars per unit. As is, the tool does not work on the Brother machine. One of the critical differences between brands is in the shape of the rear rail. Brother KMS, in addition, has an elevated metal piece at the center of the KM, behind the rear rail and in front of the belt, as seen below in 2 of their different models, that hinders smooth movement by a tool across the length of the space it rests on. Issues with using the tool as manufactured: its back “rail” (1) is taller than the front (2), keeping the unit from sitting flat on the Brother bed, and also striking the metal rectangle pictured above. The front parts (3) and (4) do not align properly with the metal bed and further interfere with use. studio p carriage:presser

Some sliding of the tool along the Brother metal bed, comparing the placement for areas within which the needles need to move, led to my altering the carriage by trimming the rear rail (1). Initially, I used a handheld electric sander, followed by a nail file to “even” things out rather than making any effort to cut the plastic.
In my revision (1) is now shorter than (2), rather than taller, and flush with the top of the curved ridges between both.

The Brother Bulky 260 “D slider” was supplied with bulky kms. PDF directions on how to use it from the KR 260 Manual: D slider bulky.
So far, I have tried the altered Studio tool out on solid color knitting with hand needle selection. All knitting needs to be on the ribber if the main bed is going to make stitches for pile, drop/ long stitch (aka mesh in some references) lace. For a test: with both KC buttons selected to slip, hand select needles for long stitches, put out to holding, and knit across all needles. Selected stitches only will have caught loops on the main bed; all stitches will be knit on the ribber. Using the tool now that needles are back in B on the main bed, passing it from Right to Left brings all needles out to D, traveling back from Left to Right with it realigns them in B, dropping them. B is the needle position for needle selection on rows with no punched holes, black squares, or pixels when programmed patterning is used on the machine.
Instructions in the studio manual show it in use, with all parts in place. A reminder: Studio needle positions are A, B, C, D, while Brother skipped the third letter of the alphabet, using A, B, D, E on its beds.

Images from a 2026 search: Susan Guagliumi’s video from 8 years ago shows a version missing those front parts, views of the latter, grabbed from the video. A downloable manual with clear illustrations of use on Studio machines, including for a tighter ribber cast-on.
The only images I was able to find of it online, outside the video, were on this website, which states, “there is also a P-carriage for standard machines that is also equipped with a removable P-presser (a metal spring-loaded addition).”
A recent 3D printed model demonstrated here https://www.youtube.com/watch?v=IGjPwGqFJhQ