Machine knitting (MK) – alessandrina.com

A review of brioche patterning

Nearing the end of another year, reviewing previous drafts, I find myself coming across posts that were never quite completed or published.
This content began to be brought together in 2022.

The term brioche in knitting is used loosely at times in any references to tuck stitches. Designs may be worked in single colors, or with more complicated planning, they may be executed in 2 colors.
Some patterns are fully automated, with the knit carriage set to tuck in both directions, the ribber set to knit in both, others are worked as a tubular tuck, and lastly, some require frequent changes in cam settings in either or both beds.
My explorations for the use of tuck stitch settings in double bed every needle rib fabrics began with attempting to create a solid color shape on a vertically striped ground in Geometric shapes on ribber fabrics with tuck stitches 1.
The arrow marks the spot where both colors used were picked up from the changer. C1 and 2 show indicate cam setting changes used in the last part of the swatch.
Here, a simple shape was programmed, and varied carriage settings on either or both beds were explored Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages. Geometric shapes on ribber fabrics with tuck stitches 3 explores self-drawn repeats in multiple colors. Added samples and files in the subsequent post New double bed swatches based on published sources of inspiration 2
Lace transfers meet fisherman rib in 2 colors on Brother KM 1 Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2 These are advanced, complex fabrics. The repeats for 2 colors can grow exponentially in length.
Returning to designing suitable repeats, beginning in a spreadsheet: grey vertical lines represent stitches on the ribber, which will force apart stitches created on the top bed, creating the more familiar tuck rib surface. Mac Numbers offers the opportunity to hide both columns and rows. In this instance, with the 10 grey columns hidden, one begins to get the sense of shapes and movements needed on the top bed Working toward a repeat for knitting the shapes in a single color, imagining the location of eyelets resulting from stitch transfers, I used two repeats, adjusting the first repeat to vary the resulting shape slightly A 11X30 repeat mirrored horizontally for use on my 930, tiled twice horizontally before programming and downloading, used as a 23X30 single motif to obtain a matching border on each side, A 9X28 repeat, my second try, programmed as a 20X28 single motif, When knitting using only one color, the machine is set with the main bed tucking on every needle in one direction, followed by knitting on every needle as it returns to the starting side, the ribber does the same but in the opposite direction. It is a circular tuck, also referred to as fisherman’s rib. A slight shift in patterning may change the outline of the desired shape, introducing or removing stray lines or secondary shapes.
The possible cam setting options: In two-color brioche combined with hand-transferred stitches, the main bed is set to tuck in both directions, white cells tuck, black cells knit.
Brother machines preselect needles for the next row with each pass of the carriage, so on even-numbered design rows, as the carriage moves to the opposite side, all needles will form tuck loops on the main bed. The next row will be preselected, with some needles now back in B rather than D position.
With an appropriate transfer tool, move the stitches on the nonselected needles to the adjacent selected needle to their right after pushing it back to the B position. After each transfer, push all worked needles and their stitches, as well as the now-empty needle, to the E position.
As the carriage returns to the opposite side, an all-knit row will be completed. Several tension adjustments may be needed to ensure loops do not get hung up on gate pegs as stitches move across the bed, while still being loose enough to knit off properly.

Planning a fully automated design, reducing the ground, and staggering the color of the shapes. In these knits, the colors in the background form clear vertical lines:
24X44
brick repeat 24X88tiled.

A half-drop tiling error was revealed, and the file was reduced to 23X44. The half drop repeat 46X44 Using the 24 stitch repeat executable on a punchcard machine as well, planning to knit the test swatch on 72 stitches, anticipating what will happen with color of the alternating pairs of rows forming the shapes, noting that the total number of rows is an odd multiple of 4:adjusting the repeat to 48X40with the total rows an even multiple of 4, tiling check, 72X80the stitches composing the all the shapes will knit in the same color The pattern, tested in thin yarns reveals the stitch structure even more. That said, the dark color was 2 thin yarns threaded on the same side of the mast. At one point, one of the 2 began to loop around needles, causing a carriage jam and a bent needle hook, hence the short height of the sample. Passap to Brother 6, exploring a possible tuck stitch design
More shapes on ribber fabrics with tuck patterning, fantasy fair isle

More designs worked on the double bed using tuck cam settings on either or both beds:
Ribber fabrics with main bed tuck patterning 1/ pick rib
Fisherman and English tuck stitch rib 1_ checks patterns_ Brother, Passap

New double bed swatches based on published sources of inspiration 2

Published a few months ago: New double bed swatches based on published sources of inspiration

At year’s end, I commonly find myself reviewing earlier blog posts and am drawn to testing previously developed repeats in new or different ways.

Many publications, whether for electronic machines or punchcard models, group patterns in separate categories, not offering many clues as to whether each design may be used for other knit structures.
Some punchcard manuals do offer a page with limited guidance, such as this in the 860 manual. Truchet tiling design inspiration 1 and Truchet/Smith inspired designs 2 meet ArahPaint, introduced resources and methods for developing DIY knittable designs inspired by them.
Blistered DBJ 2 and technique variations on a single repeat. used this tiling in several ways, followed up on the previous post, Blistered stitches DBJ
Revisiting both posts, developing some new pattern variations.
The starting repeat, 74X74, drawn in repeat to test tiling alignment, 148X148ArahPaint, Tools > Layer -> Brush saved the 74X74 picture is loaded
the white palette color is locked with filled rectangle, using the brush and bucket fill on whole image, the new 74X74 file was test knit on the 930, which automatically mirrors the image horizontally, centered on 60 stitches.
End needle selection on the knit carriage was canceled.
The slip setting in both directions was selected after the first preselection row.
First and last needles were in work on the ribber, with the carriage set to N.
If large groups of stitches were not selected on the sides, an end stitch was brought out to E manually before knitting the next row.
Slipped stitches elongate, as seen in the image on the right. The elongated X2 design did not work on the Brother, with too many rows knitting only on one bed; they start jumping off, and the length of the slipped stitches is a potential added problem, with too many rows knitting only on one bed, they will start jumping off and the length of the slipped stitches are potential added problems.
Blistered DBJ 3 began with a punchcard design untested at the time, modified for use in knitting a patterned half fisherman rib, 24X112. The knit carriage is set to tuck in both directions, the ribber carriage to knit in both. The resulting knit has subtle textures on both sides, lies flat. Related stitch structures and samples in Geometric shapes on ribber fabrics formed with tuck stitches 4
The same design, 24X112, color inverted, has applications as well, among them, pile knitting, best knit on Studio machines, and single color drop stitch lace.
The first of several blog posts on the technique, Geometric shapes in drop stitch lace 1, Brother KM.
To knit, cast on EON, transfer all knit bed stitches to the ribber, except for the first and last.
Cancel end needle selection.
On rows where no needles are selected, drop the stitches formed on the main bed. Return all the same needles to the B position, checking that no extra needles are accidentally pushed in or out of work.
The knit grows quickly. The yarn used is a 2/10 W/LYO, a wool and lyocell blend. Lyocell is a versatile, semi-synthetic fiber made from wood pulp, particularly eucalyptus trees, and was originally trademarked as Tencel in 1992.
A thinner yarn would highlight the open areas more.
The swatch, knit on 48 stitches for 90 rows of the pattern, measures 9 X 11.75 inches.
Returning to the inspiration, 24X32
using double height, 24X64 color invert every other row, double height, 24X128
renders the color separation that, when knit as DBJ, produces the elongated design version where each color in each design row knits twice.
Preselection for the first row is from the right. Using the tubular tuck setting, either pair of opposite cams, the result is evocative of illusion knits; the texture is more 3D than in the images. There are distinct changes in appearance if one is willing to invest in manually changing cam settings as often as every two rows.
The latter is more feasible using two pairs of carriages operating from opposite sides.
The knit is compressed in height and quite wide, with 48 stitches and 150 rows of pattern measuring 14.75X8.25 inches.

More to explore:
Tuck stitch meets thread lace repeats and vice versa
Using punchcards (3) or electronics to track small cables in pattern
Using punchcards to track cables and twists in pattern 2
Unconventional uses for punchcards 1: tracking racking positions in ribbed fabric Unconventional uses for punchcards 2: thread lace cards for “filet” mesh
Using punchcards to track small cables in pattern (1)
Punch cards to electronics: book symbols and samples 12/17

An army of frogs, some DBJ tips

A tale of crustaceans and critters ,
introduced an army of frogs that began with a border chart the 27X83 PNG

in half drop, 81X83

There is often a resistance to swatching. One of the benefits of large enough tests, even when gauge is not a factor, is to find that, as in this case, color separated for DBJ, knit in birdseye backing, well, look at this!

The color reversal seen at the top of the repeat, as return is made to the first row of the design, can be caused by making an error in changing colors appropriately. There is no evidence of that on the reverse; striping would be wider in areas where either color was carried for 4 rows.
If the planned design is to be used as a continuous pattern, with a return to row 1 after reaching its top, when knitting DBJ, the designs must be an even number of rows in height to start with.
Tools or built-in functions that automate conversions do not always provide error warnings.
Another go at the frogs: 27X84
in half drop, 54X84
The GIMP script color separation, 54X168Color, and technique choices, and whether they are deemed successful or not, are determined by personal preference. Here, a space dyed thin cotton was plied with a white yarn as the light color.
The frog at the top of the repeat is no longer beheaded.
There is a snag around that area, however, that causes slight distortion, noticeable on both sides. Some notes on machine knitting color changers review their use.
The snags in the swatch were from the space dyed yarn getting picked up with the green/ dark ground.
That can happen from the ribber arm needing a minor adjustment, not clearing the color changer far enough (there is an audible click at that time), or, in this case, the thin yarn was snagging around the guide for the adjacent #2 dark color and getting picked up with it. Historical blog posts on DBJ can be found in the blog index
Keeping machines clean and oiled, along with balancing the ribber, aids in error-free stitch formation.
Always something new to learn, lili buttons will not rotate if the carriage is set with the slip levers in the up position.

More play with triangles

This post adds to my design repeat collections. Most of the files provided are intended as inspiration for DIY.
From Truchet/Smith inspired designs 2 meet ArahPaint
Quilters are familiar with block designs easily found in print and online that technically may be broken down into triangular blocks joined and meeting to form sharp points. Truchet, in his publication, used half-square triangles and assigned letters to the segments, and a PNG to explore, that when magnified shows the inevitable doubling of some same color pixels side by side or in sequential rows when drawing in random repeats; it becomes unavoidable. A DBJ test knit
Exploring how shapes meet and can be combined to make new shapes: this is a 12X10 file, shown in repeat,

and in multiple colors makes it easier to identify intersections and secondary shapes

A 12X12 start,with added colors

tiled in an adjusted colorway

18X18 24X24different palette tilingBW version When you want to knit no more than 2 colors per row, and large repeats with open spaces are appealing, in this 38X18 file, some same color pixels touching soon become evident, in progress 57X5857X58 BW.

Triangles and blocks forming broken ribbons, 36X34 Tired of horizontal and vertical movement, returning to diagonals, recognizing component shapes with clean edges ,

BW 16X48

knit as single bed fair isleIf broken shape edges are OK, this 24X48 repeat with underlying 8X8 blocks, is usable in punchcard models. Triangles are broken along the diagonal solid lines.In electronic machines without the capacity of knit from screen or added storage, non repetitive image PNGs may need to be programmed in sequential segments.
When producing items such as scarves, there is an opportunity to play with extending the idea further.
Wolfram world is an online reference explaining the rules for building automata.
Cellular automata charts for knitting, etc. was written by me at a time when I produced a series of pieces inspired by their patterning such as this, knit on the Brother 930, with images of earlier automata samples knit on my E6000 shared in My new knitting projects

Triangles can be easily recognized forms when testing designing and related techniques and how textures and aspect scale can vary in machine knitting.
From Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages Translating Passap model book pattern/use on Brother 1
Early posts:
A simple shape, an exercise in DBJ, Brother KM
Double jacquard using punchcard machines

Modified hexagons meet stars

This site is maintained as a living document, retaining starting points for ideas followed by their proofs of concept and evolution over time.
The following links share historical references to my descriptions of using miters and spirals in shaping knits.
My earlier posts tended to be brief; the first in the series below dates back to more than a decade ago.
Miters and spirals: visualizing, charting (and more) 1
Miters and spirals: visualizing, charting (and more) 2
Miters and spirals: visualizing, charting (and more) 3
From Revisiting miters, spirals, going square, round, and more
For miter with shaping and resulting eyelets at the center of the triangle: begin with all knit row(s) (red line) at the start.
To shape a full wedge: *green segment is worked, bringing stitches into hold opposite the carriage at the determined rate until all the needles are in hold. Shaping is next reversed with the yellow segment, pushing needles back at the determined rate until all needles are returned to work.
End with all knit row(s) (red line) *. The sides of this miter are all knit rows, an easier place to seam/ graft joins if needed.
Shaping with resulting eyelets at the center of the triangle: the final shape working with starts with COR (Carriage On the Right).The knitting sequences for when shaping from the left and from the right. If the color changer comes into play, then the design repeats, and their starting sides may need to be adjusted accordingly.
Pursuing the six-pointed star/ snowflake challenge, the first test in this series was executed with hand selection, and the knit carriage set for hold.
To get points, not curves, sequential miter shapes are used, and for the easiest counting of segments and seaming/ grafting at the end of each piece, the eyelets are planned to occur at the center of each miter and are retained as design features.
In the photograph:
1: 2/8 wool, random color, casually planned holding sequences2: using the formula for hexagons planning for 4 stitches being held every six rows, using a 1, 1, 2 sequence The repeat, 14X38, as a BW PNG planned for use with the knit carriage set to slip in both directions to knit on the 930 as it is drawn, it needs to be reversed The first preselection row is made from right to left, picking up the yarn for the star on the left, knitting the first row back to the right, and then repeating selections for pairs of rows until the last segment has been knit, ending with one last row knit across all the stitches.
On punchcard machines the shapes are punched as provided, consider that the punched holes in the card represent what happens on the purl side, and is automatically reversed. One way to correct for that is to insert the card flipped over, thus losing numbering sequences in many cases, or to mark up and punch the card on its back side, then insert it in the usual orientation when ready to knit.
Punching need not be centered, air knit to double check proper needle placement for the first all knit row.
On any machine, end needle selection is canceled.
3: when you don’t have enough light on to notice the yarn you you just pulled from the yarn mast you are about to use is not the same, even in color, as you plan a slightly smaller repeat, the repeat is 12X34

Visualizing some of the differences in shaping between the 2 sizes
4: the same repeat, trying out a softly spun rayon to perhaps render a flatter item, it measures 6 inches across the diagonals. A tempting cone of an unknown fiber spun combined with a strand of sparkly led to one last try with the 14 stitch design repeat, the result measures seven inches along its diagonals. The swatch was folded, steamed, and lightly pressed on the knit side along eyelets, measures 7 inches on its diagonal.
The center hole is inevitable in these techniques.With practice gathering to close it can be improved, here it is performed casually.How small can one pursue the shape? 10X18
The result diagonals measure 2.75 inches. The best intentions for grafting the join were met with tiny stitches and stiff yarn not wanting any part of it, so the closure was with a latch tool again.
If the latch tool bind off is used, the work can be removed and turned over to have it appear on the purl face rather than the knt.
Groups of swatches may be layered, exploring their relationships in different ways.
Increasing the number of rows at the center edge of each segment repeat may create a sharper point.
More seaming ideas including including grafting on both the knit or the purl side in Seaming, joining, picking up stitches on knits 1 .
There are always beads or crochet edgings to ponder adding, then deciding when more is less.
Stiffening knits for sculptural effects can be achieved using any mixtures described as suitable for stiffening crochet doilies. Video and written directions are easy to find online.
The formulas include mixtures using:
sugar, 2 parts sugar to 1 water
white glue, 1 part glue to 1 part water
commercial products such as Mod Podge Stiffy and Aleen’s Stiffen Quick.
A fellow student back in my textile degree days wove yardage for a tryptic that was intended to be displayed on a wall, was draped over life size forms after being dipped in wall paper glue as stiffener, something that worked well, though it was summer and fans were used to speed up drying. Not sure if at the time that was a necessity or out of need for meeting a critique deadline.
If symmetry matters for flat images consider a template drawn on a non permeable surface and patting the item in place.
Felting yields stiffening of a different sort.
As for stiffening felt itself, acrylic medium mixed with water, gelatin sizing used in millinery, PVA glue, and a range of bad for your lungs or melt in the rain concoctions have been mentioned, and then there is the simple, “beat it vigorously” approach, which may not be the best for retaining 3D or sculptural forms.
There are always more rabbit holes to explore.

Swatches > seasonal knits 2025

Some repeats are immediately identifiable as not suitable for fair isle knitting due to the length of some of the floats.
Any of the PNGs in the blog can be enlarged to check on any areas with more than 5 black or white pixels side by side, the guideline for the suggested maximum.
The original width and height of design are not clues by default, issues may not be evident until after the motifs are drawn in repeat.
In wearables, a compromise can be reached by taking any of a number of measures, or even by adding lining or iron on facing (woven or stretch), depending on end use.
This 30X30 repeat plays with rotating a half shape around the full first design, forms suitably short floats, while this 18X24 design has several areas that merit attention. This design plays with paired color reversals to create secondary patterns, identifiable here as would-be six sided snowflakes, and is a clear candidate for knitting as DBJ.
Each row of double jacquard consists of two rows of slip stitch patterning, one with ground yarn, the other with contrast.
It is not only newbies that encounter problems with any technique.
There are some days that offer the opportunity for testing patience, persistence, and expletive vocabulary.
The first knitting attempt was with the ribber set to knit every stitch on every row for striper backing, using 2/10 wools. The carriages were hard to push and with some lovely holes including these, even after tension and weight adjustments. Troubleshooting included:
with weather changes especially, think about static, a culprit often named in situations otherwise not explainable
checked needles, they looked fine, had some sticky latches, oiled them
checked alignment, OK
discovered the ribber had dropped slightly on one side, raised that side to match the space between the beds on the other, and on the first next carriage pass there was this.That safety pin was not placed for special effect or aspect ratio, it probably entered through the slots that allow the belt to rotate, but where it came from remains a mystery.
With the yarn selection changed to thinner, similar color 2/20 wools, there were no dropped stitches> holes.
The first test, with striper backing, measured 9.35X10 inches, and with birdseye backing, 7.75 X 6.75 inches

Passap to Brother 7: more Duomatic inspiration

IN PROGRESS

My early posts were often quite brief, and some of the explored techniques were never returned to despite my intentions.
A shawl tale was written in 2009.
The designs explored in this post can be found in the Passap Duomatic baby book. A closer look: My attempt at a hand technique at that time, and the declaration of a planned challenge, “creating a downloadable stitch pattern that will automatically select appropriate needles and duplicate this texture.” It only took 16 years!
The pattern chart: on the Japanese machines, the beds are reversed. The back bed = ribber in our case, is set to knit every row.
Locks is the Passapese for carriages.
Many patterns can be achieved by lock settings and arrow keys without added programming. In Brother machines, a small cousin of the function is found in the use of lili buttons.
When an arrow key is pressed, it tells the Passap machine to engage the pushers. Depending on the direction of the movement of the locks, the pushers will be lifted or pushed down. Their initial position is set up manually.
The left arrow key changes pusher selection when the locks move to the left.
The right arrow key changes pusher selection when the locks move to the right. Use of both arrow keys simultaneously will change the pusher selection every row.
With the Zero key, no arrow selected, the pushers do not change their position on that pass, repeating the selection.
Pushers preselect for the next pass, as happens with needle preselection in Brother.
AX is the tuck setting for Passap, pushers selected up knit, selected down tuck.
When setting up these patterns, it is best to have a needle on the ribber on each side, not observing the usual “needle rule” for rib knits.
When working on both beds, the default illustrations have a space > dot between needles in work to permit the illustration of needles between them on the opposite bed, so the chart is not for an every other needle design. In this instance, stitches > needles in work occur in pairs on the top bed.
Programming the repeat: the first pass will knit or tuck alternate pairs of stitches.
The needle selection then stays fixed for 3 rows and reverts to the first selection, a 4-row design. Stitches will be tucked side by side, breaking another common rule.
The ribber needles in this case are extra, not transferred down to the ribber from the knit bed as in some of the fabrics recently explored in other posts.
They are brought into work between pairs of knit stitches on the top bed, represented by the red lines in this chart.

Because of their location, the ribber should be set for half pitch.
With use the beds can shift, for tips on ribber alignment please see post:
A bit on ribbers: Japanese KMs, alignment, and symbols 1.
The stitches on the ribber are outlined with cyan, the triple tuck loops as those needles are brought forward on the knit bed for knitting with white. The proof of concept, programmed on 46X24: The darker color was thicker, knit well, but since this was a test, seeing stitch formation while checking for accuracy mattered. Testing the pattern on the knit bed first determines any problems with the design before the ribber is brought into work, limiting visibility as the knit progressed.
The same repeat, with stitches transferred down to the ribber, leaving empty needles on the top bed, knit on every other needle with 2/8 wool, produced an interesting texture, but quite a narrow knit, 3.5 inches wide. Racking on EON rib: some considerations.
A different design, with the repeat cut in half widthwise for a more traditional tuck stitch configuration,
also with stitches from the ribber between stitches on the main beda knot in the yarn knit right through and was missed, easy to do when working double bed if the yarn travels with no hesitationThis design uses a simple racking pattern, easy to execute in thin yarns, but not as impactful. In Brother the ribber performs the racking movements.
Both beds are set for plain knit.
The needle set up is on half pitch.
Cast-on for the test swatch was with the racking position starting on 8, with the plan to rack to 10, knit 2 rows, rack back to 8, knit 2 rows, and repeat, performing all position changes with the carriages on the left.
The yarn used is a 2/18 wool/silk blend that resisted the technique regardless of tension and weight adjustments, and began breaking, but there is enough knit to visualize the result. Pattern 2053 is for reversible checkerboards that use tuck settings on both beds,The strippers in the Passap system help push down on loops and knit stitches, anchoring them in a way simply not possible in Brother models. Even if a choice were to be made to push down between the beds with a hacked tool, the Brother needle preselection renders that impractical.
The concept behind the Duomatic version is then switched to automated patterning with the tuck setting on the main bed, and the ribber set to knit every row.
The two rows with one arrow key result in the repeat shifting locations by repeating the same selection, as seen in this chartThe 8X40 design was knit on 48 stitches, these knits are quite wide, loose bind off are required when the pieces are completed.
Each sample knit measures 11.5 inches in width.
Where 4 side by side needles are tucking for four rows, the stitches on the ribber may have a tendency to jump off, resulting in loops not being anchored, so those areas require special attention. The proof of concept for the above repeat in one color and then with color changes every 2 rows

More variations including racked ones are explored in Fisherman_ English tuck stitch rib 1_ checks patterns_ Brother, Passap.

Revisiting double bed knits with stitch transfers between beds

IN PROGRESS

A reminder for Brother machine users. When automating any pattern by programming the top bed, if there are any needles out of work, end needle selection must be canceled, or stitches on either side of the empty needles will knit, not tuck, slip, or knit in the proper color, altering the planned design.
This latest repeat is worked using hand transferring stitches at regular intervals between the main bed and the ribber.
To facilitate tracking, the transfers were executed every 10 rows with the guidance of a marked-up, custom-printed needle tape.
The knitting can begin on the top bed with waste yarn.
Even weight is needed for the stitches to form properly.
The ribber is set to full pitch, P > point to point, during the knitting of the piece.
It is possible to start on waste knitting and to use the ribber comb for an open cast on the top bed.
Alternatively, the single bed comb may be used, with ribber weights evenly spaced apart on it before transferring stitches down to the ribber, or a ribber comb may be poked through the waste knitting evenly, followed by the addition of weights.
1: the initial needle transfer set up, on a multiple of 7 stitches +2. The cells marked with red on the tape represent stitch groups that are never returned to the main bed during the knitting of the piece
2: the transfer set up for the first 10 row group
3: the transfer set up for the alternate 10 row group.

The first and third images from the left show the piece when first removed from the machine, and the other pairs show the swatch after steaming and pressing. The yarn used is a 2/8 wool. Since the fiber has memory, it retains its spring back after blocking and resting, but with some loss of the 3D effect.
Man-made fibers and some natural ones would flatten completely and permanently with pressing/ steaming.
Tuck lace published designs may be used, instead of taking needles out of work, transfer needles in those blank vertical column locations down to the ribber. The 24X48 PNG tot pattern #620 A few of the previous experiments and samples in double bed knitting with stitch transfers between beds, at times only once, at others in repeating pattern blocks.
Knit and purl blocks to create folding fabric_ “pleats”
More fabrics with knit bed tuck patterning Unconventional uses for punchcards 3: lace in rib
Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2. Ribber fabrics with stitch transfers between beds 1 Slip stitch patterns with hand transferred stitches, double bed Brother shadow lace, rib transfer carriage Combining knit carriage needle selection with racking More to explore
Transfers between needles on either or to and from both beds
Double bed embossed patterns
Bowknot aka butterfly or dragonfly stitch in more than one color
Slip stitch patterns with hand-transferred stitches, double bed
Ribber fabrics with stitch transfers between beds 1
Ribber fabrics with stitch transfers between beds 2
Origami-inspired 2: more pleats and folds using ribber
Pleats: ribbed, folding fabrics
Lace transfers meet fisherman rib in 2 colors on Brother KM 1

A tale of crustaceans and critters

Ancient filet crochet books are often a source of inspiration for potential knits.
The files resulting from the PNG conversions collected here are not necessarily knit ready if they are to be used for DBJ.
If the planned design is to be used as a continuous pattern, with a return to row 1 after reaching its top, the designs must be an even number of rows in height to start with.
Archive.org offers one search method for historical results.
The site is free to use; small donations are optional.
I have seen many references from this site and from https://mkmanuals.com/ downloaded and being sold online.
I live on the East Coast of the US, where crustaceans of all types are easily available in seafood sections of markets and restaurants.
This plate from a 1912 pub initially caught my eye.
The first repeat tested was knit in DBJ with birdseye backing,I was not happy with the swatch, measuring 8.75 X 8 inches, and got distracted, as often happens, by other rabbit holes.
The present 76X76 PNG was used to test knit in DBJ with striper backing; the result was definitely more square, measuring 11X11 inches.
Although the two swatches share the same color way, they are knit using different yarns.
Plied yarns were problematic with feeding evenly and getting hung up on gate pegs, a first in my many years of knitting DBJ. After several stubborn starts and switching to a different single ply shade of white, knitting went smoothly.
Each lobster occupies less than a quarter of the full repeat, 19 stitches, illustrating some of the limitations in detail when reducing identifiable images to 8-bit small designs. Not to be left out, the crab in the lower border, on the same page, 30X25

Inspired by the above and other filet crochet references:
an army of frogs that began with a border chart; the 27X83 PNG

in half drop, 81X83

a punchcard version, 24X56

Other design repeats from the same and similar other sources to play with in electronic DIY:
ladybug, 27X27 bunnies:
30X29103X37
squirrels
41X1roosters
39X3939X4159X59fictional
30X2931X31
50X5161X52

75X76Bordered, larger-scale tiles
57X57
87X8587X8787X8787X8792X91

93X9395X95previously shared 165X230 to trim, edit, and make your own, 202X134.A touch of mythology, 152X81.For an updated list of links to previous posts, please see the blog index, new listing DESIGN REPEAT COLLECTIONS

Playing with cube shapes

A collection of geometric design blocks built with squares, rectangles, and lines looked at combinations that were 2D but could play with the illusion of movement, these repeats look at cubes in growing sizes.
The larger repeats have long floats, and are more suitable for DBJ than FI.
Fore easy manipulation mirror the images horizontally.
To mirror punch cards, flip them over and insert them into card reader. Depending on the complexity of the design, numbering the back of the card can be useful.
8X14

Its mirrored version8X22
10X20
10X20
12X22 20X10
Exploring mirroring and rotations of the design repeat to achieve the start of DIY secondary shapesLarger design repeats become more suitable for DBJ, the conventional max in FI single bed knitting is 5 needles knitting in either or both colors
24X44 The opportunity to explore 3 colors per row
36X59

Exchanging colors to match yarn stash or to find secondary shapes in RGB/ expanded palette mode. Choosing from previously developed design repeats, DIY 3 color versions can easily be achieved through filling in dotted areas.testing the changes in orientation using ArahPaint toolsto mirror first horizontally and then vertically.
A different design with a vertical orientation, 12X26repeated to the same number of pixels/ potential stitches as the above. Developing a more complex geometric shape, 24X20, built by taking away or adding color pixels to create new forms. Working in multiple colors, software assistance visualizes complex shapes built from small units rotated to form new ones.
These were gleaned from Wolfram Math exploring Neat Alternating Tilings of the Plane, in their computational design format, CDF; the linked tilings site permits testing live interactive demos. The version of the CDF player operating on my Mac is 13.3. Nothing appears to be working properly in the latest available one, 14+, tested and now uninstalled.
Triangular unit variations ie,are found in the blog post Truchet/Smith inspired designs 2 meet ArahPaint.
Side-by-side stitches forming lines or intersections in pairs of pixels are unavoidable.
Here, there are vertical lines that form and will shift with the rotation of the files. The colors can easily be replaced in coloring book style to match yarn colors or personal taste.
A small unit, the vertical line is highlighted in the closeup image, 8X8 24X24 different color-way, altering the visual impact by mirroring or rotating the file to shift the placement of the dark color
More collections to explore are listed below. For an updated list/ more, see blog index, new listing DESIGN REPEAT COLLECTIONS
Hound’s tooth FI variations were in a very early post, which offered only charts. PNGs for the designs are now in the process of being added
Playing with diamond and argyle repeats
Developing tiled repeats suitable for multiple stitch types includes some optical illusions
Seasonal knits inspired by published repeats 1 winter, holiday
Seasonal knits inspired by published repeats 2, hearts
Weaving drafts as inspiration for other textile techniques
Seasonal knits inspired by published repeats FW 2025
Working with diagonal patterning in machine knitting