Brands other than Brother – Page 3

Studio multi transfer lace punchcard use on Brother punchcard machines

Some Studio punchcard patterns

Pattern 113 (bottom left) has a single blank row between groups of multiple transfers (indicated by punched holes). These correspond with single rows knit at the completion of each set of transfers. They are highlighted with red lines in the related punchcard image below.

Essentially the same repeat, found in a different publication source, was interpreted for use in the 910 electronic in my previous post, nearly a year ago. Pattern 112 (middle left on the first image) has some noticeable differences. To start with, at the end of each set of transfers, there are 2 blank rows (red), as opposed to one in #113, making it suitable for use on Brother KMs almost “as is”. Studio punchcards for this type of lace generally begin with 2 blank rows (blue highlight). Brother cards generally begin with the first row of punched holes for row 1 of the pattern. The Studio first 2 blank rows would normally be moved up to the top of the punchcard if punching your own, or simply if the card is pre-punched, a different row # selection may be chosen for the first selected row.

In the middle of the repeat, where the first set of transfers is completed, there are several (six) unpunched rows,

and at the punchcard top, there are 4 blank rows. These last rows, added to the first 2 rows (blue) will total another set of 6 unpunched rows at the top of the alternating pattern repeat. These multiple blank punchcard rows result in knit-only rows when using Studio KM. In Brother, the knit carriage does not advance the card unless cam buttons are in use ie for tuck or slip settings. Generally, if multiple plain rows are desired, this is indicated in Brother appropriate row markings on the card, and need to be tracked by the knitter.

Lace cards generally require few punched holes but can be considerably longer. To insure 2 rows between each set of transfers I highlighted them on my card in light blue pencil, helping me place repeats properly. Following the highlighted markings above, the first 2 blank rows (blue) are dropped, a set of 6 is reduced to 2, and the top 4 (Brother lace usually ends with 2 blank rows) are reduced to 2 as well. My resulting punchcard is shown here in 2 segments that were to be joined with snaps for continuous use. I found in knitting the samples, that I was having a problem with the single row near the join being read correctly when using only snaps, the problem was solved when I taped the 2 cards together across their width. This particular punchcard roll was sold as for “Brother”, but markings are for Studio. Brother selection row 1 is marked on right. Thick pencil markings indicate the viewable point where rows are knit at the completion of each transfer sequence. These make it easier to know where to roll back the card to knit rows, as opposed to relying only on any of the row number markings. I prefer to unravel down to knit rows when correcting dropped stitches or other “mistakes”.

I omitted the extra knit rows (4 out of a series of 6) in my own sample (shown lightly pressed). This eliminates the visible break between eyelets in the knitting reference swatch jpg.

studio09

A WIP using the card showing the differences between “blocked” and not may be seen in the later post.

Studio transfer lace knit on Brother 910

Eons ago I had “saved” a random copy of a japanese punchcard pattern in the someday I will figure it out pile. I was attracted by its opennes and what appeared to look like ladders as well as holes in the small B/W photograph. I have more experience in knitting and understanding of lace now, and in the process of studio clean up and paper possible recycling I found my “future project” and thought I would “tackle” it

the card

As can be noted in numbered markings, the card is a studio lace card. In addition, between series of transfers there is a single blank row = a single row of knit as opposed to the 2 rows commonly seen in brother’s kms’ lace

my mylar repeat, with notes on R sidebar as to # of LC passes, rows knit

the method: with no repeat adjustments or conversions

I began with lace (LC) carriage on left (OL), knit (KC) carriage on right (OR). Because a selection row is required for the first transfers row to occur, I added one row to each of the suggested lace pass sequences marked on the punchcard. The LC as a result travels an odd number of rows. It will begin on the side opposite from, and move toward the KC. At the end of each of the odd numbered row sequences it will reach the same side as the KC. At that point there will not be any needle selection. The LC is released from the needle bed, and the KC knits only one row to the opposite side and remains there. The LC returns to the bed opposite to the KC, and the sequence is below is repeated:

LCOL 9 passes, release
KCOR knit one row to left
LCOR 7 passes, release
KCOL knit one row to right
LCOL 5 passes, release
KCOR one row to left
LCOR 3 passes. release
KCOL knit one row to right

I used a waste yarn acrylic for my swatch, which became scratchy, flat and stiff, losing any texture when pressed, and shrinking a bit so as to almost looking felted, yet another reminder test small swatches fefore committing to larger pieces. Here is the result

knit side

purl side

a new day, a different fiber, the joy of not noticing dropped stitches

“unblocked”, rayon yarna bit closer, after light pressing

for sample knit on 930 with img2 track please see later post

Drop stitch lace, 2 colors per row, japanese machines

This is an attempt to duplicate the results of Passap tech 185 used in knitting multiple colors per row drop stitch “lace” fabrics.
The method may also be used for more colors per row, expanding the repeats accordingly to the number of colors per row X 2 for each motif row. For example, here 2 colors per row are expanded to 4 rows for each color in length, 3 cols per row would need to be expanded to 6 for each design row.
This fabric widens considerably when completed, so at the top and bottom edges, cast ons and bind offs, need special consideration and planning.

In this instance, the design has been separated for the dbj method wherein each color in each design row knits twice. The second row in each pair of rows is then cleared of any pixels which results in no needle selection, providing an opportunity for the loops formed on the main bed to be dropped with the assistance of a stitch ditcher.
The fabric may also be executed using the original separation, but the opportunity to use an accessory to facilitate stitch dropping is lost’
The method for swatching: cast on for every other needle rib, knit 2 circular rows followed by one row of all knit rib, and transfer all main bed stitches to the ribber. For an open stitch cast on directions and photos see later post.
COR Set up needles on both beds for every needle rib with an extra needle in work at each end on the main bed, cancel end needle selection (KC II). With the main bed needles in the B position, set the knit carriage to slip in both directions so as not to pick up loops across the whole row as the first pass toward the color changer is made, needles will be preselected for the first pattern row
COL: the ribber remains set to knit every needle, the main bed to slip in both directions. A piece of tape in front of needle butts of needles in A position aside from the edge needles in work helps keep from accidentally moving extra needles into work when dropping whole rows of stitches
change color, as the carriage moves to the right, selected needles will pick up loops on the main bed that will form the long stitches when dropped, while the next row of pattern is selected, so by the time the carriage has reached the right side of the machine, needles will have flatlined due to the all blank rows in this type of color separation
COR: use any convenient tool to bring all needles involved out to E, and use the same tool to return all stitches back to the B position, dropping the loops on the main bed which will form the long stitches. With this type of color separation, it is also possible to use a modified Studio P slider Directions on altering the studio tool for use on Brother machines to drop stitches from right to left before continuing to knit.
Check that all needles are empty and that loops free and between the beds.
As the carriage moves to the left again toward the color changer, the ribber only will knit all stitches (does so every row), needles will be preselected for the next row of long stitches, selected needles are not knitting.
Colors are changed every 2 rows
The pattern and the “color separations”, were achieved using GimpImages from left to right
1. motif lengthened X 4
2. every other row erased (non-selection rows)
3. 2nd pattern row (every other row of design now left) color inverted
4. pattern marked in 5X5 blocks for easier tracking when drawing on the 910 mylar sheet
A downloadable PDF of basic info 185_brother
sideway views: knit side purl side The emerging pattern can be seen, and to be noted is the elongation factor involved as in many color separation DBJ fabrics
For a later review of cumulative posts on the topic see: revisiting drop stitch lace
For the design method for staggered shapes in drop stitch see Ayab software-related post.
In other electronics, a single repeat in both height and width is adequate and machine selections will determine whether the design is knit as a single motif or as all-over patterns.
Ayab’s preselection is always from left to right. In unhacked 910s, the first preselection row can be from right to left, so no accommodations need to be made for shifting the last row to the first of the design repeat.
For machines accepting electronic downloads, program the repeat with the first design row containing black squares in it, and adjust the spacing between repeats as preferred. This particular version is 80 stitches wide In an unaltered 910 with the ability to double the width of the programmed repeat, mylar users are not excluded from exploring a similar fabric. The repeat above may be rescaled to half the width, drawn that way, and then use the twice as wide built-in feature. In Gimp scaling this design to half-width, note the right side of each repeat contains an odd number of squares, the left side an even one. The repeat may be used as-is or redrawn, adding or eliminating black squares if symmetry in each shape matters. The free program Paintbrush produces the same image, mirrored.
The explanation: further analysis of the original design reveals the fact that some of the pixel numbers in the design black square blocks are uneven in width. In this instance, 3.5 is half of 7, and half pixels cannot be rendered, so the software assigns the split to 4 and 3.
A Passap sample

Studio simple lace on Brother electronics

this method works for studio simple lace patterns, wherein a single pass the stitches are both transferred and knit. There has been information published on using Studio punchcards on Brother punchcard machines using the KC to select, followed the LC, each making single passes. My two previous posts on the topic: 2011/05/18/lace-cards-use-on-the-brother-260-bulky/ and 2013/03/17/studio-simple-lace-punchcards-used-on-brother/.
While working out yet another HK to MK lace pattern, I sorted out the following method for using Studio simple lace on the electronic KM. It is a method that does not work on the Brother punchcard to produce the same fabric, however; on punchcard machines, as either carriage is moved to select from the opposite side of the bed, the card will not advance on the first pass, interrupting selection. I tried a swatch and got a very different lace design; depending on the starting pattern the results may be interesting (do not use elongation), but not the ones intended to match any original.

The knitting samples shown below were knit on a Brother 910. On electronic machines, as seen in previous posts on knitting with 2 carriages, the mylar (or otherwise programmed) repeat advances a row with each pass of the carriage, no matter on which side of the bed the pass originates. Dropped stitches are harder to repair in these fabrics than in patterns for multiple transfer lace (there knitting can be unraveled to the start of a sequence where 2 or more knit rows usually occur), so checking transfers, gate pegs, and adjusting stitch size and weights matter even more. There is no need to mirror the image horizontally; draw repeat as is on punchcard onto mylar

start knitting with KC (knit carriage) on left, Lace Carriage (LC) on Right

program pattern double length
on the first row the LC selects, the next row it will transfer; LC always makes 2 passes toward the KC, even if those 2 rows in repeat have no needle selection, and is removed from bed to be returned to the bed on the opposite side after the knit row with KC that follows
KC knits a single row to the opposite side
LC is placed back onto the machine opposite the KC to make 2 passes
KC follows with a single knit row, and the last 2 steps are repeated
3 total carriage passes complete one row of knit
the chart below shows the actions and placement of carriages

this sample was knit beginning with lace carriage on left, as can be seen in marked areas, the alternating repeats have a different quality in the sets of transfers marked red vs green

the “successful” swatch knit beginning with KC on left, LC on right in the method described above

December 7, 2018: an interesting method using 2 lace carriages found on youtube

Large eyelet lace, hand transferred (or not)

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

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

the sample’s knit side

its purl side

yarn: 2/8wool

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

transfers are always made toward the carriage

single empty needled are put OOW after transfers across row

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

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

single rows are knit after each set of transfers

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

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

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

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

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

repeat steps 3 and 4 for the remainder of the fabric

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

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

the resulting fabric

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

Studio mylar use on brother machines 2

In a previous post I addressed some of the issues involved in using the studio mylars in Brother KMs. I have an enormous store of them from back in the day when it was only possible to have single patterns occupy a fixed number of rows, while the remaining surface for those rows was unusable. This fact changed when the company produced the EC1. I revisited this topic after a forum question on the subject. It would be convenient to produce consistent results with the Studio brand, and be able to use my stash of them as well.
It is interesting when one is trying to figure something out how sometimes the obvious may be missed. Instinctively this time, I simply lined up the bottom design row of both mylars before drawing the set line, disregarding the difference in length between the 2 mylars below it. This bypasses the 3-row difference in programming rows suggested in my previous post completely, while the shorter distance below the set line to the reader did not prove to be a problem I had tested template markers on Brother mylars when ink pens were discontinued and I had no luck with permanent markers, found they shed a bit and pencils tips broke easily, while I could not be as neat in rendering small markings as simply by going the route of using a number 2 pencil on the mylar’s back ( I prefer the Mirado Warrior HB 2). Drawing with enough density “within the lines” on mylars is rendered far easier with one of these templates, at one point made available from Brother. Similar ones may sometimes be found in stationary or art/ drafting supply stores. The images below show my first “new” tests: on the left, I drew with the template marker over previous pencil markings, the squares repeat over # 36 was made with multiple layers of a sharpie (which smeared even after what would seem like adequate drying time), the ones over #42 are made with the template marker. The sharpie did not get scanned properly by the reader, all other marks did. There is a guiding pencil line placed where the set line familiar to Brother users would be. In the first narrow column to the right, the pencil marking corresponds to the first visible row (design row 1 in reader). The column on the far right (absent from Brother) could be used for additional cues in knitting ie. color changes, knit rows between lace transfers, etc.

the template markers are easily available here in the US, for a little over $ 4 now; frequently they are found in quilting departments of fabric stores. I am not certain which specific brand mine is, but this is what it looks like

the “pencil” that appeared to work when used on the back of both mylars is the Pentech rubberwriter, which seems to no longer be available (rubber coating is on pencil exterior; results were random on Studio mylar)

When used on the respective brand machines, the Brother reader scans 13 rows below eye level outside the machine, while Studio scans 10 rows below This explains why the columns intended for memos extend up and beyond the last row which can have cells marked for pattern in each brand.

2021_ some FB knitters have mentioned having success with using whiteboard markers to make readable and removable if needed marks on Brother mylars

I had some erratic results as seen in the last post. Here a small success led to a bigger trial (template marker over motif previously drawn with studio electronic pencil) and I ran into a different problem: bands of rows on the mylar did not select; this may be seen in the image below (testing repeats for any stitch in FI makes drawing or punching errors easier to visualize), and recurred in a different area of the card, while at its very top nothing got read ->needles selected

———-

a couple of times over the decades of my knitting with Brother mylars I ran into this specific problem for no apparent reason, so I tested a different Studio mylar sheet, toward the top, and both the template marker and the rubber writer got to read/knit correctly

“going bigger” again, the pencil did not get read, while the template marker did

playing with a slip stitch on another part of the sheet (marker)

the “patterning errors ” in the image above (extra brown stitches third white stripe from the bottom of the swatch) were actually due to a bit of eraser left after its use on the mylar in the blank area of the card.

——-

In summary: there have been good results in my trials in using the template marker both on top of already rendered electronic pencil drawings or on previously blank sections of Studio mylars and subsequently having them read by my Brother 910, with limited results in having small repeats read when drawn on the back of the mylar in pencil, but not with larger motifs. There have also been some problems that are not immediately explainable.

Studio simple lace punchcards used on Brother

My previous post and a few others addressed some of the issues in knitting lace and the differences between machines. In this instance, I am exploring the use of cards that are designed for transferring and knitting at the same time.
Brother transfer lace is the result of using 2 different carriages.
The studio card used the resulting fabric

To knit using LC for transfers:
cancel end needle selection on knit carriage underside if possible or push end needles back manually if needed to avoid their corresponding stitches being transferred throughout the piece; set up for knitting the pattern as usual, punchcard row 3 (marked in pencil) becomes row 1 of the design when the above card is used in brother machine; the arrows always indicate the direction the lace carriage will move across the knit to make transfers in the direction of that same arrow
begin pattern knitting with COR, card locked, change knob on KC, needles will be selected for transfers moving to the left
release punchcard
LCOR moves to left transferring and is released off the machine (same needle selection appears, but those needles are now emptied of yarn)
COL: KC moves left to right, knitting the single row, all needle hooks are full, and new needle selection occurs
LCOL: makes transfers in the direction of the arrow, and is released
These steps are repeated throughout the knit, with the knit carriage knitting and selecting, the lace carriage following its selection to make the required transfers
If there is no pattern needle selection with the KC pass on any row(s), continue to knit until there is needle selection, and begin the process using lace carriage to transfer in the direction of the arrow now in view above the card reader, and once again releasing it after a single pass
A caution: hesitation and reversal in the movement of carriages in Brother machines advance the card in the reader, and result in mistakes in patterning; if errors are to be corrected or such movements need to be made for any reason, it is worth locking the card, checking row numbers, remembering to release the card before continuing, and visually checking pattern after the next knit row.

Another option is hand transfers:
KCOL: lock the card on the appropriate row, row 3 if using a Studio brand one
The KC is set to knit, with no cam buttons pushed in. As a result, there will be needle selection, but no patterning.
KCOL: make the first selection row left to right, release the card, and set it to advance normally, disregarding arrow markings on the card
KCOR: transfer stitches on preselected needles onto adjacent needles to the left, away from the KC, and knit back to the left
KCOL: transfer preselected stitches to the right and follow with a knit row to the right.
After each selection row hand transfers continue to be made away from the knit carriage, with transfers on odd-numbered design rows toward the left and on even-numbered rows toward the right.
Blank rows on the original design repeat will have no needle selection or hand transfers, the KC continues to advance the card and knit, producing stocking stitch for the necessary number of rows.
Before any knit rows when using tools for hand transfers, check that needles have not been accidentally returned to the A position to avoid ladder formation instead of eyelets or proper patterning.

Using Studio mylar sheets on brother KMs 1

Factory “drawn” Studio mylar sheets ie for 560 model KMs will work on the Brother 910 with some adjustments. Just as when using punchcards, the card reader drum as well as the mylar scanner “see” a different row as row 1 than the alternate brand KM.
The image below is a quick scan of positions of black/white squares on Studio mylar with a superimposed, unmarked one for Brother. The holes for movement of the mylar occur in just about nearly the same location. The first issue at hand is to draw a set line in the proper position for Brother pattern reading (traces of pencil line on the red studio mylar may be seen underneath the blue brother markings). Some machines are fussier than others with the set position, and I found drawing the line by placing the denser studio card over the brother one on a light_box surface made that very easy.
The second issue is that as can be seen above, the first design row on Brother is actually 3 rows below that on Studio, so when programming the repeat 3 rows should be added to the first row of studio repeat, and 3 also added to its top. For example in the studio mylar #1 segment below#4 pattern in Studio programming would begin on row 11, ending on row 14, to program same in Brother beginning row is 14, ending row is 17; stitch locations remain unchanged, but a reminder: Brother sheet is marked in 5X5 blocks of squares, Studio in 6X5.
Hand drawn studio mylars when using the pencil appropriate for them will not read, so sheets need to be marked with any tools you have used for doing so in brother markings in the past. One oddity I encountered is that with the drawn repeat below I had no needle selection until I programmed rows beginning above row 5, using rows # 9-12 as top and bottom of the repeat, not an issue with the factory mylar. I used a sharpie to draw the first pair of squares (has never worked for me), number 2 pencil on the reverse of the sheet for the second (my preferred method), and template marking pencil on the mylar front for the third. Drawing with the latter over hand-drawn studio mylars enabled those markings, in turn, to be read by my 910. One problem with the template pencils is that small pieces of the coating they produce may shed with use. The issue with bottom rows not reading did not repeat when I used a different blank mylar sheet and drew the identical repeat, nor did it occur with factory drawn. Sometimes there are no explanations…