Hand Techniques – Page 10 – alessandrina.com

Ladders with lace, “making things work” 1

Just about 2 years ago, I had an obsession with leaf shapes in lace and wrote a series of posts on approaches to both designing them and rendering them in knit on more than one machine.
From a ladder and lace early post.
Recent publications reflect the increasing interest in bulkier knits and combining ladder “lace (created by needles remaining out of work) with shapes floating within the resulting open spaces. I thought I would address some issues in such fabrics while returning to a leaf as the focus “shape”. My samples are knit on a Brother 260, using hand techniques that require only the basic set of transfer tools.

Long verticals in knit may have problems with the edge stitches separating from the rest of the knit, i.e. in FI vertical stripes. In plain knit, the edge stitches may stretch, become distorted, and may encroach on the ladder space. A series of actions taken on the edge stitches of ladders will help prevent that, here I am choosing to use a simple 1 X 1 cable cross every 2 rows to stabilize them. Having the cables coincide with the rows on which transfers are made to create the chosen shape makes tracking them easier.

my first schematic (Excel chart)

symbols used

imagining in repeat

my first swatch

for decreasing stitches in work on the right or left at the top of the chart I used a simple decrease

using the “fully fashioned” option to provide a different look along that edge

For my test swatch I used a crochet cast on across 17 + 4 for single full pattern repeat, + 4 edge stitches on either side = a total of 29 stitches. To create the transition from 1 to 3 stitches in the center of the leaf, I e-wrapped an additional 2 empty needles

#1 reflects the e-wrapped increase just above the cast-on, and #2 shows the results of the same technique at the top of the established “leaf” pattern

the chart repeat was amended for a different start

for the second swatch, trying a different way of adding stitches

#1 shows a pattern beginning on a group of knit stitches, as opposed to a single center one for leaf

#2 shows a full “leaf” repeat as charted, the red arrow points to e-wrapped yarn traveling in front of the shaping

#3 the red arrow indicates the same is happening with the float, while the green shows my desired twist, with stitch to the front

Sorting it out: a third swatch, with an amended way of e-wrapping. To make sampling quicker, I modified the repeat, eliminating cables, and decreasing the number of stitches at the widest part of the leaf, making fewer eyelet transfers. The results show how much the shape of the “leaf” may be varied with just a few changes. Note the twist and location of floats in relationship to stitches just above #1

I will document the 1X3 increase method I liked best out of several trials in my next post.

If having a single pivot stitch for the repeat is not important, the chart below is amended again to accommodate that

if eyelets are eliminated to create a geometric pattern and/or for the sake of speed, increases may be created on both sides beginning on row 12 of the above chart by picking up from the row below

Cables in color

Fair isle, like any slip stitch fabric, is “shorter and skinnier” than any produced using the same yarn colors in plain knitting, single bed. Cables also narrow the fabric considerably. Begin with tension set at least 1-2 numbers looser than usual, and make tension swatches large enough to include all cable variations. After the cable crossings, be sure to return the needles to correct pattern selection before knitting the next row. Do not pull the whole group out to holding (E), as the whole group will then knit the color in the B feeder, and you will have a striped “mistake” on the next row knit. Leaving any needles OOW in the knit will select the needle on each side of the ladder to come forward, knitting the color in the B feeder. This may not work for you in terms of how the motif is affected by the vertical line created. If ladders are required, the vertical line in the B color may be eliminated by canceling end needle selection (KC II), or by dropping those stitches before you cable (which will give you a bit extra yarn for those crossed stitches). Ladders may be also latched up if you like, but watch where those floats are going in the fabric.

Making your own cards: try to control the length of the floats. Pre-punched cards with lots of punched holes can produce areas to be cabled by selectively masking areas with tape (both sides of cards). Conversely, you may punch diamonds, squares, etc. in the center of other shapes that would normally have floats too long for FI, to produce a B feeder color area for cabling.

Like color, most often, needs to land on like color, so stitches need to move further than they would in a one-color knit. Reversible ribbed cables share the principle of like needing to land on like (knit on knit, purl on purl). Starting out with a single row punched card, mylar, or program repeat, with the card locked, provides a quick test for tension, keeping track of patterns, etc. There are many, so at least initially, cabling on a constant number of rows apart may help avoid errors.

beginning to visualize the crosses

another of my “quick reference – some to try” handouts

A swatch experiment: machine knit scales

A while ago the image of a sweater attributed to Armani caught my attention on Pinterest, and I became obsessed with creating a variant.

Lace is actually an interesting 3D fabric until it is blocked and made to lie flat. I went the lace route to work out my “scales”. The swatch I created below is hand-knit knit, and could be reproduced as a machine-knit hand technique with the aid of multiple transfer tools. I would recommend a yarn with “memory”, such as wool. The bottom of 3 sets of “shells” were knit on # 7 needles and the remainder on #5. I found I preferred to control the lean of knit-together stitches on the knit side but did not deem it necessary on the purl.

the knit side

and purl side!

my working notes (Excel) showing multiple repeats

symbols used a printable PDF scales_all_info

A mini-me version knit on a 4.5 mm. machine, using the same yarn as in the hand-knit sample above, at tension 10+. Repeats are worked out around 2 center needles, on which stitches are doubled as transfers are made. When the pairs of doubled-up stitches are reached with loops on either side of them after the last transfer/knit one row in sequence, and knit one additional row across all stitches before reversing the direction of transfers. That row is represented in green in the chart below. Symbols used are minimal since the same side of the knit is in constant view (incomplete full pattern repeat)

knit side

purl side

see update3/28/2015

Machine knitting cables: single bed, 1

In hand knitting complex cable crossings are often worked on the same, knit side of the fabric, making them a bit easier to visualize and track. Knit and purl combinations in surfaces on either side abound.
In machine knitting, one is always facing the purl side. When attempting to duplicate a hand-knit pattern and the direction of the cables crossings in the machine-knit need to be reversed as seen in an illustration from an earlier post on machine knit symbols

Common representations in MK pubs take into consideration that the purl side is always facing the machine knitter for single-bed crossings:

Crossings of more than 3 over 3 stitches become difficult on home knitting machines unless special techniques are brought into play.
Methods and suggestions vary, depending on the source.
The least satisfactory one is to knit the whole row prior to the cable crossings at a looser tension. If there is plain knitting between crossings, the change in stitch size across that particular work may be quite noticeable. “All over” cabled fabric will be obviously narrower than plain knit, a feature that may be used in garment shaping to gather the resulting fabric in selective areas ie cuffs, or waistlines above peplums.
Generally, a looser tension will be required than when using the same yarn in stocking stitch knitting.

To start testing the best number of rows knit between crosses, it is a good idea, to begin with at least the same number of rows as the total number of stitches involved in the cross ie. 4 rows for a 2 X 2 cable, 6 for a 3 X 3.

Ladders created by leaving needles OOW may be used as markers for vertical rows of cables. They may in turn be left as created or latched up in segments or at the end of knitting to create purl (or other) stitches on both sides of the cables on the fabric’s knit side. An alternative method for latching up illustrated below, produces tuck stitches in ladder spaces

Working the knit on the single bed, extra yarn for a bit more “give” may be created by dropping one stitch on either side of the 2 groups to be crossed. The dropped stitches may be latched up after each cross and will appear as purl stitches on the knit side, or left unraveled for open vertical space on cable sides. Bringing needles with crossed stitches all the way forward out to the hold/ E position helps them knit off more easily and visually check if indeed all stitches have been placed on the alternate group of needles.

A: crossing stitches, B: latching up the ladder

Sometimes the cable configuration may be changed for a similar look to render crossings easier ie. using a 5-stitch cable crossing 2 and 3 stitches respectively, may be substituted for a 6-stitch one. A larger number of crossings may be broken down into smaller groups ie in this 9-stitch cable modification. The chart below is for hand knitting, created in Intwined, with their accompanying directions. Not all publications or software approach HK and symbols and charts in the same manner, requiring varying degrees of study and interpretation in how to either follow or adapt them.

Creating longer stitches to facilitate moving them for cable crosses may be done on any one row by using additional strands of yarn and knitting involved stitches back to the A position, creating elongated stitches. If slightly shorter lengths are needed, cardboard or another spacer may be placed against the rear rail to keep loops even size while pulling yarn back. In the “old” days of MK seminars, a favorite such spacer was made from cutting segments of extra (narrow) strips from window venetian blinds. Bringing needles back into work requires a bit of care and at least a claw weight, to keep long stitches formed from bouncing off the needles. The larger cross can then be executed and made easier if one has adjustable 7-prong tools. After the cross, the larger stitch size may be adjusted slightly by pulling cautiously on the long end of the yarn. The Brother knitting techniques book is available for free download on more than one site, here is one option. It is a very good resource apart from any standard manuals. Creating the longer stitches is described and seen in the illustration below, found on pp 68-69 of the book. Also shown there: how to carry up the yarn rather than cutting it after each cross, thus avoiding extra ends that later require weaving in

Larger groups of stitches may be cabled by using holding to shape each section, then removing each of them off the respective needle groups, and crossing them as wanted.

As an experiment: for a single, long crossing strip, I found 7 stitches to be pretty much my maximum manageable width, with tension adjustments. The number was chosen with the intent of using two 7-prong transfer tools to hold and move the stitch groups.

The process: working over a group of 14 stitches for a 7 X 7 crossing.

COR: Set your carriage for holding. I had a needle out of work on either side to make tracking easier.

On the side opposite the carriage bring all beyond the 14 cable sts to hold, and knit one row.

Now pull all the needles out to work except for those involved in the cable. Knit 3 rows across the 14 stitches.

Bring 7 stitches opposite the carriage to hold. Knit an odd number of rows on them (7 in my sample). Yarn will be resting on top of some of the needles that have been on hold, watch that it remains free as you move stitches.

Cross the long strip with the group of 7 stitches towards the front of the fabric, the rest toward its back / the purl side facing you.

Bring the cable group’s 14 stitches and the remaining ones on the side opposite the carriage into work, knit one row, there will still be stitches being held on the carriage side.

All stitches in work: knit desired even number of rows, ending with carriage on the same side as at the start of the process, and repeat the process for crossings to continue in same the same direction.

Each cable group may also be knit in individual strip forms and then crossed. At least one of the group pairs needs to be knit with a separate strand of yarn. Some experimentation on the number of rows knit, etc., and attention paid not trapping the yarn in the wrong place when crosses are made is required. Both methods are fiddly, but manageable after repeats are sorted out. My sample is knit in acrylic, which flattens considerably with steaming. On the left are crosses made with a single long strip, on the right, for illustration purposes, the red represents a second strand of yarn that I was able to keep continuous.

To work cables with 2 separate strands of additional yarn, work each cross segment separately, then remove it on waste yarn, dropping it off the needles. Rehang each strip in the desired location, crossing as required in the pattern. Cut yarn ends may be woven in as plain knit rows between crosses are formed if the piece is one color. The experimental swatch below is from one of my much earlier posts on the topic. Though my examples here align in a straight vertical manner, this method allows for placement anywhere on the knit, in desired spacing, repeat, and cross formation.

Large safety pins, hand-knitting stitch holders, and thin circular needles may be used as alternative tools to remove any strips of knitting and in turn, used to ease those stitches onto their new needle placement.

Using yarns that are not fragile or easily broken when tension is applied, and that have some amount of “give” at all, such as wool as opposed to cotton, also renders the process a bit more friendly. Yarns with “memory” such as wool will also retain dimensional qualities and spring back after any blocking. There are no single best ways to achieve any specific machine knit fabrics; personal preferences and adjustments evolve with experience.

Please enter “cables” as a search topic on the left to visit my previously published related posts.

Miters and spirals: visualizing, charting (and more) 3

SPLITTING THINGS UP leads to a series of quite different fabrics, sometimes creating interesting secondary solid color shapes when striping is added to any of the forms; repeats will need editing to avoid extra rows to keep the designs balanced, or have them added across their width for extending shapes, such as in creating ruffled effects. I have worked on these charts using Numbers, image capture, and resizing and editing again in photoshop if needed. The images below are not intended as a “sit and knit” tutorial, but rather as a start for creating your own designs, on the desired number of stitches, I randomly picked 22

some possibilities on method: SPIRAL original shape

splitting in 2 parts

changing positions and stacking, all knit row edited to bottom of repeat

a mirrored segment

added to first repeat, center line double row edited out for knitting

MITER: original repeat

split repeat

moving parts around

areas for adding plain knit rows in desired numbers across the knit (yellow), keeping in mind how this will affect color changing sequences if striping is used to create secondary patterns; repeat usable for machines with color changer on right

mirroring the whole repeat horizontally for use with color changer on left

Changing colors at regular intervals including every 2 rows will yield secondary, geometric patterns; all knit rows may be added to the right or left of the shapes maintaining color changes, for different effects; if these are planned in extended “white areas”, the holding sequence needs to be maintained every other row; slip stitch setting may be used to automate, with repeats reworked for use on 24 stitch punchcard machines. I find when exploring any of this initially, working repeats as hand techniques helps me understand necessary sequences and editing before committing to punching holes, filling mylar squares, or programming pixels. Swatches and notes, swatches, and notes…

A lace “shell” want to be, a few ways

I recently saw a semi circular HK shawl pattern that used graduated lace shell motif bands, and went hunting for a possible such repeat with the intent of subsequently knitting it on the machine. Taking into consideration the chart lenght required if using the lace carriage, I began with a “small” hand knit possible repeat

the text (Intwined)

pictured below is a mylar repeat worked out for use with the lace carriage with 2 programming options: A, B. Notations in this instance were made using a free mac program (for my the first time), Skitch, which allows one to work with screenshots and basic image-editing tools all in one place. The middle column of numbers indicate the number of passes required for the lace carriage for each repeat prior to pairs of rows of plain knitting. The transfers are made all in one direction, so the spacing between each set of transfers and knit rows is different from the traditional 2 rows of blanks. I find it easier to have multiple blank rows before selections for transfers as a place to pause, check my stitches, and have clearer starts if knitting needs to be unravelled; this repeat takes that into consideration

option A was knit with a ladder, NOOW set up:

the resulting swatch in acrylic yarn, steamed, fairly straight edges

option B eliminates the ladders, a ridge is created by the transfers highlighting the “shell shape”. The sample clearly illustrates the issue with lace fabrics where transfers are all in one direction: note the resulting bias, which could be a problem or a design feature, depending on one’s perspective. It is particularly noticeable in the area of the color change. The top yarn is a rayon, the ridge created by the transfers flattened with pressing but is still in evidence, the occasional noticeable problems are operator errors (and laziness in changing bent needles), not pattern ones.

shortening the repeat: I found this one a bit more confusing to follow, black horizontal marks on right edge of mylar are a visual cue to rows on which knitting needs to occur; note there are no occurrences of 2 consecutive blank rows, only singles

the fabric is identical, with the same problems in terms of biasing

taking out the swing, moving in 2 directions, and back to a hand technique: the black squares indicate groups of stitches that will be moved to create lace holes. In the boottom segment selected needles are transferred to the right, lace holes will move in a curve, transfers double up on the same needle location on the bed. In the top segment, beginning with the doubled up stitch from the last transfer to right, direction of transfers is reversed, moving toward left, and always beginning with the same needle position. Markings on mylar on the far right indicate direction in which the stitches are transferred. This repeat is 7 stitches wide by 12 rows in height, could be adjusted to suit. Adjustable transfer tools make the work progress faster.

the corresponding swatch, without blocking, much more “straight”

4/11

a mylar repeat for use with lace carriage, 910

in the image on left the repeat is hi-lighted by the green border; in the one on the right there are visual cues for operations. The vertical lines indicate which side of the bed the lace carriage needs to be placed for the next group of transfers, the horizontal lines mark the end of the transfer sequence, when a single row of knit occurs. Respective carriages need to be taken off the bed after most passes to allow use of the opposing carriage and maintain proper direction of moves, a different sort of “hand technique”. Below is a swatch, the red spot is a poorly corrected dropped stitch.

the technique is manageable for experienced knitters, this was my second try at a hurried repeat (weight adjustments and dropped stitches on first) and photo as I get ready to travel to the opposite coast.

Striping in lace fabrics 1

Colored stripes combined with lace patterning can produce interesting fabrics. Many variants may be found in Missoni’s knitwear. At times the lace holes themselves may nearly disappear, while the stripes become distorted by the transfers, the change in gauge, and the creation of the holes, which in combination begin to create a bias direction in parts of the knit. Below is a simple sample illustrating some of the above points:

the working chart (Intwined)

the text for hand knitting created by the program the additional knit rows creating garter stitch in part of the pattern provide added texture in a hand knit, but are impractical in a machine knit

Rather than deal with working out the lace transfers for use with the lace carriage for my swatch, I chose to use a multiple transfer tool, and begin with a 7 stitch transfer as opposed to a larger number one. Below are some of the tools that may be used to hand transfer stitches in larger numbers than with the tools usually provided with KMs, a garter bar may be used as well

The image below shows the fabric as it appears on its knit side. The bottom illustrates the repeat in one color. The red mark indicates where the transfers were made after knitting the first row of each color, the yellow indicates transfers made before each color change. In the former the “twist” apparent as the transfer knitting is completed, has one yarn wrapping around the other. In the latter, the “twist is all one color”. The yarns used were a rayon and an acrylic, on standard km. If a color changer and lace carriage were to be used in combination, only the second option would be possible (more on that in a later post).

the purl side

Below is a hand knit sample with a wider repeat, adding garter rows. The yarn used was a worsted weigh wool on size 8 needles. Of note is the difference in undulation in bottom and top edges

knit side (red mark here indicates garter stitch row detail)

purl side

a possible use for this pattern might be a center or recurring panel in a wider knit

From punchcard to hand technique or hand knit

Emulating the repeat in the post Studio transfer lace knit on Brother 910 and Revisiting use of lace patterns Studio vs Brother machines

here is a chart for reproducing it as a hand knit, generated in Intwinedthe accompanying text generated by the programexecuting ssp from Knitters Brewing Company

I tried the pattern as a hand knit and had difficulty keeping track of the reversals of twists front and back, so I headed back to my more familiar territory, machine knitting, and to the bulky machine to make the number of transfers a bit more manageable. The repeat is 14 stitches wide, outside the range of an effective repeat for a punchcard, but with transfers every row there is another way to use a card that requires no punching. Observing familiar rules, and text or symbols that are meaningful to us for the particular project (ie also for racking sequences), the card is used for notekeeping rather than needle selection. The carriage is set to KC, set for normal knit, no cam buttons in use. Because no holes are punched, there will be no needle selection. The card is locked on row 1 as usual prior to the first row of any pattern knitting , set to advance normally, and in my scribbly version it reminded me of several things. Each pattern segment is 5 rows, with the dark stripe indicating the beginning of each new segment. The numbers on alternate sides show the number of stitches that need to be transferrd with the aid of tools, leaving an empty needle that will create the hole, and overlapping stitches on either side of a center point in part of each motif. I worked with 2 repeats. On rows 1-5 as marked on punchcard, stitches were trasferred beginning on the right, toward the right side edge of the knit, then following the remainder of the partial chart repeat. When the next segment of rows was reached as indicated by numbers appearing on the left of the card, beginning on the right edge again, the first group of stitches was transferred away from the knit side edge, once again following the chart segment. As the lines of holes begin to show, it is easier to see the direction in which one needs to move as is the resulting pattern. The ridges created as the stitches overlap on either side of the center single knit stitch also can serve as guides in keeping track. I used no weights, just the opposite hand to pull and guide as needed. The number of moves is likely to require a looser tension than usual for any familiar yarn.the swatch, knit side, using worsted weight, tension 6its purl side

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Ruching 2: more working with stitch groups

Reviewed and in the process of being edited with added charts and photos 12/2022. My working and presentation methods have evolved, resulting from evolving working methods and skill in using the new generations of available hardware and software including new generation iPhones with their built-in cameras. This post will continue as a hybrid of sorts.
The previous share on this topic: Ruching 1, a fern pretender, and more.
An illustration of what part of the stitches to pick up Going straight up: in the 2014 chart color blocks illustrate needle groups that get picked up and transferred onto the same color row on the machine, with no specific references to needle tape or any other markings. When repeating the operation in the same needle locations, having NOOW (needles out of work), thus creating ladders, makes it easier to keep track of groups in configurations.
The yellow lines represent needles taken completely OOW at the start of knitting.
Any of these fabrics may be executed in a single color or varied color sequences. Sometimes changing the color in swatches and using sharply contrasting ones helps one understand the structure of the resulting fabric a bit more easily.
The number of rows knit between picking up stitches can be varied to suit, and not all horizontal stripes need to match in height.
Stripes in plain knit rows in the same color or an alternate one can add interest and decrease the total number of carriage passes in the overall piece.
In a different approach at the same visualization, all blank vertical rows represent locations where needles are in the A position, out of work, and remaining that way throughout.
To maintain equal edges in the piece, this setup is on a multiple of 6+5 needles: The block layout can be varied, along with adding all knit stripes in any chosen color. Variations in picking up sequences may be seen here creating different secondary patterns. The red dots in the first photo indicate a row of additional ruching in the center of solid striping.
Cast on a multiple of 12+4 stitches: In response to the comment on this post, here is a proposed variant of the technique to try on a 40-stitch (36+4) sample.
Visualizing the brick layout single stripe segments: Maintaining the brick layout, each segment may be repeated the desired number of times, creating stripes in extended textures. Varying spacings and rows, the setup is on a multiple of 9+8 needles. Far less dense, a proposed spacing, the bubbles will be more prominent if 2 stitches rather than one are hooked up, with the concept used to form intermittent design bands, ruching partway, gathering one side, using thick and thin yarns working in narrow stripes and very small repeats. Returning to the diagonals previously depicted this way, now with some changes. Repeating the pattern on a wider knit, considering shaping for even side edges Applying the same technique in bands rather than all over
Adding wide ladders: both the number of stitches lifted and hooked up and the number of needles left out of work can be varied to suit, even in the same piece. In this illustration, the colored columns represent knit stitches, the white ones needles left out of work. Repeats are 10 rows in height, with stitches hooked up every 5 rows in alternate columns A swatch utilizing the concept: Ruched Fair Isle: when using Brother machines, to keep the pattern uninterrupted, prior to knitting the row with the completed hooked-up selections, the correct needle preselection for each pattern group needs to be hand selected. Some tips on ruched FI knitting: the fabric will shrink considerably in length, so most motifs will need to be elongated to accommodate that.
Having a pattern that may be tracked easily by watching the floats on its reverse is helpful as may working in bands where the colors swap spaces (changing yarn feeder positions).
In very textured knits, 2 all knit rows could be added at the point of ruching, pushing end needles in if selected by the machine so as not to form floats from one side to the other. One row could serve as well, but then there are decisions about what to do with added yarn ends. The added rows can be left unpunched, will knit color in A feeder, and may not be visible in the finished knit. As always, test before committing to large pieces.
If small groups of stitches are to be picked up and rehung, markers with segments of nylon thread or yarn may be placed on the corresponding needles and be temporarily knit in. In addition, the needle tape or needle bed may be marked with a water-soluble pen to indicate locations for rehanging, or a custom needle tape may be printed.
Varying striping, and segment sizes. Working in a single color, with ruching forming hems in the center of the piece, followed by light felting. Here the hems are 2 in different heights and all on the same edge, also felted. Using unconventional materials: wool and raffia, followed by felting If every stitch is hooked up across a row, the result on the reverse side will form from a roll to a hem depending on the number of knit rows completed at the time

Ruching 1: fern “pretender” and more

Ruched or manual pull-up effects can be created by rehanging stitches at regular intervals in a straight, diagonal, or random arrangement on plain knitting or patterned fabric. The pattern below could be considered a “fern pretender”, but is considerably quicker to knit. Again, for any textured fabric a yarn with “memory” is recommended for texture retention over time or after pressing, washing, etc.
Depending on how far over whether in this fabric, cables, etc or how many stitches are moved on the needle bed, adjustments may have to be made either in tension or in the number of stitches moved. Adding striping and changing its sequences or combining different yarn weights may vary the look of the fabric considerably, and because it is a hand technique, motif repeats may be varied in size, scale, or location of hooked-up stitches. The working charts represent the side that is facing one on the machine, so by default, all stitches are purl. Dark grey represents needles out of work, which will create ladders in the final fabric. All other squares are knit stitches. Green illustrates the location of needles where the stitch’s top purl bar will be picked up (in this case with a 2-prong tool), and where the tool will rehang those same stitches to create the desired texture. Red lines outline the repeats.
smaller repeat the larger. The swatches are pictured below as they came off the machine, with no pressing or steaming. The smaller repeat curls considerably, and the larger lies much flatter. The longer ladder “floats” bear watching when rehanging the marked stitches to ensure free gate pegs and stitches knitting off properly. I prefer to knit nearly all fabrics without additional weight, using my fingers to pull down on what needs it as I move across the knit. The larger swatch required a tension change of + 2, in addition to the longer span of knit rows. The purl side, with notable curling on the smaller repeat sample. In any fabrics requiring needles OOW, unless waste yarn and weights are a necessity, one may simply do a crochet cast-on across the required number of needles, then drop off cast-on stitches where NOOW are needed, pushing them back to A. In binding off using the latch tool bind off, treat empty needles as though they had stitches on them, and the top and bottom edges will match in width.
Working with larger stitch groups and color changes: the pattern stitch is in groups of 5; knit 9, 10, or 11 rows (depending on yarn and tension). Beginning on the left-hand side pick up 5 stitches from the first row, and hang them on the next group of 5 needles to their right on the last row knit. Skip the next 5 stitches, pick up the next 5 with a transfer tool, and hang them on the next group of 5 needles to their right, repeating across the row. After the whole row is hooked up, repeat the process, reversing the direction of hooking up. Starting side may be based on personal preference, consistency throughout is helpful. This pattern may be worked on an inset, resulting in ruffling on either side or on a fixed edge as well, with ruffling on one side.
The groups of 5 colored squares indicate each set of stitches and needle placement, and the arrows show the direction and order in which the stitches are moved. The same technique, used as a band rather than an all-over pattern

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