Category: Hand Techniques

Knit weaving 4: combining stitch types

WORK IN PROGRESS 

Knit weaving 3  reviews some basics, and a list of associated blog post links is provided at the bottom of the page.
Tuck stitch meets knit-weaving introduced the combined technique.
Many of these repeats are suitable for punchcard models as well. The caveat there is that there is no option for eliminating knit carriage cam button setting changes by using a second carriage to select and knit. They would need to be performed manually.
More on DIY combinations of tuck and knit weaving: if using a single carriage to execute these designs, then it is necessary to switch cam button settings from tuck in both directions to knit with needle selection for the knit woven rows frequently, as in this first swatch.
Actions: Altering the repeat planning on cam settings to be changed every even number of rows also brings the possibility of using 2 carriages in electronic models, with one set to tuck in both directions, the other to normal knit (no cam buttons) but with needle selection for weaving rows, KCII  Here tuck shapes are introduced, again planning for setting or carriage changes every even number of rows, in this case every 6, The tuck diamond is surrounded by a vertically woven one. The original design repeat was color inverted observing tuck “rules”.
The 1X2 white pixels will tuck, the 2X1 side by side ones will serve as guides to placement of the vertical weaving yarn. They are placed on rows with no conflicting selections.  When the side-by-side needles are not selected, they are manually pushed forward to E and needles are double-wrapped away from the center at the bottom of each shape, toward the center (row30) when the top of the shape is reached.
Start of the second shape in the swatch: While retaining the outer shape of the design, the inner content may altered to provide a guide for horizontal weaving. The 24X48 design The png was isolated in the center of 40 stitches.
The surface woven floats may become visually lost when using space-dyed yarns with shades in similar families to the background, as seen in the bottom center diamond.
In the second center diamond, a different color-way yarn was also used double thickness without any change in tension. This resulted in the second thread not always getting caught properly, slowing speed and added caution improved the result.
The swatch was narrower than the sample knit using tuck stitch. The best way to weave in yarn ends would need working out. Slip stitch is known for compressing the height of the knit and narrowing its width. This attempts to alternate knit woven stripes with slip stitch ones utilizing a similar repeat. In order for the slip texture to be more visible, the related segment is rendered double height, and color reversed.
Again, setting changes occur in even numbered blocks of rows. The design is shared repeating across a punchcard width, 24, X 24 rows in height.  Eight rows are knit with the carriage set to knit but selecting needles, 16 rows with the carriage set to slip in both directions. Comparable or the same yarns are used to evaluate the results when varying techniques and stitch types.
Here a 2/20 wool in a color similar to that used in the above sample forms the ground.
The woven section has some drape and stretch, the stitches are forced apart producing interesting bleed through on the knit side and making the fabric reversible.
The same repeat and yarns are used in the top half of the swatch as fair isle, without any change in tension. The knit is dense, stiff, and narrower with no stretch to speak of.
The 10X10 design

Knit weaving 3

The first single-bed machines to produce what is now referred to as knit-weaving were the Japanese model ones from the early to mid-1960s.
The Knitmaster 302 had a separate brush unit operated manually to guide the yarn above and below stitches.
On the Brother 585 and 588 models the weaving brushes were built-in and were pressed into place.
Early patterns used aran-weight yarns as weft on 12-stitch machines.
From 1971 onward as 24 stitch machines came on the market, the wider repeat allowed for the use of thinner yarns in the technique.
Later manuals including those for some electronic models describe this achingly slow method when using a single-color weaving yarn fed through the yarn mast  The subsequent technique shift advice was made for using an intarsia-like method for more colors:  The method is so much faster than when using the mast and knit carriage it makes little sense to use the former.
The technique begins with the carriage on your preferred side,  from the right or left, the yarn is generally laid in starting on the carriage side, with the long end to cone or ball away from it.
The wraps are needed in each direction: For work on the machine, swatches, punchcards, tools, and more information on types of weaves, ie laying in the yarn with vertical wrappings for more info on horizontal weaving, see Knit Weaving 1.
The resulting knits often lose stretch and drape widthwise, a consideration when making garments. As an alternative, one may knit pieces sideways.

Some ways to push limits, new swatches:
Knitweaving encompasses an extensive range of fabrics. At times the type of machine available places constraints on materials.
One way to use chunky and bulky yarns on standard machines when they do not work with the ground knit on every needle, an option is to use every other needle patterning.
A visual comparison of yarn thicknesses for beginning experiments Here a commercial twine is used, programming a 4X4 repeat,  and laying the weaving yarn over the preselected needles when the long end of the yarn is away from the knit carriage, thus adding extra all-knit rows between woven ones.  This yarn has been in my stash for decades unused, it is 92% wool, and 8% polyamide. It was e-wrapped in alternate directions on every row, with care to maintain the thrumbs below sinker plate levels during carriage passes.  An option for electronic models: open a PNG suitable for knit weaving, as this 24X24 one, double the PNG in width before downloading it, or use the double-wide button after the fact, cast on every other needle, and continue in the technique. Planning the repeat on the needle bed would render better edges than in my swatch, if there are multiple non-selected needles on either side, bring the last needle on that side out to E before laying the yarn for the next row of pattern.

More browsing links
A return to loopy knits
Machine knit fringes 4, long loop patterning 
Long loops: a bit on method
Knit weaving 2: swatches, experiments
Knit weaving 1
Tuck stitch meets knit-weaving
Lace meets weaving on Brother Machines 2 
Lace meets weaving on Brother Machines 

 

A return to loopy knits

Fringes, loops, and pile/carpet knits are populating Fall knitwear runways.
Pile knitting is best executed on Studio knitting machines. Love the knit structure? find a Studio KM to borrow for the project.
Fringes are essentially long loops, and share principles with knitweaving.
Previous posts
Pile knitting on Passap and Brother KMs 4
Pile_carpet stitch knitting on Passap and Brother KMs 3  
Pile knitting on Passap and Brother KMs 2 
Pile knitting on Passap, Brother, and Studio KMs 1
With Studio KMs outside the range of possible use, there are loop techniques that can be executed manually on any gauge machine
The first sample is knit on a 4.5 mm 930.
A downloadable punchcard volume for Studio aka Silver Reed machines offers punchcards for the double bed technique referred to as punch pile In analyzing the repeats, the black cell rows represent loops picked up on the main bed, the blank rows the carriage passes knitting every stitch on the ribber alone holding the loops down.
Applying permanent loops to the surface of a knit using Brother knitting machines falls into the knit weaving family.
The knitter can choose color placement and changes, as one might in intarsia.
Previous related posts:
Machine knit fringes 4, long loop patterning , my first use of straws, bulky loop yarn, the main bed programmed repeat:  Long loops: a bit on method includes instructions on the use of single bed cast on comb, rulers, ribber gate pegs.
As usual, my swatches begin with random yarn choices from my stash, using colors that will help identify proper stitch formation, and just as a random return to designs intended for other fabrics in previous shares.
Developing a repeat: since the loops are created by hand, the goal is to work with larger loops than those in automated punch pile designs.
In the past, I was drawn to and explored truchet tilings
Truchet tiling design inspiration 1
Truchet/Smith inspired designs 2 meet ArahPaint
More Truchet inspired tiles, a brief look at gradient filter use included this 3-color knit sample resulting from an img2track color-separated DBJ repeat Aiming to form large loops and a larger scale motif with more than one knit row between rows of them, the original 24X48 repeat,  evolved into a very different 48X48 repeat.   The full design in gridded view: The process used to attain it: the original repeat was scaled x3 in height, and then again in width X2 for visual balance  Working in RGB mode the 48X144 image was opened in Gimp, and a new image file in the same size was added with a white ground, and then a third 48X3 image with rows 2 and 3 colored in red. The latter saved to the clipboard, may be used to bucket-fill the all-white second image.
The white is rendered clear using layer, transparency, and color to alpha.
The result is copied and pasted on the original.
The red is selected by color, filled with white, and fixed by clicking on the rectangle tool.
The mode is changed to BW indexed, and the image is saved for knitting. I grabbed yarns for color visibility and thickness, not fiber content, and in the resulting knit the loops flattened permanently in the red acrylic and the blue acrylic blend. The technique might be better served using a 3/8 wool for the loops.
The work in progress:  The full repeat in the final swatch measures 6X11.5 inches The same repeat was used again, and the red acrylic yarn was switched to the background for a result that would steam flatter permanently, while the loops were formed with triple yarn strands.
It took testing adjustments in tension and loop length, noticeable at the bottom of the swatch images, to achieve consistent coverage and a new tool to form them.   When searching through published sources and adapting them, results can be random or outright failures. Pondering patterning on every other needle, with end needle selection off, this design from:   for 12 stitch punchcard models came to mind, including this chunky machine design The what if repeat, expanding it to a 22 stitch version with every other column blank and checking for proper tiling was not useful as a knit woven pattern, but when used to form loops on preselected needles and graduating the height of the loops the result proved interesting.
Rulers of different widths and thicknesses were used as tools used to form the loops including but not shown, the metric ruler supplied with Brother knit leaders. Diagonal designs, in particular, can be hard to force into 12 or 24-stitch conventions. With further editing, the published repeat is adjusted to larger 23X18 pixel dimensions, appears to align correctly, and will be returned to in a post containing more knitwoven samples.   This test begins with caution, then produces a dense pile testing the limits on yarn thickness using the repeat:   Pony beads were threaded on a double strand of cotton from an unmarked cone, and loops were formed with beads advanced and placed between and below preselected needles.
Spacing was tested before committing to the final choice, the same repeat as in the above swatch.
The bead-carrying yarn was pulled to tighten it across the previous woven row just before laying it in place for the next patterned row.
Bead addition was also tested between chains in bind-off.

Inspiration for varied stitches from a single chart

Nearly 9 years ago, I began exploring scale designs. At the time, my charts were generated using Excel and a program called Intwined Pattern Studio, which soon became inoperative  armani hkThe above repeat, visualized tiled.    At present, using custom-printed needle tapes has proven useful in tracking actions required in hand-manipulated stitches.
The attached PDFs have been printed in the proper aspect ratio with the following changes from default settings using Mac Preview,  and Acrobat Reader 7 needles
single 4.5
Whether the knit tests are worth pursuing in large pieces with or without modifications is subject to end-use and personal preferences.
To begin with, stitches were transferred, the empty needles were pushed back to the A position, Out Of Work, and returned to the work, B position, for reversing or shifting the shapes.
Forming ladders: the chevron shapes are created by single stitch transfers, and bringing needles in and out of work.
A starting chart:  Keeping the same palette as in previous charts, yellow cells represent needle positions where stitches are not disturbed, and the white cells where needles are taken OOW. The up-arrow needles mobed to A/OOW, and the down-arrow needles returned to B.
The work in progress:
1: to reduce the line length formed by the single stitches, the point at which needles are returned to work can be varied
2: in this instance, as 5 empty needles side by side are reached, bring needles into work for the next shape on each side of the single stitch decreasing the number of empty needles to four. As the knit carriage returns to the opposite side, loops are formed on each of the needles returned to work
3: continue to bring an empty needle into work aside each pre-existing loop
4: after the last 2 empty needles are returned to work and are followed by a knit row the last two loops are formed
5: knit one last row across all the needles, and begin transfers for the alternate shape.  This yarn is a 2/8 wool, which worked nicely for holding ladder edge stitches in the leaf swatches but yielded a stiff knit in this case, and the elongated single stitches fold over at the top, creating extra nubs on the surface of the knit.  Continuing designs with similarly shaped outlines but leaving the emptied needles in work, B position, produces different shapes. All needles remain in B throughout.
The yellow columns in the chart indicate the locations on the needle bed where stitches are never moved.
Visualizing the tiled repeat and the direction of the transfers: the initial experiment is also a 12-row repeat. The magenta cells indicate spots where extra all-knit rows may be added in DIY.
The work in progress:
A 7-prong tool is handy in making the 5 and 4-stitch transfers.
After each transfer, loops will form on the empty needles with the next carriage pass
3: the loop becomes part of the subsequent transfer, and the newly emptied needle remains in work
The first swatch began with a 12-row repeat and an all-knit row before transfers began for the alternate shape.  Visualized in larger BW tiling The transfers are made away from the circles in the chart using multiple transfer tools.
After each transfer, the empty needles are left in B or pushed out to E.
As the knit carriage moves to the opposite side, loops are formed on the empty needles.
Each loop becomes part of the next transfer.
Setting up the first design row using a 7-prong tool with 5 prongs selected:  the numbers in the lower image indicate the number of stitches on each of those needles as the setup row is completed.  The second group moves 4 stitches at a time. Loops are treated as stitches.
After the transfers, there will be groups of 2 stitches adjacent to those holding 3 in the previous row.
The outline in the lower image points to one pair of transfers in the process of being completed.
1: When this configuration is reached, knit one more row to the opposite side,
2: begin transfers away from the midpoint between the shapes to form the brick repeat. The result forms a bump once more due to the length of the single knit stitch columns. The above yarn is a 2/8 wool, the swatch was quite stiff. A second swatch was knit using a softer, thinner, alpaca-silk blend.
The relaxed knit after removal from the machine was very textured and narrow,   this result followed some light pressing and steaming.
Traditional wet blocking would be required to maintain the shapes in a final piece. Eliminating the all-knit row to reduce the extra lengths of those single-stitch columns did not produce what to my eye was an improved knit.
In a last what-if test, the chart was turned 180 degrees, with transfers beginning with a single stitch, and ending with moving five.  The results, knit in 2/15 wool and lightly steamed and pressed, appeared more successful to my eye.  relaxed overnight, the surface is a bit more 3D Using a similar technique for multiple transfer lace designs:  a 14-row repeat, magenta cells mark all knit rows, and all transfers are made toward stitches aside every 7 stitches except for on rows 6 and 13, circles in the chart now indicate eyelets, transfers are made every row.  1: the setup row.
Empty needles are left in work, B.  Cyan dots mark needles holding 2 stitches after the beginning transfers
2: the next knit carriage pass forms loops on the empty needles
3: with the next transfer, an empty needle results adjacent to each loop, the start of the next eyelet On Row 6 the last transfer results in 3 stitches on the normally undisturbed vertical stitch columns, 6A as the next carriage pass is made, 6B, loops are formed on the empty needles. A second row is knit on every needle, 7, and transfers begin to be reversed for the top half of the shape, 8.  The result shares some similarities with another hand technique .

Revisiting lace leaf design repeats 2

I am constantly drawn into multiple knitting rabbit holes.  Along with my revisiting 3D surfaces, more leaves are still in my line of sight for further exploration.
Here they are surrounded by a traveling mesh ground: a 12X52 repeat, marked for punchcard use:

the associated PNG The test swatch knit on 38 stitches:  This design was shared as an stp file for use with DAK by Claudia Scarpa.
Her blog post includes downloadable files with clear markings for knit row locations, a punchcard version, a schematic for working it as a possible hand technique, and more.
DAK does not allow for exports in other file formats ie PNG.
Charts for the designs can be screengrabbed and processed with other programs ie Gimp and ArahPaint to make them usable in other ways including download options.
This electronic repeat is 20X136 pixels.
Horizontal mirroring was not required when using it in my 930.   Knit on 40 stitches, using the same wool-rayon yarn as in the first sample, there is a considerable change in the size of the resulting leaf shapes  This is my chart for Claudia’s punchcard version, marked in 6X6 squares blocks as found in Brother factory punchcards,   the result is a longer repeat resulting in larger leaf shapes, 24X228 pixels And then there is the world of leaves formed with hand techniques and surrounded by ladder spaces.
This was published in an early Silver Reed/ Studio pub eons ago and got filed in my “someday” image folder.  Visualizing repeats and necessary actions in spreadsheets before any actual knitting is useful.
With practice, we develop a personal library of choices regarding symbols and any additional information.
This was my initial draft taking into consideration:
the direction of the transfers
the location of single-stitch columns that are left undisturbed throughout
the needles on which stitches are doubled after transfers
where stitches are decreased, every 2 rows, marked with orange cells in the second column from the left
where stitches are brought back into work on every row, marked with green cells and arrows that point up in the first column on the left
Printing custom needle tapes is an alternative to marking the needle beds or needle tapes to offer guides that help avoid errors or lots of needle counting in many hand techniques.
Mac Numbers version at present: 13.2. Its rulers can be set to centimeters for easy calculation of needle space cells with Japanese machine needles set 4.5 mm apart.
This PDF printed to the correct size for me when set to 100% landscape: 7 needles
4.5X7=31.5 mm: to convert the mm to cm in DIY move the decimal point one number to the left. Row height can vary with the limit being about 2 cm. The specs from the shared file:  The work in progress on the machine as transfers are being made and the empty needles are taken out of work back to the A position.  The end of transfers approach and needles are returned to work before each carriage pass, forming loops on them.  The test swatch, knit in 2/8 wool at tension 9, the color chosen randomly for weight and easy visibility The pattern is evocative of another Studio transfer lace #112, 12X104 a smaller design without the missing stitches and empty spaces.  Following some research, the chart for Studio punch card 123: The electronic equivalent, 14X92 cells The file adjusted for knitting on Brother is now reduced to 14X88 cells, and the cyan is marking areas where the knit carriage makes 4 passes rather than the usual 2 The result is a 14-stitch leaf in traditional transfer lace.  And then, the general shape begins to “appear” in other, older post swatches such as in this, part of the development of very different 12-24 stitch designs.  More leaves combined with open spaces, returning to hand techniques:
in DIY charts symbols can be developed to suit and included or eliminated in final directions. Convention matters if directions are to be published with patterns for general use, and matters less when for personal use.
Examples:
 the starting diagram:
The test swatch was begun on 2/8 wool, then switched to a 4/10 alpaca and silk because it was green, and the guess that the resulting looser stitches using it might make cable crossings and transfers easier, As can be seen in the work that follows, the size and definition of knit stitches at the edge of the vertical columns and the leaves are sharper and better retained in the thicker yarn.  A chain cast-on was performed on the number of needles as shown above, and chains were dropped to achieve the proper setup   To make a visually balanced increase from one to three stitches, the tool is inserted from back to front of the ladder on each side of the stitch, twisted clockwise on the right, counter-clockwise on the left, with the twisted loops lifted and placed on the empty needles each side of that center stitch.  An illustration from one of my earlier posts on leaf shapes surrounded by ladders e_wrap0-2It is helpful to have a couple of 7-prong transfer tools to speed transfers along, with one set to move 4 stitches, the other 5, or simply use a combination of the standard ones. Another variation: The slightly revised repeat  A few images of the work in progress: in this design, actions take place every 2 rows.
The dark segments on the custom-printed needle tape mark the needle positions for stitches that are never transferred, ie rows # 1, 7, 13, 19, etc. in the chart.
At this point in the work, there are 3 stitches on the needles holding the last transfers, marked with circles, and single stitches on the alternate needle locations, marked with squares.  After a row is knit to the opposite side, the groups of 3 stitches are reduced to a single stitch.  and it is time to begin to reduce the width of the floats.
Empty needles are brought to B position/work on each side of the single stitches.  Loops will form on each of those needles as the knit carriage moves to the opposite side.  Moving forward, empty needles are brought into work adjacent to each loop every 2 rows.
A closer look at the twist in the floats as the action continues and the number of needles out of work is reduced: The locations in which stitches are taken out of work form straight floats, where needles are returned to work, the floats form the familiar twists seen in transfer lace patterns.

Not to be forgotten, fully automated lace edgings such as here
and this, with both patterns shared in the same blog post  

Revisiting “wisteria” 3D shapes and their possible automation

Present software makes automating textured designs in these families easier to plan and execute.
This method is limited to single colors being used at any one time and does not allow for additional patterning through fair isle or end needle selection.
Slip stitch in both directions results in black cells being knit sequentially, and the limit in width for the total design is limited to the width of the knitting machine and how the program is read and implemented.
End needle selection is canceled.
All needles in work need to be cleared with each carriage pass.
My electronic km samples are now knit on a 930, which automatically mirrors any downloaded repeats, an advantage for lettering, but not for many other situations. These designs require mirroring when using any machine or software that does so if the holding is to begin with the knit carriage on the right.  The direction of movement for the knit carriage is illustrated by arrows in the charts, which serve as guides in planning sequences.
The original charts were executed using Mac Numbers, the table was converted and scaled to size using Gimp as described in other posts, downloaded using img2track, and mirrored horizontally before test knitting on the 930.
Both swatches are 40 stitches wide, planned in blocks 8 stitches in width and height, the first repeat 40X178 pixels  

The first test: the knit carriage is set to slip in both directions. A wool yarn was used, retaining spring-back for more of a 3D texture. The design can be interrupted with all knit rows breaking up the shapes at varied intervals, with added colors if preferred. The second repeat, 40X 226 pixels.  A PDF for larger views of both files pdf
A quick test in a 2/18 wool produced a soft, loose, drapey knit.  The same swatch was photographed 48 hours later, in a relaxed state.  A 2/10 wool knit on the same number of stitches produced a firmer and more clearly 3D effect which remains unaltered with time.
Hems and a knit stripe were tested as a way of breaking up the shapes Possibilities with hand selection of needles: some samples from  Adding fair isle patterning to short row patterns creating eyelets.  
“Wisteria” meets hems “Wisteria” cousin 2, also called fern leaf, hand technique “Wisteria” cousin revisited (“holding” using slip stitch), the first programmed repeat, drawn on mylar. The 910 knit the image as drawn on the purl side, with no mirroring necessary  
“Wisteria” 2  Horizontal “cable”  

A slip stitch patterned ruffle and more

A recent Instagram share led to my being asked how the ruffle attached to the piece as partially shown on the left was created. The images on the right illustrate 2 of the color-way explorations prior to committing to a final one, all knit in rayon chenille yarns.   At that time a punchcard was used. The repeat technically is 24 stitches wide and 18 in height, repeated twice to meet minimum punchcard height requirements, while for electronic patterning the 18 row segment is used. That said, repeating and shifting the minimum pattern repeat in a paint program or spreadsheet allows for visualization of possible color change sequences,  A 24X36 electronic repeat beginning with 4 all knit rows:    Knitting does not always need to be programmed to start on the first design row.
When miles of trim ie when it is planned as an edging for items such as shawls are planned, there are other considerations.
I prefer to use the seam as you knit method. Since rows will be joined to rows, use a 1 to 1 ratio. Doubling up on stitches happens every 2 rows along the knit border’s vertical edges.
After estimating the number of rows in the final piece, any trims can be knit separately, taken off the machine on waste yarn, and joined as the piece progresses. If needed, after removing the waste yarn, more rows can be added to the trim or unraveled to shorten it before binding it off.
The other option is to finish the body of the knit item, and then join the trim as it is being knit.
The process is rendered easier if the ribber is off the machine.
Switching between punchcard and electronic models, it can get confusing as to whether the design needs to be mirrored horizontally or knot.
In this case, the png was used on my 930 in the same orientation as the punchcard design.
To reduce the roll to the purl side, it may be best to use yarns that will block flat ie rayon, or acrylic.
The knit is centered on the needle bed. My 930 has a punchcard needle tape in place, I prefer programming based on 24-stitch needle selections to avail myself of the position option available on the electronic.
The first preselection row is made toward the color changer.
End needle selection is canceled, or unwanted floats will be formed, pulling in the edge of the knit.
When the color changer is reached and the proper color is in the yarn feeder, set the machine to slip in both directions.
Continue color changes in the preplanned sequences.
In proper pattern selection, the slip stitch column/non-selected needles occur on the right (1).
The all-knit stitch column/ selected needles occur on the left (2). Rows, where every needle is preselected, will knit a solid color with the next carriage pass. As colors are changed small floats will be created between the stripes, a light edge weight may be needed, depending on the yarn used and its fiber content, to keep the edge stitches from being reduced in size or even gathered.
1. the same color is used for 4 consecutive rows when all needles are selected and are followed by color changes every 2 rows until all needles are preselected once more
2. color changes are made every 2 rows
The cyan arrows illustrate the floats on the purl side the differences in the stitch shapes on the knit when the end needle selection is on, and the lack of proper formation of color blocks, especially if the goal is a reversible knit. Added knit rows will result in less of a flounce, offer the opportunity to play with striping, and more colors may be added, accompanied inevitably by cut yarn ends  For a reduced roll on narrow edgings, add a 2-3 stitch every other row border,   the result illustrated in this close up of a different slip stitch ruffle, also joined to the shawl using the seam as you knit technique.  Ruffles may be created with other stitch types ie tuck, which shortens and gathers the knit stitches aside them in areas where they are used.  For those not familiar with slip and tuck stitch formation, it is reviewed in the post: Single bed tuck and slip stitch fabrics 1. Here hand-selected short-row techniques form the wedges, with ladders added for more surface interest on the far right.

 

 

 

Revisiting 3D scales and shells, automated and not

Other posts exploring the scale topic began in 2015 with a swatch experiment based on an Armani sweater, followed by this group of shares, listed by creation date and beginning with the most recent
More mesh dragon scales, some striped and some not
Single bed scales made with stitch transfers
More dragon scales and chevrons in ribbed, racked (4) fabrics
Hand-knit “dragon scales”

Incidental discoveries  Ribber trims 4 

Automating 3D textures across full rows of knitting:
Machine knit leaves using slip stitch with holding Revisiting automated shell shapes  Automated shapes across rows of knitting using slip stitch only  various designs
“Automated” shell shapes  When the construction of the scale and shell shapes was proposed, I did not always share the repeats for the automated version.
After the fact, a screen grab from the shell charts was cropped to its outline, opened in ArahPaint, and using the program’s tool “guess weave from grid“, the 36X98 png is obtained with a few mouse clicks,

and saved the file for further exploration.
Note that for the “shells”, the shapes are formed by all the triangles pointing in the same direction, while in the “scale” version they mirror vertically.
Tips and reminders:
I find it useful to test techniques in geometric shapes that are familiar and easy to imagine in 3D, hence the return to triangles.
The goal here is to automate needle selection to eliminate stitch counting and hand selection.
The 200 needle max on 4.5 mm machines, as well the amount of memory in the model of electronic being used, ie 2K in a 930 imposes more limitations.
Performing the selection of needles manually and using the setting for short rows may make varying shapes, their scale, row counts, and color changes possible in a way that traveling to and from the same side of the machine in 2 row sequences does not.
When using the slip stitch setting if every needle on the top bed is not in use, the end needle selection must be canceled.
The knit carriage must clear all needles in work with each carriage pass even though small stitch counts may be worked on at any one time.
Just as when working short rows, depending on the fiber content of the yarn, there may be some visible wear on the purl side from the many carriage passes required to complete full design rows.
Test on small swatches for accuracy and aesthetic personal appeal before committing to larger pieces.
A 36X166 pixel repeat:   The edge half repeats are eliminated in an attempt to yield straight vertical side edges, with the repeat reduced in height to 36X124.  The resulting scales, knit in a 2/8 wool, were resistant to getting completely poked through to the purl side.  Comparing the difference in the results when knitting the same number of stitches and rows in the pattern; the blue yarn is of a slightly different thickness than the pink.  Seeking striping at the center of the triangular shapes, I found what appears to be a one-off error in the spreadsheet numbering of cell rows vs actual design rows, which initially resulted in issues with a correct conversion to PNG.   Transitions are made after odd numbers of rows to allow starts from the right for each pattern segment ie. Yellow/ 8+1 rows at the top of the repeat for plain knit segments, orange for the 3-row contrasting color stripe at the peak of the shapes. There will be cut yarn ends at each transition.
The design, charted in black and white,  the 36X82 png One may choose on which side to display the resulting shapes, here to the knit side,   and to the purl, shown also after some pressing. A punchcard snap is inserted in one of the pockets in the last image on the lower right to hint at pocket size.  Steamed, flattened shapes may also be coaxed in different directions, stitched in place or even together with a contrasting stripe behind them, or added beads at the join  A first draft at adding a FI or slip stitch stripe at the center of the repeat still relies on some segments occurring for an odd number of rows, was rearranged in the later designs, measures 36X88 pixels.  

Analyzing the swatch:
the edges where the triangular shapes meet the striped bands jut out more when pointing down than when pointing up
the eyelet typical when knitting short rows for 2 rows is OK as part of the overall design
the 8 rows of plain knitting between the shapes are too many Altering the design 1:
the plan is to retain starting each segment of  scales from the right,
the fair isle band is now planned for an even number of rows, making it possible to operate more easily from the same side, but loosening the tension,
the 36X80 repeat: the side edges in the swatch differ from each other,   Altering the design 2: whether executed with cam button changes with the knit carriage always operating from the right, or operating a second carriage selecting needles from the left, the fair isle band in this experiment needs to occur for an odd number of rows, the repeat is 36X68. The cells highlighted in yellow on the right of the chart follow the carriage movement from the right when switched from slip to FI, and the gray cells the movements for a second carriage selecting needles from the left.
The recurring shapes are planned to produce straight side edges.
The 36X68 repeat Very often 3D knit structures can change dramatically with steaming and pressing.  They can literally be “killed” permanently if fibers such as acrylics are used, while wool has some spring back, but surface retention depends on the specific pattern. The temptation to press is in proportion to what degree the knit rolls, sometimes dramatically, to the purl side. In this instance, the depth of the shapes was lost, and the swatch grew significantly in length.

Tuck stitch meets knit-weaving

This video was recently shared on Facebook. The sample in the video was knit on a Studio/Silver Reed brand knitting machine and prompted the question about the possibility of knitting the same pattern on a Brother machine.
Some techniques require infinite patience.
A summary of observations made looking at the video:
1: the machine tucks for two rows
2: the card is set to elongation for weaving rows, where the pattern selection continues, but the carriage is set to knit the background for woven rows
3: the carriage is set to tuck once more to complete what are 8 or more rows of pattern
4: start the process again by knitting four rows of tuck followed by 2 rows of knit weaving until the top of the piece is reached, ending with two rows of tuck before binding off.
Studio machines select as they knit each row, while Brother machines preselect each row as knitting continues after the initial preselection row.
There cam buttons switch from tuck to knit, and the card rotation settings are changed frequently from single to double length on the repeat segment as given.
To mimic the video, this is a chart for the adjusted repeat planning to knit a swatch on an electronic model using 2 knit carriages selecting needles with the pattern advancing one design row for each pass of the carriage.
The cam button variations: the yellow cells mark tuck stitch rows. The red cells mark the knit-woven rows, where the carriage is set to knit with continued pattern selection, and a weaving yarn is brought into play for 2 rows.
The knit carriage is then set to tuck once more, and the process repeats.   Punchcard users working with a single knit carriage can punch all black cells in the width given in the chart, and twice its height for 48 rows, eliminating the need for elongation shown in the video.
Using 2 knit carriages can eliminate cam button changes from tuck to knit and back.
When using any pair of carriages to select needles, each carriage must be disengaged from the belt while the other carriage is being used to avoid breaking it, so extension rails are required.
I began with the sample knit on 30 stitches on my 930.
The carriage set to tuck operates from the left, the knit-weaving one from the right, with the first preselection row made from right to left.
The 30-stitch test includes a one-stitch knit border vertically on either side. The main background yarn used for tuck rows color is a 3/9 wool, and the knit weaving carriage is threaded with a slightly thinner, darker yarn of unknown thickness. The weaving yarn is a worsted-weight wool.  Changing the ground yarn to the same yellow 2/20 in both carriages, the pattern was first knit in tuck stitch alone, possible for 6 rows because of the yarn thickness,  and then using the 2 carriages knit weaving at the same intervals resumed.   A pair of some of the previous posts on using 2 knit carriages to select needles on Brother machines
Knitting in pattern with 2 carriages vs color changer, Brother punchcard KMs 2 
Knitting in pattern with 2 carriages, Brother punchcard KMs 1 
The Punchcard used in the video Brother punchcard machines repeat the preselection of needles on the first pass with the carriage from the opposite side to advantage in reproducing the swatch. The two 892E carriages  If a second punchcard carriage is not available but an electronic one is, the model year may affect the fit, but an electronic carriage can be used on a punchcard machine to advance the card and select needles.
The first row on the Studio card is locked on row 3 to preselect the first tuck row on the Brother from right to left
Rows 1-2: COL, set the carriage to tuck in both directions, make 2 carriage passes, ending COL with the carriage positioned on the extension rail, clearing the belt
Rows 3-4: COR, begin with the second carriage set to KC and outside the set line, and do not push in any cam buttons. Prepare your weaving yarn. Knit to the left, the card does not advance.
COL: weave the second row, move the carriage back ending COR on the extension rail, clearing the belt
Rows 5-8: COL, the card does not advance on the first pass to the right, knit 4 rows of tuck stitches, ending COL on the extension rail, clearing the belt
Rows 9-10: COR, repeat 2 rows of knit weaving
reminder: any hesitation with movement back and forth of either carriage once it is on the knit bed and selecting, will advance the card one design row
Repeat Rows # 5-10 twice to complete each full repeat segment
Choose an ending pattern segment and bind-off.
The proof of concept uses two slightly different yarn background shades again   Other tuck-stitch combination fabrics
Tuck stitch combination fabrics 
Combining tuck stitches with lace 2 (automating them)
Combining tuck stitches with lace 1
Tuck and garter stitch: from hand knit to machine knit
“Crochet” meets machine knitting techniques: working with short rows
More on using multiple carriages
Revisiting knitting with 2 carriages single bed, 910 vs Ayab so far
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages 
Ribber fabrics produced with 2 knit carriages selecting needles 

More slip stitch experiments inspired by commercial designs

PRADA knitwear often becomes a source for inspiration and discussion both in hand and machine-knitting forums. A recent sample:  Developing proofs of concept can begin to be achieved by reducing repeats in size, making sampling quicker to achieve and evaluate.
Larger automated repeats by default require electronic machine programming.
Spreadsheets offer an opportunity to plan color-changing sequences ahead of time and to check their horizontal and vertical alignments.
If a color changer is in use, in the Japanese machine models it sits on the left.
Color changes are made away from and back to the changer as frequently as every 2 rows, or as needed in the specific design.
Other brand machine models have color changers on each side, allowing for single rows knit in any one color and for dividing repeat segments differently.
The assumption here, to begin with, is that each color is carried for an even number of rows.
This chart was developed using Numbers for Mac.  The repeat is 40 cells in width, and 52 cells in height, and is outlined with a red border. It is planned so as to return to the initial color selection when completed, maintaining a continuous design,  tested on 80 stitches.     Its alignment is not on a true diagonal, and shapes are offset To duplicate the swatch, cast on and knit for a preplanned number of rows with the dark color.
Needle selection serves as a visual guide to the need for color changing in addition to or instead of row counts.
End needle selection is in use, there are no empty needles in this design.
COR: make the first preselection row from right to left, toward the color changer.
COL: remember to set the knit carriage to slip in both directions, pick up the light color
change color every 2 rows until every needle is preselected when moving from the right and back to the color changer (14 rows)
COL: every needle has been pre-selected. During every needle selection, only the dark color is used until preselection changes once more as the knit carriage returns to the left (12 rows)
COL: pick up the light color, resume with color changes every 2 rows (14 rows)
COL: a 12-row sequence with every needle preselection completes the 52-row design.
Repeat the process ending with a preplanned number of rows knit in the dark yarn, and bind off. Expanding the design repeat would change the curvature in the solid color stripes.
This knit is by LAFAYETTE 148, NY.  It is offered with coordinated pieces, which appear to use both a knit and a purl version as the exterior of the knit.  Beginning with an electronic slip stitch test emulating the larger shapes in alternating colors, adhering to the limitation of using an even number of rows in each color change, patterning shifts are explored in this 30X24 stitch repeat.  A tiling test The extra horizontal lines formed in the swatch are because the goals are
1. to make larger shapes in alternating colors with long stitches in the contrasting color in front of them on the knit side,
2. automate the process,
3. and use the color changer.
In each case, the new color needs to be knit first to and from the color changer in order for its stitches to form those elongated stitches in it on the knit side, and knit again after the contrasting color rows to complete each segment of the full repeat.
The visualization chart for the first experiment:
A 30X24 repeat: black cells form knit stitches including below and above white cells. White cells slip until a black cell occurs directly above them.
B a knit side visualization of color changes: the elongated stitches, marked by conical lines, are drawn where they would appear, with floats formed behind them by skipped stitches.  Eliminating extra striping by bringing elongated stitches to the purl side may be achieved by transferring stitches between beds, and using programmed needle preselection to track when to do that.
Taking the same repeat into consideration, the orange cells serve as markers for stitch transfers  A programmable repeat:  Cast on for every other needle rib, then transfer all stitches to the top bed. This allows for even weight distribution on all stitches.
When a closed cast-on does not matter, the “broken toe” cast-on is an alternative to having all stitches on either bed  Using the ribber comb to cast on the single bed is documented in the post  Both the knit and ribber carriages are in use.  The knit carriage remains set to knit throughout, end needle selection is engaged.
The ribber carriage is set to slip throughout, with needles point to point, its stitches are never knit, they are held until a transfer is made once again.
They stay in the B position after transfers so as not to be knit, are held, and will form the elongated stitches on the purl side, knitting off when the same color is returned to the opposite bed every 8 rows.
After transfers, empty needles are taken completely out of work.
In this visualization, the conical shapes mark areas where the elongated stitches will form on the purl side, R marks stitches transferred down to the ribber, and M, the stitches transferred to the top bed:  To duplicate my swatch, cast on and knit at least one base row with the dark color, ending COR
COR: program the first row, knit 1 row to the left
COL: transfer stitches on preselected needles down to the ribber, and push empty top bed needles out of work, OOW.
Change to a light color. As the knit carriage moves to and from the color changer, floats will form in the location of the out-of-work needles on the top bed.  COR: knit 8 rows, there will be a new preselection as the knit carriage moves to the left COL: transfer needles previously on the ribber onto the empty needles on the top bed, placing them in work position so they will knit on the next pass, and transfer new needle preselections down to the ribber.  Knit 8 more rows, change to the dark color, repeat transfers of ribber stitches up, preselected stitches down, and continue knitting, following needle prompts. Printing custom needle tapes is an option that relies on printing the generated images to scale.
Marking the needle tape or metal bed with water-soluble pens or pencils is the old low-tech go-to.
However, custom markings can be made on strips of paper slipped under needles on either bed and marked for any chosen spacing as well as in multiple colors.
An illustration for a test on a repeat different from the programmed one began with marking a strip of paper on the top bed for alternating transfers to and from each bed using two colors:   The resulting tape may be used on either bed, seen here placed on the ribber. The markings on the metal bed are left over from a previous project.   The reversed carriage settings The repeat is not programmed, setting the knit bed to slip allows the knit carriage to make free passes from one side to the other, and the stitches moved to it never knit.
All knitting happens on the ribber.
In Japanese machines, the ribber often produces tighter stitches. Since most needles will be knitting, the tension normally used for the chosen yarn on the top bed for stocking stitch may have to be loosened by one or two numbers for smooth knitting. In Brother machines, the higher the number, the looser the stitch.
The ribber needle presser bar for Brother machines is made of plastic alone and does not exert as much pressure on the needles as the ones used on the single bed, requiring care in watching for needles that slide into other than the proper position during knitting.
Emptied needles need to be placed completely out of work.
Floats will form on the ribber as the carriages move across the beds in the location of the empty needles, and the skipped stitches on the opposite bed will grow in length.  Though the knit side of the fabric is facing the knitter, the long loops appear behind it on the purl side, with the results in the same family as the automated single bed result but with more fiddly execution.  Seeking a closer match for the inspiration companion pieces:
in multicolor slip-stitch patterning, the initial preselection row is generally made toward the color changer, with changes happening from the left and spaced at predetermined even numbers of rows.
Shifting that convention allows for elongated stitches on alternating color shapes without extra horizontal stripes in each color.
The repeat was first visualized and planned in a spreadsheet, repeated twice the necessary width, and outlined with a red border.
A few rows were added at the top of the table, checking for proper alignment of both the design and the color changes.  The single repeat measures 14 pixels in width by 16 in height and was tested on 44 stitches, with a planned knit stitch vertical border on each side.  To duplicate the swatch, cast on using a dark color.
COL: the first design row in the adjusted repeat is programmed from left to right, away from the color changer with no yarn in the feeder. Setting the machine to slip in both directions allows the free pass when all needles are in the B position.
COR: thread the light color through the changer’s sinker plate, A position, and knit to the left
COL: make certain the light color yarn is properly threaded in its place in the color changer. Continue knitting until new needle preselections are made as the carriage returns to the left
COL: change to the dark color, subsequent color changes happen every 8 rows.  

Reviewing a post from 2015 on a slip stitch experiment, the second source image now found attributed to Max Mara, inspired me to try a version using software presently available.  lyst comboThe speed in developing DIY designs and knitting them has grown exponentially with the use of new software and the capacity to move away from mylar sheets or punchcards.
The first 24X56 diamond shape

rendered in half drop, to a 48X112 repeat, with a test in the alignment of multiples  The proof of concept was knit at first with color changes every 2 rows, then converted to double length using the machine built-in function, followed by color changes every 4 rows.
The light color yarn is a wool rayon, the dark is a shetland wool.  The all-knit rows on the side edges create ruffles.
An attempt to show the changes in texture on both surfaces:   The limit on Japanese model machines for tuck stitch unless using very thin yarns is often 4 rows.
The inspiration image appears to have far taller color stripes, slip stitch is far more tolerant than tuck, what about trying color changes every 8 rows?
Keeping in mind that the light color consistently forms the elongated stitches on the purl side with no immediately visible long stitches on the dark color, the repeat first doubled to 48X224, if doubled in length again would require 448 rows of knitting!   A quick partial test revealed the diamond shape is far too elongated and that dark stripe needs to be gathered as well, Back to the drawing board: after taking a break, the inspiration image is magnified and reexamined, revealing the fact that there are knit and purl stitch combinations across the same rows, not practical to execute on home knitting machines (excluding G carriages from the conversation).   A compromise, still seeking to elongate only the stitches in the dark color on the knit side of a richly textured knit, planned for color changes every 6 rows,  with color reversal necessary for slip stitch knitting, adjusted in width, the tested 40X162 repeat produces a gathered dark color as well. The knit stitches on either side of the shape form ruffles. There were tension adjustments at the bottom of the swatch, increasing the length of the held stitches, the shape is still too elongated for my eye An adjusted repeat, the last in the series, 29X168tiled to check alignments  and knit on 80 sitch width using this 86 X168 programmed repeat