Meshes and mock filet – Page 2

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.

To mesh or not to mesh 5- design repeats

These patterns are suitable for punchcard machines. Individual repeats in excel illustrations are outlined in red. They in turn are the minimal repeat information for electronic machines. The lace carriage always begins on left, transfers are made during either 2 or 4 LC pass rows. In the first repeat below the LC operates for 4 rows, KC follows for 2 rows knit. For a fabric using it see post This repeat appears in my pre-punched factory basic packs as both #17 and #20. The lace carriage is used for 2 passes and then for 4 alternately, as indicated on the left side of the punchcard. The 2 passes will make transfers to the left, the 4 make transfers to the right. See previous lace posts for further info on lace selection methods and accompanying charting.

More variations and swatch photos: all patterns unless otherwise stated are knit with 4 passes of the lace carriage from left, followed by 2 rows of knitting.
In this instance there are several vertical spaces between punched holes, creating the knit vertical stripe. The spacing can be adjusted to suit, but if “mock crochet” is the goal, superimposing an image onto every other needle mesh gives better results. It is possible to have 2 punched holes side by side on alternate rows, but not in the same row for stitches to knit properly without intervention on the next pair of all knit rows. In patterns such as the first and third below, stitches are transferred onto the adjacent needle in one direction, then both stitches are transferred back onto the previously emptied needle. The transferred stitch then sits on the front of the work (duplicating the look in hand knitting), instead of remaining on the adjacent stitch on the purl side of the fabric. With transfers in the same direction, the swatch biased after relaxing a mylar marking error as drawn (3A)
the intended repeat (3B)The above swatch and the one below (4) are similar, transfers occur in the opposite direction, so vertical columns of stacked stitches occur in the alternate columns of the finished fabric. I had some transfer issues in similar spots in both fabrics, have not analyzed the possible direct cause. As seen below, the dropped stitches did not result in the frequent large holes often seen in lace knitting. Pins and the red dot indicate problem spots, which could be repaired with careful stitching at the end of knitting. The best prevention of the problem is to visually check after sets of transfers to make certain all stitches have indeed been moved properly.
LC is used alternately for 2, and then 4 passes between knit rows (5). The transfers create a sort of “shape”, highlighted in the photo; the LC operates in sequences of 4 rows, followed by 2 rows, and repeat (6).
This one is a bit trickier, LC operates for 4 rows resulting in side by side transfers; in the first trial yarn caught up on gate pegs, dropped stitches, etc,
after reducing KC tension and adjusting the amount of weight Mylar repeats can be very small, it is easy to be one stitch off in entering data; here one blank row was added to the left (a possibility for intentional vertical stripes of knitting) and the program was one row short on the right of the single full repeat knit with the corrected program The “variations” and repeats in summary: Adding geometric forms to mesh: a working MK chart for a cousin to the fabric link provided at the top of this post, the underlying mesh repeat is the same as that for card 17The corresponding punched holes: 2 LC passes for transfers to left (purl side), 4 LC passes for transfers to the right (purl side) throughout on Brother KMchart flipped horizontally, suitable for hand knitting the swatch, MK, knit side Note: the appearance of the “straight line” edges is altered by the formation of the eyelets along the sides as well as the top of the shape. As more shapes are played with, some adjustments may need to be made in punched holes after knitting a test swatch.
Custom shapes become a bit more complex. So I like the circle in the previous experiment, but I want to accomplish it with traditional lace transfers. I previously discussed a possible approach to filet mesh. This is the swatch where there is one row knit for each row of eyelets, discussed more recently. Below is the result of working with a traditional mesh, where there are 2 rows of knitting to form each eyelet. The third row in the “design” on a punchcard is needed for the lace carriage to travel to its proper place for the alternating direction of transfers, which is not technically a knit row. The fabric is wider and longer than that above, and there is some elongation of the “circle”. Large patterns are mylar and punchcard real estate hogs. The swatch for slightly more than a single repeat with red dots indicating where one square in the mylar did not have a dark enough mark, resulting in a missing eyelet A: is my desired shape 17 units by 17, B: that shape elongated X 2 (17 X 34), to try to approximate elongation with knitting 2 rows for each set of eyelets. It is drawn on a square, not a rectangular or gauge-specific grid, however, so if that is a consideration in the design, it would have to be a case of “back to the drawing board”. C: the shape is elongated X 3 (17 X 51), for placement on the mesh, and D shows it in my desired spot. Lace gauge is harder to gauge because of stretch in the final fabric, and the changes are subject to pressing and blocking depending on yarn fiber content. Because transfers in this method occur on rows 1 and 2 to the left, 3 and 4 to the right, no pure straight edges along design borders can be achieved. If simple superimposing a large shape on the mesh is possible, there may be even more distortion along those edges. Ultimately a lot of this boils down to personal preference and patience.
For single vertical line(s) in mesh whether single, at regular intervals, or for use in pattern transitions place repeats as shown where eyelets are desired. Markings for Brother row 1 selection on the right of the chart. For directions on using lace mesh to create pleated skirts please see post-2017/08/16/pleats-created-with-lace-transfers/

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 also has been a thread lace Ravelry “thread”, 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 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. One such 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 bias. 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 to 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 left. If the knit carriage is used for one pass only, it stays on 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 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: The 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

Large eyelet lace, hand transferred (or not)

This is a lace sample created on a dubied industrial knitting machine

I became curious as to how to duplicate it and decided to use needle selection to help track the transfers rather than counting needles by hand. The repeat is a small one, suitable for both electronics and punchcards. Below is its configuration on my 910, punchcard knitters may want to flip the repeat to match the directions for knitting as written.

the sample’s knit side

its purl side

yarn: 2/8wool

end needle selection (KCII here) must be used any time there are needles out of work in the pattern

transfers are always made toward the carriage

single empty needled are put OOW after transfers across row

pairs of empty needles after they are created are returned to work before the next row of knitting to create side-by-side loops

in my case, odd rows transfers were —>, even <—

single rows are knit after each set of transfers

1.KCII <—, transfer selected needles <—, move empty needles OOW

2. select row 2 as carriage knits —>, transfer selected needles —>, there will be two empty needles, side by side; bring all needles in work across the row

3. knit <—here there will be 2 loops side by side on adjoining emptied needles; check that no loops have dropped off, rehang and adjust tension if needed; transfer selected needles toward the carriage _ move single now emptied needles OOW

as this row and the next row are knit and transferred, side-by-side loops will become stitches, and another 2-loop set will be created

4. knit —>, transfer selected needles —> onto the adjoining loop, there will be 2 empty needles side by side, bring all/pairs needles in work across the row

repeat steps 3 and 4 for the remainder of the fabric

my previous posts on large eyelet lace were created using the lace carriage
large eyelets, and diagonal large eyelets

a cousin of sorts may be achieved by using the following punchcard lace repeat; the lace carriage selects and transfers for 4 passes, the knit carriage follows with 2 rows of knitting throughout; stitches are transferred, doubled up, and transferred again, so yarn choice, weight, and tension may need a lot of editing.

the resulting fabric

There is an added post on automating such large meshes published in July 2020

To mesh or not to mesh 4

The following illustrate some of the processes involved in planning out fabric akin to the one in the previous post. Black borders outline blocks of 6 stitches/rows, reflect markings on blank Brother cards. In option A: the motif is planned and drawn. In this instance, it is colored in green (1), the area it covers will ultimately remain unpunched on the card or blank on mylar. Graph paper may be used to work this out, knit design software, or as in this case, an excel spreadsheet. A grid is created with every other square blacked out or colored in (2). The motif is superimposed on grid (3). Repeat is expanded adding 2 blank rows above each design row (4). Rust squares represent punched holes in the card or black squares in mylar.

Option A

Option B: the same motif is lengthened X3 (5). The lace mesh base is drawn out (6). The elongated motif is then superimposed on mesh (7). Electronic patterning on 910 allows for minimal drawing using all black squares, in turn making it necessary to color reverse for lace. Two separate motifs are used, the method for programming such repeats is in 910 manual. However, there are considerations for needle position and pattern selector placement for this “shortcut” to work properly, the steps are described by Kathleen Kinder and others. I prefer to work with what I “see” in terms of punched holes or squares, this is the method used to develop my previous flower motif swatch. The short supply of mylars may also be a consideration in using them or not for such large, and perhaps limited use design repeats. If interface cables and software are available, other options abound.

Option B

To mesh or not to mesh 3

Many articles were written in the 1980s in Australia, New Zealand, and Britain, some finding their way to newsletters published in the USA at the time investigating this subject. With the advent of electronics the process became “easier”. Kathleen Kinder author of several books on Machine Knitting covering myriad topics (one whole text on lace), also authored Electonic Knitting: an Introduction for Brother and Knitmaster Knitters (?1989) that investigated the move from punchcard to electronics, including lace techniques that in the instance of “filet look alikes” introduced superimposing designs as a quicker method to achieve such fabrics. The common motifs used were often that of a heart or a rose.

One of the many confusing things in lace, is that the punched holes or mylar squares do not represent actual holes in the final fabric. Alternate rows of holes represent first transfers to left, then transfer to right. Brother and Studio punchcard sets included with purchase of machines both include pre-punched cards suitable for this type of mesh. Numbers sometimes varied with machine model year. Studio No. L-6, Brother No 17J (also 20G etc.) are 2 such samples and are vertical mirrored images of each other. Superimposed motifs constitute blank areas of card. Depending on preference some readjustments may be required after a test swatch to alter placement of some of the mesh holes. My fabric below was knit using the basic faggot lace Brother mesh, the corresponding “card” close to 180 rows in length to achieve the brick repeat.

a portion of the card

sideways view of resulting fabric, knit side facing

To mesh or not to mesh 2

The amended “square mesh card”; grey areas indicate more tape use on the reverse. In basic analysis knit “squares” consist of blocks of blanks on card 12 squares tall by 3 wide, essentially removing 6 lace transfers (holes in all over card) in those locations; this could be done with software and planned ahead of punching any holes. Electronics capable of programming 2 different motifs increase ease in drawing out patterns as well as the possibilities in planning larger repeats and repeat sequences

the corresponding swatch viewed on purl side after a quick steaming

flipped 90 degrees

To mesh or not to mesh 1

A good online grouping of mesh repeats is one place to start exploring this topic. Most proprietary large pattern books from machine knitting companies include at least a few suitable cards/mylar samples. They can be used for “all over” fabrics, borders, striping in mixed bands of varying styles, etc. I am presently interested in pursuing filet crochet-like structure by superimposing knit areas onto lace mesh using “low tech” punchcards or mylar sheets. Filet crochet is often built on a system of solid squares on the more open “ground”. Emulating this type, to begin with, here is a punchcard for use on Brother KM resulting in a “square mesh”

a lazy way to explore how adding solid areas to any pattern card is to mask a portion of the card using tape ie. in this case painter’s tape on the reverse side; this is not the best long term solution, but OK for “testing the waters” and sorting out the final repeats. Here is the resulting card reverse side

the card was extended for a full, alternating blocks repeat: the first run at a swatch result showed that oops! I am not quite there with alternating blocks of 4: no worries, more tape is on hand. Below is my preferred, sideways view of the present fabric. There is a difference in ridges/ lines as viewed horizontally, every other is thicker because of the location of transferred stitches. Knitting sequence is 4 rows of transfers with lace carriage, followed by 2 rows knit with KH throughout. A good starting point.