Accessories – alessandrina.com

Midjourney inspired knits 1: single bed diamond shaped strips

My son recently introduced me to Midjourney and generated many images capable of inspiring a range of machine knits. The interpretation and execution may not be as simple as would initially appear, particularly to non-knitters.
Commercial knitting machines are left out of this conversation. The fact that they have multiple beds, and compound needles that facilitate whole garment shaping makes complex structures possible that may only be partially reproduced on home models.
Japanese machines such as mine use two beds, with the ribber/ second bed added for knit and purl combinations, which may be lowered as seen below when not in use, or removed altogether. One accessory that would make things easier to reproduce more textured knit and purl variations would be a Brother G carriage, which operates on the top bed and slowly and loudly produces programmed patterns on both punchcard and electronic Brother models.
The initial Midjourney inspiration, and a “simpler” variation.

In hand-knitting concurrent shaping of both sides can be considered.
When working on 2 needles, because the work is turned over, knit and purl execution will change when ridges visible on both faces are planned.
Knit stitches are rectangular as opposed to square, often in a 4/3 ratio.
This chart begins to illustrate the actions involved. Machine knitters constantly look at the purl side when working on the top bed unless ladders are manually reworked into knit stitches or the work is turned over.
Turning the work over is executable using a garter bar accessory, available for use on multiple gauge machines. The standard and bulky garter bars offer sections that may be joined together for use on the whole needle bed, while the tool for holding, transferring, or turning over small stitches offers only 30 eyelets, the red lines on it were made with red nail polish, a handy way to mark KM tools or even linkers at fixed intervals to save constant counting.
The work is pushed off onto the garter bar with the curved ridges up and returned to the machine to create the purl ridges after turning the bar over.
At that time, the needle hooks will grab the stitches from back to front and the bar can be removed. If the yarn supply is to be kept continuous, the knit carriage and yarn need to be brought to the opposite side before resuming knitting.
Spreadsheets offer a way of visualizing steps ahead of any swatching. Not aiming for a direct copy of any of the Midjourney results, this is a start with 4-row sequences
and an illustration of how strips might be joined to produce slightly different side edges. The diamonds are formed by increasing and decreasing on both side edges.
The sample is knit in a 2/8 wool, which even when knitting at tension 9 yielded stitches far too tight to remove onto the standard gauge garter bar, the 30 stitch tool was used.
Stocking stitch tends to roll to the purl side. For a cleaner edge, fully fashioned shaping is used.
From the Brother knitting techniques book, to decrease a stitch: To increase one If both sides are shaped at the same time, the length may get affected by slight differences in stitch height formations on the carriage side as opposed to opposite the carriage.
In the test swatch increases and decreases were made consistently opposite the carriage, resulting in shaping on alternate sides every 2 rows.
Charting out the concept: the arrows represent the direction the carriage will be moving.
The blank row occurs where the knit is turned over.
A single row is knit across all stitches to the opposite side after the knit is turned before returning to shaping.
The last 2 rows in the chart would be the first 2 in the following shape.
The black cells represent what will become purl rows on the knit ground. The proof of concept: The machine-knit sample aside from a quick hand-knit on #8 needles, attempting garter ridges, offering a lesson in gauge and texture.
In a final piece, the shaping in the hand-knit would be carefully considered. A first draft plotting out arrangements for alternating knit/ purl ridges: the center column can be adjusted to any width, and cables or other manipulations could occur at the narrow pivot points.
Seaming or joining would occur in areas where rows are outlined in blue. Those areas could be lengthened as well.
The chart can be further marked for beginning with either a half or a full diamond. For hand knitters, the yellow cells would be purled with knit side facing, and knit with purl side facing. A Youtube video showing building the fabric using the short row technique: https://www.youtube.com/watch?v=H7WrYOV2A6w&t=1297s
For anyone with intarsia or multicolor fondness, some AI color renditions based on triangles as well

On a very different note, large, nonrepetitive AI-generated portrait images may be superimposed with brushes in any chosen design repeat to render designs such as these:

Long vertical button holes/ slits in knit fabric 1: intarsia

There has been a long thread in the machine knitting FB page lately that arose from a share of these 2 images. There are three hand-manipulated methods available on most machines. True intarsia knits all parts of a design simultaneously and is best suited for complicated designs. Short-rowing is best suited to diagonal shapes, while the slip method is to vertical shapes. Both knit designs one section at a time and have no floats between shapes on the purl side.
True intarsia is also called bobbin or tapestry knitting.
Members contributed their concepts along with some of their swatches illustrating the idea that effects similar to the cables on the left could be executed in intarsia.
One member shared an Instagram link with a body of work by cari + carl using the technique.
I have been knitting for decades. Intarsia on the knitting machine along with cables or most hand-technique-only finished garments is something I have avoided at times, simply because they were too time-consuming when knitting items for sale in shows or even galleries, at others because some evoke my personal flight response.
I used to hand knit as well, preferred lace, intarsia, and most definitely complex cables knit on 2 needles.
Prior to attending a design school as a student, I worked in a shop that happened to sell knitting machines but whose main income came from selling yarn and lessons to hand knitters. As part of my responsibility, I had the job of hand knitting bulky intarsia sweater samples which at the time featured large images, often of birds or other animals, that were sometimes wrapped over the shoulder and onto the back or sleeves.
As I began to work on Brother machines, I acquired all the related accessories. My intarsia carriages other than in demos were stored unused for years. I gave away my yarn-brake years ago, and very recently shipped my Brother 260 bulky intarsia carriage to a Parsons student, so by default any of my experiments at present will be knit on a standard km.
I was stuck on the idea at first of large stitch count cable crossings being made by using holding techniques and initially could not imagine how the same could be done using an intarsia carriage. It took a while for me to sort out in my brain that slits may be created in intarsia by simply not wrapping stitches as the knitting continues and maintaining color changes across the row of knitting, resuming yarn crossings in the areas that require joining.
Some considerations: using the intarsia carriage, the stitches are formed in stocking stitch, so the resulting knit strips will tend to curl to the purl side, far more noticeable in narrow strips, perhaps less so in yarns that will result in stitches that are permanently set by blocking. Using bulky yarns on appropriate gauge machines may also lessen the curling.
Experimenting with familiar yarns helps determine whether the familiar knit carriage tension when using them on the single-bed matches that achieved when the intarsia carriage is in use.
My Brother Machine Intarsia Standard carriage is the KA-8210 model: It was intended for use on early Brother punchcard models listed in the manual. Trippers were required to advance the row counter in later models.

The B tripper doesn’t engage in my carriage, the A tripper does, and triggers the row counter in my 930.
The yarn placement for intarsia knitting is the same as that used in knit weaving.
“Sinkers” are provided with the accessory, and frequently turn up in the “identify this please” questions in forums. I have a tendency developed early on to use clothes pins as small weights when needed, used them in the swatch that follows, and if bobbins filled with yarns are used instead of the yarn balls or cones, their weight will be enough to keep yarn lengths manageable.
Each area of color has its own yarn supply, usually wound on bobbins.
Yarn bobbins are available in a variety of materials and sizes from cardboard to plastic or even wood. The overall shape may vary, but the concept of wrapping yarn around the center of a narrowing shape and slipping an end through a slot to secure it is shared by all types related to the image on the left. It is possible to make your own in similar configurations out of any material that will hold its shape.
The clamshell version became my preferred version of the tool. The small ones come in handy for holding ravel cords or even wire. When knitting more than a swatch it is likely far easier to work without a ribber in place. I like to do all my knitting with the main bed anchored and angled with ribber clamps rather than flat. If the threader is missing from the supply of sinkers, floss threaders can help, and are also handy when beading on the machine. The used yarn here is 2/18 To knit: begin with a familiar yarn. This carriage may actually produce a different stitch size and resulting gauge than the result when using the same tension number on the knit carriage, a factor if the plan is to combine intarsia segments with the main carriage for any stocking stitch across all needles in use.
Brother knitters are familiar with the preselection of needles when patterning. When using the intarsia carriage all the needles in work, B, are aligned in the D position. They are seen below just behind the latches.
Knitting may begin on either side. Start on waste yarn and ravel cord if working on a large piece, cast on, and knit one row unless casting on in different colors matters.
Remove the knit carriage and continue using the intarsia carriage, beginning with it opposite the side on which the knit carriage had been removed, leaving a yarn end. If any latches are closed, the stitches will drop on the next intarsia carriage pass. They will drop as well if the yarn skips being laid over any of the needles in the D position. There will be an eyelet at the very start of the process which is eliminated when the yarn ends are woven in. A reminder for Studio knitters: Brother needle positions are A, B, D, and E, C was present in very early models but was then eliminated permanently, while Studio kept the alphabet in proper order.
Laying on the yarn An illustration of the crossings to eliminate holes. I had initially begun on an uneven number of stitches, then decided it was more practical to be able to use 7 prong tools for my planned cable crossing, so I decreased on each side accordingly.
Eliminating the crossings will deliberately cause separations between the colors.
If the intent is to cross the resulting strips, then the side of each where transfers stop matters. Using the appropriate tools remove the stitches onto them. The yarn ends need to be kept free for the next intarsia carriage pass, the needles are aligned in the B position after the cable crossing is created. Remove the carriage by sliding it off the bed or using the release knob Return it to the opposite side to make a free pass and return to the side of the needle bed where the necessary yarn ends will be available to proceed. Resume wrapping to join the strips once more Knit to the desired length, and bind off in one or more colors.
When off the machine the stocking stitch strips will curl. Here the knit is exposed to steam and some light pressing This gigantic swatch, for me, is the end of my intarsia knitting, though it is best to never say never.
Tips and techniques for the Studio AG 50 Intarsia Carriage
Brother Intarsia without an intarsia carriage
If cable crossings are the goal for this and following slit techniques, planning the crossings in color can help track the process. This is one of my earliest illustrations for doing so, from my Excel days, followed by a series of later blog posts on the topic.

Knit weaving 1

In knit weaving, the knit carriage is threaded with the main yarn as usual. The choice of pattern is determined by needle selection. The most basic technique involves pulling the desired weaving needles forward manually or by using needle pushers which are available in a range of selection options. Automatic needle selection makes the process faster, consistent, and capable of more variations.
The weaving yarn, according to instructions in manuals, may be threaded through the tension mast and guided through the weaving yarn guide. Feeding thicker yarn smoothly through the standard mast may become problematic. Moving yarn from the groove on one side to that on the other is cumbersome. The punchcard machine manual for the 860 machines has some clear illustrations and directions From the 260 manual: The “yarn guide” is that mysterious notch in each arm of the sinker plate. In the Studio accessory, the AW1 weaving arm, the yarn is also fed through the yarn mast, and moved physically from side to side after each pass of the carriage. Start the piece with waste yarn and some evenly distributed weight based on fabric width. Make sure the weaving brushes are activated. In Brother standard, their position is changed using the corresponding lever, in the bulky 260 the L and R wheel brushes need to be placed in their corresponding slots. A good repeat, to begin with, is one that selects every other needle, every other row. The card is a standard factory issue with punchcard machines. In general, the knitting yarn is thinner than the weaving one. The tension needs to be adjusted to accommodate the surface yarn, not the background one. The tighter the tension the firmer and narrower the weave. It is also possible to create soft knits with a lot of drape ie by using sewing thread for the ground and fine mohair for the weft, there is a huge range for exploration.
The “weft” precedes the base knitting yarn which knits the stitch. It is laid over the top loop of the old stitch on a needle selected by a hole in the card and goes underneath the top loop of a previous stitch on a needle not selected by a blank on the card. When card 1, above, is in use, the weaving yarn is caught in a series of two loops, one above, and one below forming a honeycomb effect. The structure is typically illustrated in these ways in Japanese reference books and magazines in particular. Early Brother punchcard volumes have illustrations of the over_under structures and in-between floats along with providing the pattern repeats. Setting things up: the weaving yarn is in front of the machine, fed from the floor. The short end goes to the carriage side, the long end is away from it. It is laid in front of the gatepegs, atop selected needles. A clothespin can provide enough weight on the short end to keep it from riding up and having to be managed with one’s hand. “Weaving” can begin from either side, here it starts on the left. Knitting in 2-row sequences will return the yarn ends to the starting position. Locking the card, as with any other pattern, will repeat the same needle selection, creating vertical repeats that resemble twill weaving on a loom.
a: card set to advance normally, b: card locked a: because stitches are actually knitting every other row, slipping while the needles on each side of them knit, they will alternately be a bit elongated; b: same needles knit every row, so their appearance is consistent. Depending on the difference in yarn thickness, the knit stitches in the ground become forced apart with what can be significant “bleed-through” on the reverse of the weaving to make that a really interesting fabric feature as well.
Some weaving patterns with variable floats will produce better edges if the end needles are brought out to E in every row if not selected to that position by the reader.
If a hairy or fuzzy yarn such as mohair is used the fabric may start to bunch up, it may be necessary to reach up from behind the knitting and gently pull to release the little hairs from the gate pegs.
Most punchcards designed for weaving aim for short floats formed by unpunched areas, longer ones on occasion are planned for added manipulation.
Moving the yarn from the groove on one side to that on the other is cumbersome. Another way of working: the main yarn is threaded as usual and the weaving yarn sits on the floor. The method is often referred to as intarsia weaving. The shapes may be created using various punchcard designs ie diamonds, squares, etc, free-forming, or even through following planned drawings on knitleader mylar garment shapes.
The knitter guides the yarn. If the yarn is held too loosely it may jump off the knitting while weaving and thus create long loops. It should be guided and held just enough to slip through the hand as the carriage is passed.
Preselect for the first row of knitting. Lay the weaving yarn across selected needles in the direction in which the carriage will be moving.
If using yarns of different yarn weights within the piece, multiple strands of the thinner yarn may be used together, but test how the strands feed and if plying might lead to problems. Using wrapping methods on some rows or even creating floats and hooking them up periodically can produce added interest.
If using more than one yarn per row, the approach is similar to intarsia. In true intarsia, every needle is in use. These illustrations are from an intarsia carriage manual; positioning the yarns for a first row from right to left, the “wraps” needed in each direction In knit weaving, assuming the first pattern row is preselected from left to right, with COR, the short end of the yarn of the carriage side, bring the first weaving yarn up from the floor, and lay it to the left across the selected needles, bringing it down between the last selected needle for A, and the first selected needle for B. In one method, bring the long end of the second yarn, B, up on the right side of the needle over which A just crossed, and lay it over the remaining selected needles and down to the floor. Small clothespins may be used to hold the short ends in place. When all the yarns have been laid in, grasp the ends loosely, pass the carriage to the left, and the first woven row will have been completed. The carriage will now be on the left, COL. For the next row begin on the right, bring A up and between the two needles directly above it, take it over selected needles to the end of selected needles, and down to the floor. Then take yarn B and bring it up around the left-hand needle, over and to between the two needles that served as the starting position for A. The yarns do not overlap the same needle going to the right, but they do to the left.
The more traditional intarsia crossings may also be used, with the new yarn passing under and over the old between needles, as seen here with the next row to be knit from left to right. a: crossings made using the traditional intarsia method, b: wrapping over the adjacent needle moving from left to right, c: no crossing at all also revealing single knit stitches between weaving yarns. In some spots, my weaving yarn split and got knit along with the ground yarn. To create isolated shapes: lay the yarn in any chosen area Shaping may happen in a straight vertical, a, there may be a slight separation along that edge. Increases are possible on both sides at the same time, and are best done by adding single new selected needles to the pattern, b. Moving further out crossing over more weaving needles will cause floats, as seen in c and d. The woven segment forces the knit stitches apart, so the stocking stitch on either side of the shapes, e, appears to be formed by smaller stitches, and pulls in toward the shape
The ground yarn and color may be changed for added striping and color interest. Sharp angles are created by crossing over two weaving needles, and more gradual ones by crossing over more needles. Blank areas of ground may be left as well.
The intarsia approach may also be used with other cards designed for all-over patterning.

Using far thicker yarns may be made manageable when changing the card repeat or using weaving repeats with 12-stitch wide repeats, working on specific needles on a punchcard machine, or simply programmed twice as wide on electronic ones. The expanded version of every other needle set up for the punchcard models. Sometimes plain knit rows need to be added between lines of weaving to help manage thicker yarns in any configuration or to add color interest and width changes to the piece.
Woven rows may be used to create folds in pleats.

Other weaving techniques include the pulling-up method, as a stand-alone or combined with lace patterning: from a Brother punchcard volume Three more hooking-up variations, including latching graduated-size floats
A later experiment combining weaving with tuck patterning Hand techniques: e-wrap rows may also be incorporated with any of the above or used alone, sketches of some varieties may be used around every needle or every other depending on the thickness of the yarn: a sketch eons ago Commercial warp knit structures are often represented as in this illustration. On domestic knitting machine models, a knit ground is needed to anchor the moving loops, which in turn are added on as a hand technique, referred to as vertical weaving, sometimes simply as embroidery.
Japanese instructions that came with the purchase of the standard garter bar had schematics for a variety of surface treatments. The accessory came with foam-backed strips intended to be clipped onto the width of the garter bar segment being used, useful in maintaining even spacing between yarn threads when working on wide areas of vertical weaving, as well as providing helpful weight. Any weight used to help handle the long ends of the weaving yarn on any number of threads will need to be moved down periodically. More wrap ideas Variations can happen by changing the spacing between wrapped stitches, the number of rows between the moves, spacing threads apart, and using yarns in different thicknesses and colors.
In terms of tools to hold the weaving yarns, in addition to the garter bar, multiple transfer tools may be used, even bobbins. That said, the most efficient way is to have a guide suitable for the overall fabric, especially when creating wider pieces with spaced weaving repeats. It is possible to create cardboard guides with holes based on gauge, whether on the standard or the bulky and with 3D printing nowadays a whole other world for custom tools is open. Matching the gauge with guides has some leeway, but the closer the match, the faster and easier the process. When using thicker yarns for the warp knit, spacing in both stitches and rows becomes a necessity.
A half-hearted attempt at a template. Markings were generated to be point/mm specific. If working in narrow panels, individual segments may be more effective to manage if a bit slower to use than a wider tool.
This is the wrong way to feed the yarn, as the row gets knit woven in, the yarn will be locked in place and cannot be advanced to proceed up the knit The way to have continuously available yarn Adding a second set of holes for the yarn stabilize the short yarn ends and maintain even spacing throughout, some tape could be used in addition to secure the ends on wider widths of vertical weave A spreadsheet or graph paper may be used to plan the configuration of the weaves including double wraps, this was executed using Numbers, individual bobbins might be a practical consideration In my own experience most hand techniques and single bed textures are far easier to execute with the ribber removed. It is easier to view progress, move up weights, and correct mistakes. That said, my machines are all set up with the ribber brackets, not flat, I feel it helps slide the knit down toward the gate pegs, and in my opinion that makes textures and even lace easier to produce. I have ribber covers, they can be improvised if needed with paper or cloth, never use them since I see no reason for moving the knit on the top bed in front of the ribber. If the ribber is removed, it is worth checking its balance once more prior to returning to any rib knit. Ultimately this sort of thing is about personal preference, no steps are ever universally applicable and correct.

Tufting may be created with the help of a sewing machine.

“Weaving” foreign objects can be achieved by picking up loops from other knits, woven, trims, crochet chains, etc. Beads may be threaded onto weaving yarn as well.

Brother shadow lace, rib transfer carriage

I have probably owned this accessory since the early 90s. After making a faint-hearted attempt at using it at the time and failing, it has been stored in the original box in the interim and just came out of retirement. The multiple languages operating manual for its use may be downloaded from http://machineknittingetc.com/brother-ka7100-ka8300-transfer-carriage-user-guide.html. There are several video tutorials available on Youtube. As a group, they generally illustrate simple transfers across an entire row in structures such as ribs used for bands and cuffs. This one is offered by Knitology 1×1, Elena Berenghean, a young knitter publishing very good machine knitting video instruction on a huge range of techniques.
The tool is designed for the standard gauge and transfers only from the ribber up to the main bed. It is best to use yarn that has some stretch. The recommendation in the manual and in youtube videos is to perform the transfers with the pitch set to H. My own ribber is balanced, I found I had problems with transfers in that position, several carriage jams, and to get things to work properly in half-pitch I had to use the racking handle to move the ribber needles slightly more to the left for the transfers. The needles containing stitches to be moved, need to be slightly to the right of the needles with which they will share yarn, that spot may turn out to also be just wide enough to allow for the pattern to be worked without changing the ribber pitch. The yarn used is a 2/18 Merino, knit at tensions 3/5. In terms of positioning the carriage, a wire that is akin to that found on Passap strippers is on its underneath. In positioning the carriage on the beds, check visually that it is indeed lying between the gate pegs of both beds prior to attempting to travel with it to the opposite side If any carriage jam occurs, it takes cautious wriggling to release the wire and carriage. Upon completion of the transfers, simply lift up to remove it from the beds.
Generally, the ribber tension used needs to be set on 4 at the minimum. The last row just prior to transfers will likely need to be knit at a looser tension than the remaining rib. If the stitches are too small they will not be picked up for the transfer. Folks familiar with lace knitting are aware that just the right amount of weight can make a difference in forming proper transfers. With these fabrics, too little weight may result in loops forming on gate pegs, too much weight, and stitches may remain over closed latches on the ribber needles and not share their yarn for transfers. Again, the transfer carriage operates only from right to left.
Studio instructions for their version of the accessory actually offer some different and more specific recommendations. When knitting full needle rib all the needles or pattern segments the machine generally will be in Half Pitch. Though there are needles in work on both beds, the ribber should be set to full pitch, aka P position, “point to point” prior to transfers, bringing them in close alignment in order to facilitate the process. Passap machines accomplish the same by changing the angle of the racking handle to other than the full, up placement in order to achieve the necessary alignment.
The Brother accessory and its parts, have clear imprinted illustrations for use

The change lever has only 2 positions, up and down respectively Its position is determined by the number of needles on the ribber one wishes to transfer.
The carriage manual recommends its use after knitting a last ribbed row to the left, but it is possible to use it with both knitting carriages on either side, as long as there is generous space to clear all stitches when the accessory is placed on the bed, moved to the opposite side, and removed. An extension rail may be needed to achieve that amount of clearance.
Operating slowly, one can watch the process of transfers while moving from right to left. Though skeptical, I found the transfers happened easily, with occasional skips. I worked with hand-selection of needles on the ribber to create a pattern, first with hand-selection, then with racking the ribber position to change the relationship of needles on one bed to the other, initially transferred after every 2 rows knit. The knit carriage was set to knit both ways, the ribber to knit in one direction, creating loops on the selected needles, and securing them in the other, allowing for the loops on the ribber needles to be transferred up to the main bed, before working 2 more rows. The “errors” in patterning were operator errors in needle selection as stitches were dropped, and not all the required needles were then returned to work position. Not a technique I would use for all-over fabric, but good practice. When the transfer occurs properly, the ribber needles will have yarn placed over closed latches, ready to be dropped, the yarn is shared and looped over stitches on the main bed, akin to tuck loops, outlined in the photo with the black oval. The first image is from the manual for the accessory, while in the photo, one improperly transferred stitch is outlined in red. To prevent dropped stitches from happening, any such locations will require a hand transfer to the opposite bed before dropping the remaining ribber bed shared stitches For my test I used EON needles on the ribber, planned alternating selection for each new transfer. This could be done by selecting dashes and blank spots on needle tape ie. dash in the above photo, blank spaces below It was faster to achieve the effect by changing the ribber relationship to the main bed using racking by one position ie 10, 9, 10, 9, etc. prior to picking up the subsequent set of loops. The errors in the test swatch were from failing to bring all the needles back up to work after dropping their stitches. Using a tool ie. a ribber comb placed over the out-of-work needles prior to dropping stitches made the racking process far less error-prone, will keep the appropriate needles from being accidentally taken out of work. My first attempt at creating shapes includes a band at the bottom where the EON transfers as above were made, but every row. Simply bringing needles into work on the opposite bed creates an eyelet. They can be eliminated by sharing stitch “bumps” on the opposite bed, but for the moment they are a design feature. The texture created appears in the areas involved on both sides of the knit It is possible to transfer single needles at sides of shapes ie or whole rows, but the change lever needs to be set to position accordingly.

Many knitters have one of these tools in their stash, they are sometimes referred to as “jaws”, intended to facilitate transferring between both beds, and patterning was intended for Studio punchcard machines. The enclosed punchcards: Shadow lace tools are marked side 1 and side 2. Some are blue on one side, cream or white on the other, the blue side is side 1. The process always begins with side 1, or blue. When the stitches have been removed, the jaws are closed, allowing the stitches to slide over to side 2. The jaws are once again opened, and the stitches are transferred to the opposite bed. Studio machines select and knit in single pass rows. Brother preselects for the next row of knitting while knitting any one row in pattern as well, so transferring in pattern from the top bed down with such a tool would be problematic to maintain proper pattern needle selection.
To transfer from the ribber up on any machine, place the teeth of the jaws on the needles on the ribber, holding it with both hands. Pull needles up until all stitches are behind the latches, then push down with another tool or one of your hands until all stitches are on the jaws.
Release the tool from the ribber needles, and rotate it away from you, toward the main bed. Close its teeth so the stitches are transferred onto side 2.
Open teeth, place eyelets over the main bed needles, and stitches are transferred onto the main bed by rotating the tool away from you just a little and tugging down a bit.
On Brother, the possibility of having patterning on the top bed to help track patterning on the ribber in some way comes to mind. This was my start, with the first draft of electronic repeats. I stopped when I began to have some tension issues, loops on gate pegs, and a distracted brain.
Transfers of stitch groups, whether by hand or using the accessories are made on rows where no needle preselection occurs on the main bed This series is a proof of concept for my approach to developing electronic cuesThe original repeats were modified to include 2 blank rows between segments that allow for transfers between beds not hampered by needle preselection on the top bed. The motifs are color reversed, but not the blank rows between them. The knit carriage is set to select needles KC I or II, end needle selection does not matter. All needles on the top bed knit every stitch, every row, whether or not those design rows contain black pixels. No cam buttons are pushed in. Blank areas between black ones indicate the number of needles that actually need to pick up loops on the ribber to create shapes, filling in spaces between selected needles until an all-blank row is reached for making transfers. The chart on the far right illustrates a shape where the easiest method becomes one where stitches on the ribber are manually transferred to the top bed in order to reverse the shape and maintain every row preselection. The selected needle corresponding to the black square marked with the top of the red arrows is pushed back, the ribber stitch below is transferred onto it, the needle with the couples stitches is brought to E position, moving across the bed in proper locations prior to knitting the next row. In this repeat, the side vertical panels of ribbed stitches are added. The knit stitches on each side of them roll nicely to the purl side, creating what in some fabrics can actually be planned as an edging. My takeaway is to test the accessory with some patience, sort out the sweet spot for the ribber needles in relation to main bed ones in terms of handling transfers and yarn thickness, use colors that allow for easy recognition of proper stitch formation, keep good notes, and “go for it”.

One way to add color to the mix is to use the plating feeder.

In the first sample, equal thickness yarns were used, the colored yarn was a rayon slub with no stretch and slippery nature. The bottom of this test used a wool yarn of equal weight to the light color, which proved hard to knit. The red is a 2/48 cash-wooll A very narrow test for a possible pleated pattern

It is possible to construct the same type of fabric on a striped background. It can be achieved low tech with graph paper and pencils if needed, using a simple paint program, Gimp alone, this is my process using Numbers and Gimp:
1. determine the desired shape, width, and height, checking that it also tiles properly
2. create a table with square cells the same width as the number of stitches in your design, twice its height; use an even cell size ie 20X20 pt
3. hide all odd-numbered rows from the top of the table down, the table will shrink from 20 rows to 10
4. draw your repeat
5. unhide all rows
6. copy and paste the table; double the cell pt height only to 40, making the repeat twice as long
7. mark corners or part of the edges with another color to make it easier for Gimp to identify them, select all and remove borders, grab the image with an added surrounding colorless border
8. open the screengrab in Gimp, use crop to content, fill colored squares with white, change the mode to indexed BW, scale the result to the appropriate size, in this case, 18X40, export png Cast on for EN or EON rib. Transfer all the main bed stitches down to the ribber. Extra stitches can be cast on and transferred in addition to the planned width of the repeats to create a border on either side of the designs. During patterning there will be stitches in work on both beds at intervals, so the pitch needs to be set to H while knitting. When the top of the piece is reached, transfer all ribber stitches to the main bed and bind off.
The first preselection row is knit from right to left in the contrast ground color.
With COR bring all the needles to be worked in the pattern color to B position on the top bed.
The knit carriage is set to slip in both directions. End needle selection is canceled. The ribber remains set to N/N for the duration. Knit to the left and begin changing colors every 2 rows.
The shape increases are created automatically, with eyelets at the edges where each stitch is picked up for the first time on the top bed. COL when the first needle is preselected in this case for the start of the next shape, transfer all previously formed design stitches on the main bed down to the ribber, continue knitting If any stitches are pushed all the way back or in mixed alignment during transfers, be sure to return them all to B position, not disturbing the needles already preselected for the next pattern row, repeat as needed. Because one color knits with every carriage pass while the other slips behind it not knitting for those 2 rows, the striped background fabric will become distorted depending on yarn and stitch size used, most likely particularly noticeable at the top and bottom edges of the piece.

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 B position, 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 24 st 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

Some notes on machine knitting color changers

One double-bed example, the Brother 900 E DB changer for use on both standard and bulky

The Studio/singer YC6 may be used either on the single or double bed simply by repositioning one piece. It includes a 4 color tension unit, a special sinker plate, and a set of cards that are for use only for DBJ. It has a 4-button yarn changer, which can be set for automatic 2-color changing.
Brother/Knitking comes with a supplementary two-color yarn mast, a special sinker plate, and a four-button changer. A button must be pressed manually for each color change.
To color change on Studio, the next color button is pushed/selected when the KC is on the right, in Brother machines, the button for the next color selection is pushed after the KC is in the yarn changing area after the audible “click” is produced when the carriage has traveled far enough.

The wires and tension units exert more tension on the yarn than standard tension units, which affects gauge so if one is knitting garments, the units should not be changed while working on the same piece, nor should calculations for gauge be used if they were produced in the same yarn, but using the alternate tension unit. Tension may have to be raised by at least one number or more to prevent dropped stitches and obtain the desired feel/drape.

If a carriage jam occurs, the sinker plate needs to be removed before using the release lever for KC.

If using changers for fair isle: in cards punched for FI knitting single bed, normally the contrast color, corresponding to punchcard holes (black squares on mylar, or pixels, depending on machine and programming) is placed in the B sinker plate feeder, and background yarn in the A.
When using the color changer, the manuals will state that the main color is normally in B while the contrast color is in A, where it can be changed automatically. However, that depends on which part of the design is to include the color striping. If it is to occur in the motif, the card needs to be modified by being punched in reverse. If the striping is to occur in the background, a standard card and position may be used. If one wishes to alternate, both ground and motif may need to be punched separately as for use in 2 color slip stitch.

More than 2 colors per row require color separations of the original design for knitting with slip stitch setting, carrying one color at a time, in 2-row sequences.

The double bed color changer is used often for DBJ with color-separated cards though other fabric options are possible. It may also be used for single bed work, but the ribber must remain raised and the ribber connecting plate is used. This means that single-bed fair isle knitting is not possible, because there is only one feeder in the ribber connecting plate.
Using the changer is a viable option for knitting striped patterns on bulky machines. There are no brushes to help anchor the knitting like the ones in the single bed sinker plate, so even though the fabrics may be worked only on the top bed, careful choosing of repeat and adequate weighting is required ie in color tuck/slip mosaics, etc, knit with color changes every 2 rows.
I have read that Toyota did not have a color changer due to its built-in simulknit/automatic DBJ, with only 2 colors knit in any one row.

Sometimes metal parts/wires get bent in storage or handling even on ribber sinker plate, and may need a bit of bending and tweaking if colors are not getting properly picked up. Some Brother color changers have small adjustment screws under the arm that may loosen, and change their alignment to the needle bed, which is easily solved by adjusting/tightening the screw. Sinker plates should be cleaned and may be adjusted if required, just like the standard ones.

Some references: Studio YC6, Brother manuals

The set up as described in an early Brother Fashion magazine

from the KRC 900 manual

High tech version: 1 set up 2 in use Automatic knitting system based on the Brother KH-970, consisting of a knitting machine Brother KH-970, set for the ribbing attachment KR-850, KE-100 motor drive, and automatic color changer KRC-1000E (6 color changer).

The Brother single bed changers are the only ones I know of where the yarn remains in the changer after the color change, never leaving it.
A later post including some single bed color changer info: https://alessandrina.com/2017/05/01/knitting-in-pattern-with-2-carriages-brother-punchcard-kms-2/.
Excerpts from the 820 manual: The auxiliary yarn tension stand was eliminated when later models introduced a place in the machine casing for the extra mast, my 930 actually offers 2 spots

It is possible to cast on while the color changer sinker plate is in use, making certain the yarn is used and retained in its proper placement in its roller. I prefer to cast on with the standard sinker plate, knit some rows, weigh the piece, sort the required tension, place the yarn in its position in the changer with COR, and then continue.
It is always a good idea to test color-changing sequences on some waste yarn rows prior to the permanent cast-on of the finished piece.
A common cause of color-changer crankiness is simply not moving far enough to the left before changing colors, a step that definitely requires using that “lace” extension rail.
The use of waste knitting is shown in the directions found in the manual as well.

An added difference between brands, the Studio changer uses letters, and the Brother uses numbers for yarn positions in changers

At the opposite end of the spectrum, the image below shows a low-tech “color changer” marketed beginning decades ago, and still available online. It is not practical to use in DBJ knitting because of the issues involved with removing the yarn from the ribber sinker arm in order to switch colors but can be an alternative for working single-bed on multiple gauge machines. It provides a way of holding the yarns that is easier and more successful than some of the other “creative” options for knitters who do not yet own a color changer accessory appropriate for their machine. An improvised “color changer” for knitting multiple color dbj by Chris Burdge, shared in the Ayab FB group.

Using the Brother knitleader: some tips

I recently brought my knitleader out of mothballs after a long period of no use, tend to use the magic formula for most of my simple charting
oh the math! Magic formula
online generators in includes a variety of calculators and methods for designing knit shapes

When using the knit leader you do not have to match the given yarn or gauge for a published patterns, they can be adjusted for size and for the type of yarn used in the specific project.
See Intro to knitting: gauge swatches for added guidelines and tips.

Manuals for 6 different knitleader models may be found for free download online at sites such as machineknittingetc.com .
KL-116 model, and a beginner’s guide to using the knitleader
Measurements are in mm, and taken with the ruler provided with the accessory or a substitute if the original is missing or lost.
Drawing on the sheets should start with a reference line at least 2 inches above the bottom of the sheet.
The midpoint dotted line represents the center of the piece.
The sheet is divided into 5 mm X5 mm squares and by thicker lines every 5 cm. The drawing space measures 63 cm (app 25 in) X 103-5=98 (app 38.5 in)cm allowing for starting line position.
The desired shapes are drawn on the sheet in actual size, using any water soluble pen. Multiple garment pieces may be drawn on the same sheet, it is easier to follow the respective lines if they are drawn in different colors.
Sheets may be used again and/or cleaned for next project. If the drawing happens on the reverse side of the sheet for some reason, take care in cleaning it off, the blue grid may be wiped off and lost in the process.
Do not bend/ crease mylar sheet or stitch measure scales.
Waste yarn and ravel cord are used prior to any permanent cast on to allow for knitting to begin on the starting drawn horizontal start guide line and with the yarn for the project.
When shaping narrower pieces on one side ie at neckline to shoulder or in holding techniques, be sure to move the carriage until it passes the feeding lever, so as to advance rows accurately.
These pages, from my own knitting KL-116 model, show some of the basics related to KL use Parts:

From a manual for a different model, shaping suggestions: Check ruler markings against the gauge swatch after the initial selection. Each ruler offers 4 options in terms of stitch markings, sometimes rotating the ruler or flipping it over to its opposite side is needed for a closer match. Bulky knitting machines use a different set of rulers. Besides the obvious difference in the distances between stitch markings, the standard rulers are identified by the same number on both sides, 1-20, while bulky rulers advance by single numbers on each side, are numbered 1-24.

Standard machine:
Vertical control: before you can shift gears you must depress the clutch. Tripping the feeding lever will usually release it.
Video on cleaning and lubricating the knitleader offer hints on maintenance or repair.
Testing for accuracy: set the row regulator to 150 mm and turn the knob 20 rows. The mylar should move the distance between 2 heavy lines, 5cm or approximately 2 in.
After measuring your swatch: draw a small horizontal line on the mylar sheet, followed by a vertical one to match cm +mm measurement for 60 rows, and a small horizontal one again.
Air knit 60 rows, beginning at the bottom mark, and at their completion, the top mark should be reached.
For ruler accuracy: there should be exactly 40 stitches between 0 and 40, lining up the tape on your swatch stitches and corresponding lines should match. If they do not, select another ruler close in range, until they do.
The pin is usually set in the feeding lever in the hole on the left.

The hole on the right is used when the length of 60 rows is less than 6.0 cm, which can occur in textured stitches such as tuck and slip, or fine gauge. In such cases, the row measurement is doubled, and the pin is inserted in the right side hole.

Single motifs may be placed anywhere on the drawn garment shapes, which in turn may be rotated to any angle required for the specific piece. Using the knitleader on the bulky:
A different set of rulers for the lower stitch/inch gauges is supplied with the machine purchase.
Make swatch as directed. Swatch guidelines from the manual (pp 45-47): I prefer to measure the full width in more than one place, then dividing the chosen result by half rather than relying on 2 single points as shown for the width measurement.
The bulky machine included stitch rulers when purchased new.
There are 2 gauge numbers on each corner instead of 1.
Every 20 stitches and 30 rows should match the numbers used for measurements.
With the pin placed on the left hole of the feeding lever, the arm will be tripped twice with each pass of the carriage. The shorter tripper on the back left of the knit carriage trips it once, the longer row counter tripper on the right also trips it on the travels from one side to the other.

For ribbed fabrics with high numbers of rows per inch: illustration from Brother ribber techniques book

Using half-scale patterns on brother’s full-scale knitleader.
Make the usual 40 by 60-row swatch (on the bulky 20 X 30 rows), or your preferred size and adjust measurements accordingly. Measure swatches with any centimeter ruler.
The stitch gauge: 1: follow outline but double the number of stitches indicated at all times, or 2: purchase a set of studio half-scale rulers and the accompanying “green ruler”. The S side of the ruler is used to measure stitch swatches over 20 stitches. The number just inside the right marker corresponds to the number of the correct stitch scale to be selected from the set. Each mark indicates one stitch. Measurements are based on 10 cm (4 inches).
Plastic rulers need to be taped into position. If there is a handy copier, paper rulers can be printed and placed/adjusted to suit, after checking on the accuracy of the reproduced scale.
For the row gauge: On the knitleader, the central peg is normally put in the left hand of the 2 holes on the plastic fingers in the front. If you put it in the right-hand hole, however, the chart only moves every 2nd row, which balances out the 1/2 scale in length. Program as always, setting cm and mm after pressing the clutch, but drop the connecting pin into the right hole of the feed lever.

Every other needle knitting: measure the swatch in the usual way, divide it by 2, and count every other line as a stitch, or use a ruler that factors in the number of needles as “stitches” before needles were put out of work. If the row count is higher than the highest number available on the regulator, divide the total by 2, and draw the outline half scale.

I like to measure a large swatch and get my final measurements via math to the second decimal point. It is possible on my model to shift tape to change the center 0 position. For sideways knit or wide pieces tracings of rulers can be made with 0 marking at the far left or right as needed. My math starts out with measurements to the second decimal point, rounded off up or down at the last possible minute.
The mylar sheet may be turned over, shiny side down for use in asymmetrical shapes that need reversing/do not have a central axis. Again, take care in cleaning it, the blue grid may be wiped off and lost in the process.

Drawings on mylar may be followed for colored intarsia or intarsia weaving.

Altering the scale of pattern drawings: the studio half-scale ruler was quite handy, pictured

Studio gauge rulers: depending on your machine, there are different numbers of stitches and rows marked. For 4.5 standard gauge you need to isolate 40 stitches and 60 rows; mid-gauge needs 30 stitches and 40 rows, and the bulky needs 20 stitches and 30 rows. To use the rulers: one side has an “S” and the other side has an “R” marked on it. Place the gauge ruler with the “S” side up to measure stitches. Place the cut edge of the ruler is against your chosen markings for stitches. Where the edge of the yarn marks lay, note the number, this is the value for the stitches in 4 cm.
Flip the gauge ruler over to the “R” or rows side and place it vertically to measure rows. Place the cut edge and the bottom of the first stitch in the main color yarn. Look up to the top where the main color yarn meets the contrasting yarn row, This is the value for rows in 10 cm or 4 inches.

tt-30-stitch_scales / Studio tips and techniques #30, now available for free download online from multiple sites includes more information on their stitch scales

scale and technical drawing; instructions for creating printable rulers

Water-soluble markers are helpful for colored cues for garment segments, multiple drawings on a single sheet, etc. I use template marking pencils may also be found in colors

It is possible to use various sources for the pattern drawings. If measurements are given in a diagram they can be drawn as given in inches or centimeters, and matched.
Sewing patterns may be traced, generally the seam allowance is eliminated since knitted pieces are joined by as little as half stitch on each side.
When attempting to match hand knit instructions, match the given gauge with the settings and ruler on the knitleader.
Load a mylar, with a horizontal line 2 inches above the bottom of the sheet as a starting guide. The shape will then be “air knit”.
Begin with the row counter set to 0.
Using a water soluble marker place a dot on the sheet at the original width and then every time shaping in or out is performed.
Marking with an added small line when a row count is reached ie at the start of armhole or neck shaping provides a roll back to point if marking becomes confused or needs to be double checked for any reason.
When all shaping is complete, remove the mylar and connect the dots.
Change the knitleader settings and ruler to match the swatch gauge for the planned piece, insert the mylar, and knit.

The wonders of blocking

Blocking is one of those knitting preferences that can arouse strong pro/con arguments, and goes the range from casual to nearly compulsive with wires, pins, and assorted tools used to achieve desired results. My shawls continue to sell well: the photos below illustrate part of the process and 2 of the most recent in their family. All shaping and joining are achieved through the knitting process; the shawls are reversible, may be worn and draped in a variety of ways.

before steaming and pressing

unblocked1

detail shot after steaming/pressing

blocked1

one way to wear, purl side facing out

shawl1