Fair Isle – alessandrina.com

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

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

Seasonal knits inspired by published repeats FW 2025

With the approach of fall and winter once again, the post with Seasonal knits inspired by published repeats 1 was discussed in Ravelry.
This share adds to the library of collected repeats, aiming for daily updates.
When choosing any design, view or print the tiled image or selected portions magnified as much as possible, after giving the eyes a rest, before committing to knitting, which can sometimes be followed by disappointment.
Recently, I have begun to use the 930 Lace Carriage for preselecting needles in B position, moving toward the knit carriage, and then removing it, instead of switching to slip stitch for a free pass when needed and risking confusion in returning yarns to their proper position or forgetting to switch cam buttons for proper technique.
Charts will be provided for designs suitable for punchcard use.
18X24
22X20 22X22 24X22 24X24

24X24
The difference achieved by inverting colors in the PNG or switching placement of the yarns in their feeders:

25X26 26X26 26X26 26X26 26X26 26X26
27X27 two ways
30X30 with half segments repeating 39X30 34X32 34×32 color inverted tiling40X40
42X40 isolated from tiled repeat, 42X40 46X46 two ways combining repeats
48X48
65X6572X72
Developing DIY repeats for color striping or with color-inverted tiles can begin with any motif drawn in repeat with areas where pixels repeat in even numbers across rows or columns, lining up horizontally, vertically, or both.
If the goal is to knit a single bed fair isle, consider float management to secure the 10 stitch floats, as in this case, alter the repeat, or simply choose another.
There are several approaches for generating new designs from those already developed. One is to begin with a tiled version, choosing possible breakup points, which are highlighted here in magenta. The manually isolated repeat, 27X54, with the bottom half color-inverted.The design, drawn in repeat X 3, formed alternating color inverted horizontal bands with pairs of pixels at the tiling vertex. Making the choice based on personal preference to eliminate the extra pixels, using ArahPaint mirror X-1, 53X54.Color inverting each quarter for pattern blocks, 53X54,mirrored X-1, 52X54 A slightly different approach, starting with the 27X27 file, undisturbed, draw in repeat X2 in height, and using rectangle select choose the part of the design with the double row of pixels as the point for dividing the image into 3 segments, using rectangle select and colors > invert all, to form the new 27X54 file, for the horizontal repeat.The same file drawn in half-half-drop repeat for alternating tiles of the pattern, 54X54.The 27X27 doubled in width, 54X27,with the center 27 pixel section color inverted,for vertical stripes. Adding a few pixels for float control?
Problem area 1 Problem area 2 The proof of concept, knit on 61 stitches.Punchcard knitters can also add holes to specific areas for float control, such as in the 24X22 repeat shared at the top of the post.Card programmed designs are centered, mirrored horizontally, and repeated in fixed locations across the needlebed. The needle tape markings serve as guides.
When making pieces, if the goal is to place the center of the design other than in the default location, one solution is to move the work to a different place on the needle bed; the other is to shift the motif before punching the card.
Here, the chosen design is drawn in repeat to 48X22, the center segment is isolated, and cropped to the new 24X22 motif, shown on the right with the new holes to punch highlighted in magenta.The chart for the full card, the PNG.The proof of concept swatch: repeating motif components on a more open background, beginning with 50X50 From A tale of crustaceans and critters, a large tile, 87X87,
from Color separations for larger-scale mosaics and mazes

Fair isle experiments

I am lagging in completing several blog posts.
While sorting my thoughts, illustrations, and wording of how-tos for those, I am enjoying the immediacy, clarity, and sometimes surprises of single-bed fair-isle knitting of some of the repeats shared in my published but not knit-tested collections.
This post is another “work in progress”, growing over time.
A reminder: the PNGs here are published as indexed BW, but when copied, will often convert and save in RGB Mode. Test and convert them back to BW before using them for download to machines. Not doing so can result in some interesting glitches with the appearance of errors in preselection.
Beginning with a 12X12 design, where symmetry is not the goal, rotating/repeating the file for a 24X24 repeat knit as DBJ on an electronic model due to the anticipated long floats. 34X30 knit double width and height 16X38 18X16 a previously shared cousin, 30X30. I have long been intrigued by the complexity of the hand-knit fox paw patterns. Published HK directions may be found in Xandy Peters’ blog.
These two shares are the very simplified versions of the inspiration sources.
The concepts were tested as fair isle; there are problematic long floats, reduced in number in the second variation.
A color-inverted image of the original PNG drawn in repeat could be used to fill areas with multiple colors, with the intent of possibly producing the results in DBJ after the supplemental software has performed the necessary color separation.
24X80
visualizing multiple color DBJ options using a coloring book approach24X82, far fewer problem floats 28X28, some floats wider than the usual recommended max of 5 stitch width, knit in all rayon, space dyed yarn pools unpredictably 30X30
24X34, untested 38X20 38X62
48X48
48X48 54X54tested on 82 stitches with programmed PNG 82X54, the digitally color-inverted knit image compared with the original. After the share, I noticed there appeared to be a pattern error in the center tile. Comparing the knit to the programmed repeat, the PNG appears correct.A different day, different yarns, the same programmed repeat, an error-free sample.Perhaps misselection in the initial swatch can be attributed to yarn tension/ feeding issues, static, or simply an unknown patterning crankiness.
Black and white pixels to black and white knit stitches:
larger patchwork, 64X64 Blocks and lines can create movement and at times optical illusions. Strong verticals may separate slightly at edges, and slippery yarns ie, chenilles and rayons, may worm and distort stitch shapes. DBJ is generally more stable, but with a different appearance.
Several added designs with repeating blocks in various sizes may be found in the posts:
A collection of geometric design blocks built with squares, rectangles, and lines
Developing tiled repeats suitable for multiple stitch types, including tuck
32X32 52X48 a 28X30 single repeat 60X30 testing the addition of pixels to form alternating wider bands of vertical patterning 62X62 186X186
test knit single repeat the tiled image can be cropped to change the focus of the design 46X46 184X18492X92 test knit64X64 192X192
a full single knit repeatBack to using color, 38X34

An 8X8 design that, when drawn in repeat, may be used on any machine: for electronic models, a 32X32 PNG,and or punchcard models, the full 24X40 chart.Previous blog posts containing FI info
Working with diagonal patterning in machine knitting
Shadow pleats with fair isle patterning
Revisiting fair isle, thread lace, 3D surface potential
Fair Isle single bed 1: float control
Fair isle variations and swatches
Matching patterns across sweater bodies and sleeves
Adding hand techniques/ cables/ punchcard repeats
Lace meets FI on Brother machines
Scarf experiments
Altered patterning using bleach discharge on knits

Playing with diamond and argyle repeats

More than a decade ago, I began a library of Hound’s tooth FI variations
that grew over the years. When I began publishing posts sharing my repeats was limited to screen grabs of the related charts. Since then I have been editing, adding PNGs that can be downloaded and used in electronic machines, or charts may be also downloaded and scaled as aids in marking punchcards.
Recent questions on argyle patterning have led to this post, which will grow periodically.
Many of the related designs form floats wider than the recommended maximum of 5 stitches and will require some float control unless they are knit as DBJ.
Some repeats are also suitable for use as thread lace or with tuck and slip stitch settings.
Elongation in some knitting techniques is to be avoided if possible. In some of these instances, multiplying the height of the original repeat X2 produces the more visually familiar argyle shapes.
Repeat segments can be edited to develop custom variations
16X16tiled16X17 tiled 16X34 tiled 16X32tiled 16X20 tiled 16X40 18X40
tiled 20X28 tiled 20X40tiled20X56 tiled24X24tileddouble height, 24X48tiled24X24tiled24X40tiled24X44 24X44 24X44
tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48 tiled24X60 for border or horizontal bands of design trimmed to 24X52 for all-over patterning 24X96
tiled24X96 tiled 32X44tiled 32X64tiled36X80tiled42X32tiled Passap 257 40X4040X80 Working in multiple colors and color ways beginning with colors >invert all
22X22 22X44 36X36 36X72 32X32
32X64 A coloring book approach can be used to develop DIY designs by filling in segments in any repeats provided expanding the color palettes, or creating custom-sized diamond outlines and filling in individual shapes between lines with colors.
Beginning with a 24X48 design visualization of patterns becomes easier on a larger canvas than one simply doubling the original to 48X4896X96 the smallest repeat segment, 12X24 for quick color changes to custom A 24X48 repeat with all white outlines for filling in shapes reducing the number of colors shifting shapes: 12X48 It is possible to form related shapes with hand-transferred stitches, as seen in Using punchcards to track small cables in pattern (1)

Cables meet fair isle

This sweater by Namesake, in the Fall 2024 collection, led to a FB query as to how to produce a cable version inspired by its color movement on home knitting machines. The discussion leads back to how to produce cables in 2 colors on home knitting machines in the best and accurate way.
One way to achieve color movement is to begin with using and modifying vertical lines.
Due to the fixed width between machine needles, it is best to use a fiber with a bit of stretch, such as wool, and often 2X2 crossings appear to be the limit for designs containing them in frequent, all-over patterns.
When working in single colors, there are ways to obtain extra slack to make the crossings easier, but using the FI settings makes the knit tighter, as in any slip stitch, limiting the use of such measures. In addition, returning the needles to the proper preselection position in the pattern after the transfers needs to be performed manually.
A starting best-guess rule is to knit a minimum number of rows between crossings, matching the number of stitches moved ie, for a 3X5 cable, knit at least 8 rows before repeating.
Tracking transfers can be achieved in several ways. The needle bed or tape can be marked with water-soluble ink, custom paper needle tapes may be printed to size, or paper strips simply marked and slid under needles in work.
In machines such as Brother, where needles are preselected, that fact can be used to advantage in establishing guides for the cable locations within the programmed design.
This swatch can be knit using a 1X1 locked needle selection.
While hand knitters have the advantage of seeing the color movement clearly on the knit side, machine knitters can find it harder to follow their locations with only the purl side facing them. The vertical stripes can be interrupted at intervals by additional patterns or shifting cable locations.
My charts begin in a spreadsheet, Mac Numbers. The first trial effort: To begin with, the goal was to avoid the 2 by 3-pixel blocks that occur with tiling, which upon later consideration, might aid in avoiding placing cables in the wrong columns, resulting in a 20X18 design. Black pixels represent the dark color, or simply the color in the B feeder. The alternate repeat to yield those double-width blocks, 21X18.When matching hand-knit designs, such as in complex arans, the direction of the crossings matters and may need to be reversed throughout. In these instances, it is enough to be consistent, and their direction can be a personal choice. I prefer cabling right over left. In the first test, using the 20-stitch repeat, I marked up a paper strip placed under needles in work and followed markings for Row Counts and needle GrouP shared in the table on the right. The result begs the question of how to avoid cables in the wrong columns and the possibility of repeating them more frequently than every six rows. Occasional stitches in the wrong color may be duplicate-stitched to mask them, but small cables in the wrong place or the wrong direction are problematic. This repeat is 20X12 pixels, and it includes areas missing needle selection that will serve as visual cues on the needle bed for where stitches need to be crossed, now every 4 rows. Using the repeat on the 930 required mirroring horizontally to achieve the desired direction. Returning to the inspiration sweater, imagining a possible repeat, keeping in mind cable crossings no wider than 2X2. The knit tests were knit using 2/13 wools at T10+.
It proved impossible to use a tighter tension or to move across more than 24 stitches along any single row without stitches dropping from becoming too small or the yarn breaking. The solution was to place the cabled details in a center panel. Using similar panels between undisturbed plain or patterned columns could become planned design features.
The full swatch repeat, 40X20 pixels, reversed on the 930. The end needle selection is canceled, and cable crossings are all made in the same direction. The left pair moves under the right pair to the right, and the right pair moves to the front and behind them onto the two empty needles every 10 rows, immediately after the change in needle preselection and before the following knit carriage passes.
A printed needle tape can help track their locations. It is placed on the proper preselected needles, bring those needles out to the E position, check that transfers have been made properly, and knit the next 10 rows, repeating the process. Maintaining diagonal details requires planning a repeat that works as an all-over design, then choosing a panel to add to cable details. One such repeat, 12X12, the smallest repeat, 6X6, could be used for bucket filling parts of designs with a pattern in Gimp
tiled alignment test: maintaining diagonals with cable crossing blocks, The proof of concept after testing yarn tolerance for crossings, using the 24 stitch repeat suitable for punchcard model machines as well: Fails are easily predicted in a paint or image processing program when rows are added keeping the repeat at 24 wide, the diagonal is not changed, but the spacing between cables is increased ie by 2 more rows: Making it work: 24X48 rows
More on developing DIY cable charts:
Visualizing knit cables 3_ using Numbers and Gimp
Visualizing knit cables in color 2_ using Numbers and Gimp , includes cumulative links
ArahPaint is often a part of the process now as well

Seasonal knits inspired by published repeats 1

In previous posts, ie Numbers and GIMP: online punchcard patterns to electronics 2, I shared some ways of converting online images from varied published sources.
This series was edited using primarily ArahPaint and some Gimp, both are available for free.
DAK users have the ability to achieve similar results in that universe, producing stp proprietary files. There is no export (or import) available to other formats ie png or bmp possible.
Fair isle is not in my preferred wheelhouse, especially in season-specific designs, but that said, I have been sharing these repeats in the FB machine knitting forum and thought I might make them available to others here as well.
The pngs are editable for further DIY modifications.
24X18924X94 24X85 cropping given repeats for desired tiling, # 1068 the original 24X119 png cropped to 24X105 My first encounter with “naughty reindeer” was during a Brother dealer-sponsored small machine knitting club meeting. A present update, using a Pinterest find as the source the original 24X60 with 2 rows added to 24X62in brick repeat, 24X124

A 40 stitch Madag design 40X68_1 40X68_2 A 24 stitch version, with the moose, and without the original, 24X152 cropped to 24X118 with the moose edited out, 24X84 Snowmen and trees
24X120 24X50_1 24X50_2 testing tiling before knitting, editing out unwanted symbols the original 24X99 the edited 24X74 As a 24 stitch repeat, this is suitable only for single motifs, since repeating them horizontally would join the darker ball shapes. Adding a blank pixel column on the far right changes the horizontal alignment. A few pixels added at the top of the motif form an unbroken join vertically, the final 25X146 shown on the right This Santa was identified as being attributable to Knittery, a company long defunct that offered pre-punched cards for purchase. Images where the background is punched out make it possible to introduce striping it with the color changer or using the chart for duplicate stitch embroidery on a knit ground. the original, 24X38 in half drop, 48X38 and in brick repeat, 24X76

the original, 24X185 with the elimination of some rows, first at the very top and then just above the snowman’s hat the final 24X182 png The question as to how to adjust repeats for use on 12 stitch knitting machines often comes up in forums.
Continuing in the seasonal vein, the easiest method is to begin with a 12-stitch repeat that occupies only half of the card vertically and twice in width. Here the original “half” is 12 stitches wide, 46 rows tall.
One method for the conversion is to work on a spreadsheet:
Begin with a table 24 cells wide, adding enough rows to the expected planned height to repeat the snowflake border, 46 cells in total
configure the cell borders for easy viewing, ie with a 3 pt red lines
hide 12 columns beginning with the second from the left
fill in black cells matching the original design or the DIY version
unhide all 12 columns for the final repeat When converting the screen grab from a spreadsheet to png in Gimp, before scaling to final size, a first scaling may be required to make certain the result is divisible by the expected number of stitches and rows using the broken chain link, and then scaled again with closed chain link, the first png Working in Gimp or any paint program
draw the “original” and save it, mine now has 2 added rows, one above and one below the deer, making it 12X48 pixels scale it to twice the original width configure the grid properties for contrast/easy viewing
fill in every other column with white using a straight line white pencil. To do so, select a pixel with the mouse, hold the shift and command keys down to draw the lines, and release the mouse to stop. The first white pixel may be placed within an easy-to-follow section of black ones and then the mouse may be held and moved up and down to complete each column. Save the result.
Proof that it is always a good idea to draw the initial image in repeat before committing to color separations or any downloads and actual knitting: Two possible alternatives in adjusting the design to one’s preference are marked in 6X6 grids in ArahPaint to match markings on blank Brother factory blank cards:
the first removes a snowflake border and is reduced to 12X39 pixels, the second adds 4 rows at the top of the second snowflake border, 12X52 the number of rows between motif segments can be varied for planning the introduction of stripes in added colors If only Gimp is available, I have not found a way to vary colors in grid borders in blocks other than to use guides, appearing as dotted blue lines. A break from reindeer, teddy bears and hearts follows, perhaps for a baby gift or to save for Valentine’s Day. When clear horizontal borders are added to motifs, the half-drop repeats will produce mixed results. the pngs:
24X3924X78 48X40 24X6024X30
48X30
24X26
24X52
48X26 Bell motif variations
24X3024X48 48X24 The last in this series, a nutcracker motif inspired by a larger scale cross stitch design, reduced by me to a workable 24 stitch MK design with varied borders and collaged small motifs in the background 24X101 24X87 24X87 with added background designs Considerations in choosing a design are guided by its end use, tiling the repeats leaves fewer surprises in any actual knitting.
This might appear in casual observation to be a “snowflake”.
The full 25X25 pixel version can be isolated, with matching fragments around the whole. Magenta lines indicate cropping points depending on end use if double stitches not immediately obvious or planned are to be eliminated. A: the full design as a potential knit border
B: trimmed a one-pixel width column on the right to 24X25 while retaining matching top and bottom rows C: trimmed the single top row as well to 24X24 for an all-over execution, drawn in repeat for an opportunity to evaluate whether the design as it now appears produces the initial imagined shapes and effect Then there is the optical effect change that happens with color invert, for which an easy test may be made during knitting by simply switching yarn color positions in the knit carriage sinker plate
24X24
12/2024 additions beginning with punchcard suitable repeats
24 X24 designs with addition and subtractions of pixels on a base repeat, along with visualizing the difference in appearance resulting from color reverse 24X22 24X68 electronic additions
playing with color reverse
17X17

34X17ArahPaint 34X34 from mylar sheets 20X22 22X34 26X26
28X36 32X32 36X36 StitchWorld 3 #75, 32X34 38X40 40X41 StitchWorld 2, 40X64 inspired by a weaving chart: diamond diagonals with interior flakes, 40X41 Passap 163, 20X40 Passap 162, 37X37 from the Russian site: #5383, 24X255 gone skiing #6669, 24X149 #5697, 24X120 Early new model electronic machines offered large scale designs as mylars or downloadable files. It is possible to work with the images of the files from the associated manuals or books.#18-2, 108X184 #18-1, 108X200in repeat, 216X384 #10, full working repeat 151X150 Check tiled repeat for any rogue pixels or to choose specific segments #14, 120X200 #22, 120X173, individual flakes can be isolated and combined in different ways

Adding fair isle patterning to short row patterns creating eyelets

In Brother knitting one of the issues encountered when combining fair isle patterning with short rows is that if the fair isle pattern is to be maintained, one must hand-select needles to the proper position prior to knitting across needles newly returned to work.
The short row method here is a modified version of that used in the “wisteria” post, with the addition of needles regularly left out of work.
Analyzing what is happening in fabrics in this group: the working repeats need not be symmetrical, but for the purposes of beginning to understand the moves required and developing an awareness of how the stitches on the needle bed behave, it is easier to begin by using hand selection that is rhythmic and consistent.
Avoiding dark colors is helpful in recognizing dropped stitches in time to pick them up.
With some exceptions, most machine-knitting short-row patterns are worked in two-row sequences with stitches brought out to hold opposite the carriage and into work on the carriage side.
Typically the first row of eyelets will be approximately half size, and the knitting may be stopped at the top of the piece to match that.
This chart begins to visualize a pattern composed of vertical columns with colors knit on every other needle, produced using the repeat. The arrows indicate carriage movements.
The grey cells represent needles out of work.
The blocks of black and white columns represent the colors in the FI pattern selected and relate to the A and B yarn feeders. In this exercise, preselection is kept constant to facilitate maintaining proper patterning as needles are pushed back into work. Often, after an initial number of rows, all but the first group of stitches in the pattern are brought out to hold. In my swatch, the fair isle pattern had already been established across the needle bed for several rows.
Here one would begin with the knit carriage on the right, COR.
COR: the first group is knit for an even number of rows, ending COR.
COR: a number of needles are pushed back into work on the left, FI needle position is restored with needles placed in proper positions, knit on one row on the combined groups to the left
COL: bring the first group’s needles out to hold, knit an odd number of rows, ending COR.
Repeat moves and selections until the last group of stitches is reached, knit an even number of rows, and end COL.
COL: reverse the process, moving from left to right.
This method results in threads appearing between the short rowed shapes. The first preselection row is made from left to right. End needle selection is canceled. Cast on is over a multiple of 6 stitches ie 36, with every 6th needle out of work. I began the sequence COR with 10 rows knit, returning COR, followed by 9 as the odd number of rows once the next group of needles is brought into work, and the last group worked is pushed out to hold, then reduced the even number to 8, the odd to 7 in the top half of the swatch.
Here the work is seen on the machine, on the left, COR, and the needle selection for the pattern in the next group to its left is restored. On the right: after knitting to the left, the initial group of needles worked is brought out to hold before continuing to knit.
A mini version in a single color Changing the holding sequence to eliminate the long threads between held shapes, beginning once more to sort out the how-to before adding fair isle patterning: cast on 36 stitches, with every sixth out of work moving from left to right, knit several rows. To knit: each group of 5 stitches in work has a reference number, 1-6
first pattern row:
COR: Set the machine for hold, leaving only group 1 in work
COR: knit 8 rows on the first group of stitches on the right (1)
push second group (2) into work and knit 8 rows, returning to COR
COR: push the third group (3) into work and knit one row to the left
COL: push group (1) on its right out to hold, knit 7 rows across the remaining 10 stitches, returning to COR
COR: bring a new group on the left into work, knit one row to the left
COL: bring the group to its far right out of work, repeat the process across the row
when the second to last 2 groups on the left (6 and 7) are reached, knit 8 rows on both, returning to COL
COL: push the second to the last group out to hold (6)
COL knit 8 rows on the last group on the left (7)
COL, reverse the process repeating all selections moving from left to right for the second pattern row. Begin the process by knitting 8 rows first on the first group of five stitches on the left, which will now have been knit for 16 rows in order for the stitches to create the large eyelets that will now form.
In my swatch, I occasionally varied the odd number of rows knit between seven and 9. Even a couple of rows can make a noticeable difference depending on the color of the yarn, the tension used, and other usual suspects. Test out the idea in the swatch to help make the decision as to whether unraveling is required to keep a constant quality to the holes as the project grows, and to practice unraveling rows back to the proper location. If fair isle patterning is added, corrections become a bit more complicated.
The resulting proof of concept swatch: With the addition of the fair isle patterning: note that here, when the last set of needles was reached, they were not worked twice before reversing direction, so the edge eyelets are of a different size than those in the remainder of the row, forming smaller waves on each side. Any openwork fabric will likely be wider than that knit in stocking stitch or fair isle on the same number of needles, making it necessary to consider providing stretch in any rows knit at the bottom or the top of the planned project or using the contrast as part of the final design.
Adding hems to the above technique is also possible

The short row repeat used here is a modified version of the “fern leaf” one in the post. The sequences are different, every needle is in work.
I began by casting on 36 stitches, knitting 12 rows for the even number, and 11 for the odd, with random variations.
Results need not be symmetrical either in the length of the shapes or in the direction of the knit, but rhythmic repetition can help one understand stitch formation, other changes that follow can then be deliberately planned rather than accidents or errors, keeping notes while the work is in progress, will help reproduce effects. The knitting method, and tips: the fair isle repeat is 2 stitches wide by one row high, and the respective cells are bordered in red, it may be programmed to suit. When using a punchcard model, the card could simply be locked on any row with every other cell punched. The result will be vertical lines on every other needle, slanting in the direction in which short-rowed shapes are knit.
I chose to begin my design with the first needle on the right selected to pick up the color in the B feeder and used that as the basis for adjusting selections in subsequent groups of stitches.
Electronic machines have the option of mirroring the pattern to change that, punchcard knitters can move the knitting one needle to the right or to the left to get the selection they prefer.
As additional needles are brought into work, the A and B yarn feeders selections need to be restored so as to maintain proper FI patterning.
If you have not worked with this type of technique before, it is good to start using a light color and to work in small stitch groups, not adding added patterning until later.
Attempting to visualize the movement of the stitches across the needles in work: the colored cells illustrate the movement of stitches across the needle bed as they are brought in and out of work, and the number of held rows is altered to reduce the chart’s height, does not match the directions for the test swatch that follow it exactly. The black cells represent all knit rows. 1. Cast on the desired number of stitches, in this case, 27, a multiple of 3, and knit several rows at tension appropriate for stocking stitch when using the same yarn
2. COR. Set the machine to not knit stitches brought out to the hold position.
3. Leave 6 needles (3X2, double the number in each working group) on the right in the work position, and push all the remaining stitches out to hold.
4. Knit 10 rows (an even number), ending COR.
5. Push back the first 3 needles on the left back into the work position
6. Knit one row from right to left (9 needles), end COL, and push the 3 needles on the right out to the holding position (6 needles will now be in work again).
7. Knit 9 rows (odd number) ending COR
8. Repeat steps 5-7 until you reach the last 6 stitches, knit 10 rows (even number) over these last 6 (3X2, double the number in each working group) needles, ending COL.
9. Set the machine to knit all needles out in the hold by pushing needles back or releasing the hold lever, and knit 4 rows over all the needles. It is possible to vary the number depending on one’s preference, but for me, only two rows simply were not aesthetically enough.
10. Holding lever on H, reverse shaping from left to right, beginning again on 3X2=6 needles, (double the number in each working group).
Reverse the process, moving in the opposite direction, beginning with knitting an even number of rows on the first chosen group of stitches on the left.
The difference in the edging of the swatch, marked by arrows, is due to a variation in the sequence for working on the specific group of stitches. If performed as an error, it will appear as an obvious deviation if not corrected while the work is in progress. The same action may also be performed deliberately as part of the overall design.
Color changes may be made easily where the 4 rows are knit in between segments on every needle used. End with 2 rows in the first color, knit with two rows with the second color before returning to the holding sequences.
Worked on a significantly smaller scale in one color.
This far more symmetrical result than the first effort worked in the vertical stripe fair isle pattern on 40 stitches: begin with some FI patterning, end COR
COR: bring all but the first 8 needles closest to the carriage out to hold,
Proceed as described for the single color design, but this time 4 stitches are pushed into work and returned out of work rather than 3. Knit 12 rows when even numbers are required, 11 for the odd number.
Four rows of fair isle patterning are knit at the end of each repeating segment.
It is possible to work with far larger groups as well, thus providing an opportunity for adding larger fair isle patterns into the mix. Cast on 48 stitches.
In this sample various size eyelets were produced, using 12 rows, A, which did not seem to yield the degree of 3D texture I wanted. More rows were tried where larger holes appeared, B. Four rows of fair isle patterning separated each row of the held shapes.
To produce a more symmetrical knit, begin working short rows COR with a group of 16 (8X2) stitches on the right, knit for 20 rows as the even number (in the range of 8X2X1.5), 19 for the odd, returning groups of 8 stitches into work knitting moves across the needle bed, ending the pattern with working 20 rows on the last 16 stitches in work on the left. Knit 4 rows restoring fair isle needle selection across the needle bed, returning COL. COL reverse shaping. Knitting all the holding sequences in the same direction for multiple rows as in any eyelet fabric will result in a knit that biases to a degree proportionate to the number of stitches and rows in each unit. The start of yet another idea:

Pintucks 1 vs shadow pleats

Pintucks are in the family of ripple stitches. The size of both is limited by the number of rows that may be knitted before the stitches on the bed creating the ripples begin to ride up and off the needles. The number of rows possible for the rolls varies with the model knitting machine used and the type of yarn. The Passap strippers make their knitting easier. Generally, extra weight is required.
Basic pintucks are formed across the width of the fabric, no punchcard selection is required. For some basic instructions on forming them in a single color see the blog post on Shadow pleats knitting. Its follow-up, Shadow pleats with added patterning made me curious about the possibility of creating 2 colors, FI patterned pintucks.
For a very brief period of time, some designs were published creating similar effects by hooking up elongated fair isle patterns at regular intervals on the knitting bed. The preselection for the next row knit in Brother machines poses interesting issues in restoring and maintaining the proper pattern throughout the design.
A lot of changing cam button settings can make many fabrics almost possible but not practical on home knitting machines. Some of the constant switchings of functions may be achieved by knitting with separate pairs of carriages selecting the pattern, which in electronic models advances every row, making this an electronic “special”.
Ribber fabrics produced with 2 knit carriages selecting needles introduced the idea of using a KC with a modified sinker plate to make some fabrics easier and includes a knit sample of patterned ripple fabric.
The goal here is to try to create rolls evocative of the shadow pleated swatches in a double knit.
Because of the rolling on the knit surface, designs should be lengthed at least X2. The initial test used the same pattern as that in the shadow pleated samples with the number 4, double-length key selected on the 930. The carriage setups The width of the fabric is limited. Though the KC on the right may be moved off the machine if needed, the coupled carriages cannot be since the ribber and KC used on the left do not lock together in any way, and with the stops removed the ribber carriage could conceivably slip completely off its bed. The end of the belt still needs to be cleared, but this is about as far as one can safely move, with the KC just clear of the set mark on the left of the top bed. End needle selection is used in both knit carriages.
Extension rails are required.
The coupled carriages although selecting needles will be knitting on both beds to begin and end the fabric and to seal the folds setting the pleats.
To begin, test the tolerance for the number of rows knit on the top bed only. It is possible to coax extra rows by pushing fabric down between the beds by inserting a thin knitting needle between the beds at the start of the pintuck or halfway through and weighing each end. Longer rolls and hems tend to flatten.
The main bed will be knitting on every needle and FI is essentially a slip stitch, so the tension needs to be at least that for the yarns used in single bed knitting. More pronounced rolls may be produced if the tension and stitch size are adjusted accordingly.
Normally the sealing row would be knit in the light FI color. In these samples, the yellow yarn is used to help assess how those knit rows interact with the folds and to what degree they are visible.
The first try:
1. tested a solid color 8-row pintuck a single time, then switched to 6-row sequences and continued. Even though a contrasting color is used to seal the tucks, it is not immediately visible
2. the second carriage is set to FI and begins to operate from the right. Out of habit, I knit with weaving brushed down, a bad idea in this instance
3-4. this fair isle design is used double-length and forms some very long floats repeatedly, not the best choice even for single bed FI, definitely problematic here, time to regroup.
Comparing the surface to the shadow pleat fabric For a different execution of the same design using a different main color on a different knitting day, see the bottom of the post.
Moving on to a simpler, random, smaller, 12X10 repeat planned for knitting on a 33 stitch swatch and rendered double-height planning six-row pintucks, Visualizing the possible design along with placement of sealing rows represented by all-white pixel rows in the diagram. The single 8-row fold advances the remaining pattern by 2 rows, resulting in a subtle change in the design: My swatch used white for the ground as in the above right, the 8-row transition is marked by the red arrow. Knitting was easy and smooth, the 8-row tuck required a bit of coaxing. The fabric lies flat, does not have the drape of the single bed shadow pleats, it is not suitable for the same end-use.
Plain every needle rib knit is quite a bit wider, a consideration for casting on and binding off or transitioning to another fabric if this technique is used as part of a different fabric. This file was also downloaded and lengthened X2 The pattern is not very pronounced, but the short floats make for easy knitting. Comparing the fabric to the single bed shadow pleat using the same design The pintuck main bed FI yarn could be slightly thicker. Since the 6-row sequence appears to work well, if the fabric is to be pursued, the design could be planned and adjusted accordingly.
Issues encountered in DIY deliberate design planning: beginning in Numbers, a table is set up with enough rows to accommodate more than the height of the planned design. Since the fabric planned would knit 6 rows on the top bed, then followed by 2 rows on both beds not affecting the design, starting at the bottom of the table, use the command key and work on hiding 2 rows following groups of 6 for the height of the table The theoretical design in beginning stages:
1: the rows marked in green are hidden
2. a design is drawn using 2-row blocks and shaping
3: it is tiled, appears worth pursuing.
The expected carriage actions, color reversing the repeat so that the dark color will knit in feeder A of the FI single bed sinker plate Points to consider while removing the use of the ribber from the equation:
both knit carriages are set for the end needles to select. When knitting fair isle this is necessary to keep the contrast color knitting from separating from the base color along the design edge. If at any point there are single-color stripes, the end needles if selected need to be pushed back to the B position, or the second color will catch the first and last needles in work, forming a float from side to side. If the yarn is removed from the B feeder and end needles are not pushed back to B, stitches on them will drop. My first try The transition to color reverse shown tiled Leaving the contrast color in the B feeder on the all knit black pixel rows created the first mess. Because of preselection, the return to knit dark rows has every needle coming forward as the single bed KC is traveling back to the right, resulting in another mess.
Regrouping so the first pair of rows with no preselection will knit the dark color, the second pair of rows with no preselection will knit using the paired carriages, sealing the fabric, the larger geometric shape has 2 rows with no needle selection nearly at its halfway point. The broken threads are due to stitches getting hung up on gate pegs, missed until more knitting had been completed. With more attention, knitting went more smoothly, and the planned design is identifiable. Perhaps as a farewell to the topic or out of sheer stubbornness now that the above had been knit and I have had some practice, I returned to the more straightforward knitting of that double-length flower pattern with far improved results. Some of the floats trapped behind the long stitches created on the ribber can be seen bleeding through on the right. Comparing the scale once again to the shadow pleats This fabric may fall in the category that need not be knit simply because one can. That said it may serve well in bands joined onto larger pieces, or any use for it may only be limited by patience and imagination.

Shadow pleats with added patterning

Knit skirts have been present in runway and online publications again. Another Mary Dowse pattern has stirred up interest in a design knit in fair isle shadow pleats.
Shadow pleats knitting began to present some of the techniques involved in creating this type of fabric fold.
The permanence of the folds relies on blocking from careful and almost aggressive to far more casual approaches depending on the fiber content and end-use for the knit.
As mentioned in the older post, for a while, skirts in shadow pleats were very popular. One of the tips for blocking them at the time when acrylics were also new and in trend, was to hang completed pieces with the bottom evenly weighted inside a large trash bag “sealed” as tightly as possible at the top, with steam entering from the bottom of the bag ie from a portable electric teapot. I always had a hard time imagining the specific activity, and the method may have been part of the reason as to why published patterns for such items quickly disappeared.
Simply using a yarn with memory in the rows composing the larger folds always seemed a more viable option to me.
Ribber needle setups may be used to produce a rounded appearance in the resulting folds
rolled single pleats double rolled pleats mirror needle groups

accordion rolled OOW needles are spaced evenly on both beds sunray round A large variety of pleats may be knit on the single bed as well, one being shadow pleats. The resulting knits also need to be gathered on one of the 2 edges in items like skirts at waistlines, and the number of knit rows needed for the volume required can be daunting and a large commitment of time if not effort.
Very large swatches in colors that one guesses to be appealing guide decisions based on evidence and personal preference.
Old published patterns often called for specific brands of yarn which decades later are likely to no longer be available. In addition to searching for substitutes that will produce a similar gauge, the behavior of the newly found yarn may simply be different than expected and as described in the instructions.
Inspiration photos found online are often small and do not reveal clear details, so attempts to reproduce the pictured knitting techniques may yield unpredictable results.
Assuming traditional yarns are in use, the larger rolled shapes in the fabric formed by the higher number of rows knit in the thick yarn tend to roll toward the purl side, the familiar effect seen in any single bed stocking stitch.
Part of the inspiration photo that began a renewed forum interest in the fabric The appearance is of a fair isle pattern interrupted by the use of thinner yarn(s) in one or both feeders. Blocking long pieces can alter the aspect ratio of the original design, so in some cases, the width of the repeat or even the length would need to be doubled.
My initial repeat was 20X22 pixels: In this view, obvious places are highlighted for a possible switch to thinner yarns. If changing yarns manually, it is easier to change those in the sinker plate’s B position. If necessary, the planned motif may be color inverted to make those actions easier. Both yarns used are wool, a yarn that has memory and spring-back. In the potential fold rows, the red color was replaced with a thin ply with the same fiber content. The first folds were knit in an *8 with thin, 14 with thick, 8 with thin** color sequence. Watching the knit as it progressed showed the thicker fair isle areas folding inward, with the thinner areas folding outward. The remainder of the swatch used a 4 thin, 8 thick sequence. The knit was steamed and pressed, the folds are soft but permanently present with the lower edge of the piece lying quite flat after a considerable amount of time. Here the red yarn used is acrylic, the black wool. An 8 thick 4 thin sequence was used, but in the thin areas, both colored yarns were replaced with single plies. The pattern is 48X54 pixels and from one of the Brother mylar sheets. The first swatch sports black flowers, the second, red ones. The knit sequences were the same, the change in texture in the areas may be seen here. The black flowers swatch was ironed, becoming permanently flattened, aka “killed”. The hope is to manage the red flowers swatch in a better way. The thinner yarns are in slightly different shades of the base colors, so a subtle striping occurs in the areas where they are used. Both swatches were knit on the same number of needles and at the same tension. The blocking saga: I do own blocking pins but honestly have only used them in demos, and on rare occasions such as this, or to cut them down when I needed a fast replacement for a ribber cast on comb lost wire.
Whether extremely detailed blocking is ever needed can be a very emotionally charged topic for some, best saved for another day.
With an optimally gathered edge at the waistline secured, the wire is threaded very evenly through the bottom of the “skirt”, and evenly distributed weights are placed across it. The fabric is likely to grow considerably in length, another reason for knitting very large test/gauge swatches to calculate the width/length required. I downsized a few years ago letting go of most of my professional equipment. My only iron at the moment when and if it generates steam, did not appreciate being held vertically, spitting hot water at my feet, so the amount of steam used to set the pleats was likely short of optimal. That said, with the wire and weights removed, that edge is staying flat, and the pleats appear to be permanent a month later. Knitweaving can be used to produce very interesting patterns, both all over or for edgings, and it may offer a viable alternative for patterning using multiple colors in the more prominent purl side rows of the knit. A 1x1selection is a good place to start. Returning to using wools, my efforts with the first yarns I grabbed failed with knit weaving, but since every other stitch every other row is selected, I was able to knit 8 rows in fair-isle with the thicker yarn in the B feeder, the thinner in A, followed by 4 rows of plain knit. The task is easier to accomplish with 2 knit carriages, one patterning, the other knitting stocking stitch.
The colors were chosen for contrast making it easier to observe stitch formation.
The swatch, just off from the machine after a manual tug after steaming and pressing A bit more tugging and gathering on one edge, pleats are set. The swatch view on the left illustrates well the pleating roll formed by the thin yarn to the knit side, the inward roll of the fair isle segment to the purl.
Floats formed by the yarns not used traveling up the sides of the knit should be considered the finishing of the final pieces.
Transitions could be made in any one piece between the ratio of the thick/thin number of rows, perhaps for sections ie yoke shaping, or varying the fold sequences from one texture to the other and back.
Most fabric is only limited by materials, tools, and the imagination of its creators.