Hand Techniques – Page 11 – alessandrina.com

A bit of holding 3: shape variations and more

Hand-knit spiraling shawls and shawlettes often involve shaping on every row. Increasing essentially requires casting on one or more stitches. Below are cast-on illustrations from varied sources I used in handouts in my intro to knitting classes

A simple decrease occurs when the last stitch on either side is transferred, moving away from the carriage, the empty needle is placed out of work, and the row is knit.

This illustration shows a fully fashioned version, which gives an edge that makes seaming easier and more attractive, and eliminates the small bumps usually seen along decreased edges. The process adds to the knitting time involved in finishing the piece. Decreases may be made on every row.

Simple increases: a factor that is often first noticed when approaching seaming is that the carriage side creates loops, while opposite the carriage one gets what looks like a knot, both alternate as the starting position of the carriage swaps sides. To speed things up for single increases, one alternative is to bring an empty needle into work on the carriage side. This creates an elongated loop rather than a full stitch. Unless intended as a design feature, the edge is not the best one for seaming. A better-looking increase is created by putting a needle into work opposite the carriage. For a “good edge,” a minimum of two rows of knitting needs to occur prior to the next increase. Continuing on the thread begun in the last 2 posts, I experimented with every row increase and came up with what I consider a reasonable compromise. The method for increasing on the right edge:
*COR: bring an empty needle into work on the carriage side, knit a row. Insert the transfer tool into the loop created as shown, turn toward the carriage (in this case, clockwise), essentially creating an e-wrap, and hang on the adjacent empty needle hook.

increase every row

COL knit to right*, repeat * *
In the previous 2 posts’ samples, I did not wrap any needles. Wrapping in both directions can create an interesting line along the center of the “leaf” or “other” shapes, seen in the photo below

Interpreting hand-knit patterns for use on the machine requires translations of some of the vocabulary, and directions are given. If an edge stitch is made in garter or slip stitch variations, disregard and simply add it to the total number of stitches on the segment of the needle bed that is being worked on. Wrap and turn is executed by wrapping the yarn around the adjacent needle in hold before knitting back to the opposite side

2: knit <- 1: wrap COR 1: wrap COL 2: knit ->

pw2: picking up wraps and knitting them together happens when needles with a wrapped loop and stitch behind it are brought back into work.
The terminology may vary in self-published patterns; some are accompanied by very good tutorials. Ravelry HK searches can inspire many holding technique variations. Other terms to look for in image and pattern searches include swing knitting and, on occasion, tapestry knitting.

A bit of holding 2 / moving shapes around

Many handknit patterns are floating around the internet, placing shapes similar to these, with many variations, along with a variety of locations in accessories and sweaters. The same shape discussed in the previous post is shown here, placed near and then at the edge of the knit. There are many things to consider in addition to the choice of shape. In hand knitting, these patterns are usually knit in garter stitch, a fabric that does a good job of lying flat when completed. Short rows are used in both hand and machine knitting; the Brother G carriage produces them “automatically”, but is not short row friendly. The more practical solution is to try a plain knit version.
Edges of the knit are still going to curl toward the purl side. Some of this can be averted by using acrylic or other fiber yarn that responds to being “killed” with ironing/ steaming, and will lie as close to flat as possible after the fact. Section A shows the shape knit with no color change and close to the side of the knit. Note the vertical edge remains fairly straight. In section B, stitches were cast on, and at the end of the holding sequence, all stitches were knit, moving from right to left. An increase in the number of stitches cast on is now reflected in the total width of the fabric. The result of multiple repeats would appear as a sort of “ruffle”. In section C, the same number of stitches is bound off as cast on.
The bind off is critical for shape retention. I prefer a latch tool cast off for most knits. Here, I used the *transfer over one, knit one* method. Note: the turning point sharpness is lost, and the bound-off edge is very different from the cast-on one. In this instance, because the number of stitches increased and the number of decreased stitches is identical, if repeats were executed and no other increases were made anywhere, the width of the final piece would remain constant. If the goal was to achieve a triangular shape, such as in a shawl, increases would have to be made along the edges of the plain knit sections, before the color change for section C. In testing repeats, I do not wrap any needles. Evaluate whether the extra step is needed when swatching in your final yarn choice.

the swatch

planning the shapes, arrows indicate the direction of the carriage moves

cast on stitches are knit as part of the last row

cast on stitches are bound off before the last row

The last sample was also knit using the same yarn, followed by pressing. Again, I did not do any wrapping, and the eyelets created along the edges of the holding sequences are more visible. The swatch was knit from the bottom edge up. The cast on used was a weaving cast on. Both the bottom and the top edges show some of the distortions in the knit caused by the extra rows of knitting that occur in the shapes. Striping is added to the now-familiar sequence; additional colors could be used, with shapes and stripes varied in the placement, along with a wider, longer piece of knitting to create interesting repeats. The top shows the start of a larger shape that could be altered to resemble leaves, etc.

for a larger shape

for a striped surroundknit side purl side

A bit of holding 1

At a seminar during a visit to California in mid-April, just before the joys of downsizing and moving, I showed this swatch and was asked for instructions for duplicating it.

I have moved, and I finally have a machine set up to prove my ideas. The images below show plotting out repeats in excel odd number of rows knit between shapes

movements of carriage to create each shape If an even number of rows of color 1 is knit between shapes, the yarn is cut at the end of the holding sequence with color 2 (which is made up of an odd number of rows, begins on right, ends on left), a free pass is then made to return carriage to the right, there picking up color 1 for the plain knit sections. even rows between Some cut and paste following the direction of the arrows to work out knitting several shapes in any one row: in this instance, the first row knit with color 2 is from left to right, as is the last row. Even-numbered rows in color 1 would start and end on the same side, COL. If changes of any 2 colors in any technique are for an even number of rows, yarn ends will occur on the same side. cut and paste My original sample was made by knitting single shapes with an even number of knit rows between them. A reminder: Studio needle positions are A, B, C, D, Brother needle positions are A, B, D, E. Holding position for Studio = D, for Brother = E. Upper work position for Studio = C, for Brother = D. Settings for both are indicated below, for Studio, then (Brother)

color 1 cast on 60 stitches, knit 20 (or X) rows, end COR
first shape: COR color 2 knit one row, end COL
COL on the right, bring 27 stitches to hold D (E) position. The rule is usually to always wrap the yarn around the first needle in hold D (E) position, then to knit one row. I found in my samples that the holes created were so small they could hardly be seen, so I did not wrap.
COR on the left, bring 27 stitches to hold D (E) position (6 stitches now in work), knit one row
holding sequence for each “shape”
COL at right, push 2 needles to work position C (D), knit one row
COR at left push 2 needles to work position C (D), knit one row
COL at right, push 2 needles to work position C (D), knit one row
COR at left push 2 needles to work position C (D), knit one row
COL at right return 2 needles to hold D (E) position, knit one row
COR at left return 2 needles to hold D (E) position, knit one row
COL at right return 2 needles to hold D (E) position, knit one row
COR at left return 2 needles to hold D (E) position, knit one row
COL return needles to the right of shape to work position C (D), knit one row
COR return needles to left of shape to work position C (D), knit one row
COL cut color 2, make a free carriage pass carriage to the right
COR change to color 1, knit the desired number of rows (20), end COR
COR for the second shape with color 2, knit one row, end COL
COL at right, bring 40 needles to hold D (E) position, knit one row
COR on the left, bring 14 stitches to hold D (E) position, knit one row
“Always wrap taking yarn around the first needle in D (E) position, knit one row”, repeat shaping as directed above
COR change color 1, knit the desired number of rows (20), end COR
for the third shape
COR with color 2, knit one row, end COL
COL at right, bring 14 needles to hold D (E) position, knit one row
COR on the left, bring 40 stitches to hold D (E) position, knit one row,
and repeat shaping and /or wrapping as directed above
change to color 1, knit the desired number of rows (20), bind off

Tuck and garter stitch: from hand knit to machine knit hand tech pattern

A Ravelry question on the possibility of executing a particular fabric on the machine has led to the experiments in this post.
The pattern that led to the discussion is a free hand-knit one, shared and published on the Purl SOHO website and on Ravelry.
The gauge for their project is 4.75 stitches = 4 inches in stitch pattern; it includes garter rows. Such rows may be executed on home knitting machines by transferring from the ribber (Passap front bed) to the main bed, alternating with reversing the process at a predetermined frequency, depending on stitch type.
K1b is the hand-knit equivalent of tuck for that stitch on that row, adding to the mix. Not practical for G carriage use, as the latter does not form tuck loops, and hand retooling would be required for all k1b stitches.
Using holding to create tuck stitches in non-auto patterning days was commonly used, and I chose to do so here.
As machine knitters, we are conditioned to believe that single color rows are impractical to execute and that the yarn would need to be cut on each side after the row.
Color changers are on one side or the other, making striping with frequent color changes practical if executed in even multiples of rows.
Transfer carriages are available that will help move stitches from one bed to another. I personally have never had the patience to work with them enough to get good at using them without dropping stitches, so I went back to even lower tech than usual, using the garter bar on the bulky, and beginning pattern row 1 with COR.
Before attempting nearly every row turn, it is helpful to have some practice with turning work over using a garter bar, develop a sequence of repetitive actions, keep careful notes as to what works for you, and use clearly visible contrasting color yarns in tests to better understand stitch structure.
In my sample, the white yarn was thicker than the blue; reversing colors or balancing yarn thickness would change the visual look of the fabric.
Beginning with small samples helps work out issues and the making of the decision to try on a larger project or simply as a border.
Analyzing the pattern repeat: tools to help with EON needle selection. The results of rows beginning with the k1 sequence after the row is knit, note the “tuck” loops on top of E position needles, which will be knit off on the next row knit. A row that begins with a k2 sequence, before it is knit; the needles holding the single, blue stitch will form the loops on top of the needles as the yarn moves across to the opposite side. E position before transferring stitches onto the garter bar, also for a free pass to the opposite side to pick up yarn after stitches are removed on the bar. When the knit carriage is set to hold, free passes can be made to the opposite side if all stitches are in E position
1. The first sequence begins and ends with K 1
COR select needles, col A * knit row,
COL, bring all needles out to hold, remove stitches onto the garter bar, make a free pass carriage to the opposite side
COR, flip the garter bar over, replace stitches onto needles, push all stitches against the gate pegs *
2. begins and ends with k 2
COR select needles for row 2, stitches that are to be knit, will need to be placed in B position, held for loops out to E. col A repeat * to* end COR
3. begins and ends with k1
COR select needles for row 3
change to col B, knit one row, do not turn, do not cut yarn
COL: bring all needles out to hold, a free pass to the right to pick up color A on the next knit row, end COR
4. begins and ends with k 2; col A
COR select needles for row 4, repeat from * to *
5. begins and ends with k 1
COR select needles for row 5, col A, repeat from * to *, do not turn
6. begins and ends with k 2
COL select needles for row 6, change to col B, do not cut yarn, knit one row,
begin with row 1 of repeat from * to *
Publisher’s project photo.My swatch, knit on a whopping 9 stitches

Carpet or pile stitch knitting on Passap and Brother KMs 2

Trial swatches do not necessarily require a permanent edge. The main bed cast on with all open stitches is familiar to knitters accustomed to using a single bed Brother cast on comb. A quick version of the same type of cast-on is also doable when both beds are in use, and the goal is to knit all stitches only on one bed or the other. The broken toe cast on for ribbing is so-called because if the comb and weights are hung in the wrong location on the needle bed when stitches on the opposite bed are dropped, so will the comb be, along with weights, heading for your feet. If the ribber is going to be the bed doing the knitting that anchors dropped stitches or pile in Brother kms, please note prongs of ribber comb line up directly in front of main bed needles (blue arrow) and to each side of the loops on ribber bed needles (red arrow). The ribber comb wires will anchor down loops on the needle bed, where plain knit rows will be formed. As mentioned above, this method will result in stitches all being open, does not produce a permanent edge, and is suitable for quick swatching or for waste yarn at the bottom of the weighted fabric. It is possible to perform this cast on with a ribber comb with wire already inserted in both brands, but the broken toe method is potentially less hazardous to needle health. brokent_toe_arrows Analyzing what is required to move between km brands to achieve 2 color or isolated pile motifs: in Passap with the back bed set to FX, one arrow key, EON pusher/ needle selection changes every 2 rows. In Brother, this may be achieved on the main bed by pushing in one tuck button and programming a repeat. The alternate, adjacent cam button, left in its normal position, will knit every stitch when the knitting direction is reversed, regardless of whether any needle selection is happening. On the ribber, lili buttons may be used for alternate needle selection. Its levers determine whether tucking or slipping, in one direction or both, occur. The number of stitches on the ribber must be even. An easy visual check is to check markings on needle tape, which consists of what I refer to as dashes and blanks. For an even number, begin with one, end with the other. Passap will automatically revert to the alternate pusher for patterning on the subsequent 2 rows. In using lilis this is not an automatic function, and some handwork is required to obtain the same effect by changing the first needle selection every third row, as seen in this post.

If the ribber is chosen as the loop making the bed, the needle selection on it needs to be manual for any pattern other than across whole rows. In my swatch, to knit across all needles, the ribber carriage is set to slip in one direction, knit in the other. The all-knit rows in pile knitting need to follow the ones with tuck loops on the opposite bed. Extra needles are on the main bed, which creates the fabric backing. The ribber carriage can be disengaged and used to drop stitches after all knit rows on the main bed.

In the actual knitting, if a plain one-color pile with plain color backing is the goal, some rules may be broken. The thickest, most stable pile is achieved when the yarn anchoring the loops is as dense as possible. If the goal is to knit every stitch across each row to create loops and in turn drop them, one is, in fact, working an every needle rib. This makes it possible to create tuck loops on either bed, creating the backing across the whole row, because in fact there are stitches on each side of the tuck loop on the opposing bed, anchoring it in place. Normally, when 2 or more needles are tucked side by side, rather than the stitch formation usually seen in tuck patterning, the loops do not get anchored, drop off, and create a float like those seen in slip stitch patterns.

In my first sample, the fabric is cast on the main bed, and the loops are formed on the ribber. The carriages are set for the main bed to tuck when traveling to the right, knitting to the left. The ribber is set to slip to the left, knit to the right. The ribber is used to drop the stitches, simply by disengaging it from the main bed and running it across from one side to the other. Dropping stitches occurs (on either bed) after all stitches have been slipped there for one row (no needle selection if patterning). The starting side for my swatches was on the left of the machine. It is helpful to have a ruler or tool to help push loops down between the beds after dropping each row of loops, and also to occasionally drop the ribber to check whether any loops may be caught on gate pegs.

In this swatch, I had some problems (blue arrow) on the right side related to changes in tension while determining what might be the best. Section 1 has every needle tucked on the main bed. Section (2) begins to try to emulate the Passap pusher selection using an EON 2 row tuck repeat on the main bed, resulting in things going awol and loose, even at the tightest tension possible on the main bed. Any time patterning is used on the main bed, end needle selection is canceled (KCII). The tuck repeat

The settings (here, lili buttons are not in use

To create every needle loops for the pile on the main bed: CO is on the ribber. With settings on the image below left (no lili buttons in use), the ribber tucks loops on every needle traveling to the right, knit all stitches moving to the left. Moving to the right, the main bed knits on every needle, slips the whole row moving to the left, giving the opportunity to drop stitches off. With settings on below right, the lili buttons are in use, and the ribber now produces an EON needle selection, every row. Left alone, the selection is what would be seen using the 1X1 card on the main bed, its repeat. The yellow yarn is a 2/8 good quality wool knit at 4.2 on the main bed, 3.2 on the ribber. Switching to a rayon twist of similar thickness created instant havoc. The dark grey was a mill end, tighter twist 2/8 wool. Red arrows show what happens when loops are caught up on gate pegs and not immediately noticed. The green arrow indicates longer loops that can happen when knit stitches on either side of the opposite bed do not knit off properly. The result is a dense wool fabric, so the tendency to roll at the top and bottom of each piece toward the “knit” side of the fabric needs to be considered at the top and bottom edges of finished pieces.

knit with no lili buttons in use

In 2 color knitting, or creating isolated motifs, whether on one color or striped ground, anchoring loops by tucking on every needle is no longer possible, making reverting to EON needle selection on ribber a necessity. The results are dramatically different. These swatches were made using lili buttons or hand selection on ribber, loops on the main bed. If things don’t work in one color, they will not in 2, so one color, every needle pile is a place to start evaluating the results

1X1 lili selection left me with “where are the loops?”

In the bottom section here I tried 1X1 hand selection for 2 consecutive rows, the narrow band in center back was back to 1X1 to separate areas using lilis, at the top I used lili buttons and brought an extra needle into work on ribber before traveling to the right every third row (making needles in work on ribber an odd number), returning it to out of work before knitting back to right. Dropping stitches every 4 rows makes tracking the sequence easier. The resulting pile is far more “subtle” than samples worked with every needle tucking on the bed creating the backing

So far, I still have had no luck with getting anything that does not look like a variant of drop stitch lace when attempting patterns separated for 2 color knitting, either in embossed one color, or in striped 2 color versions.

For stitch dropping tools for different machine brands, see Brother KMs “pile knitting”/ ribber stitch dropping tools

A block lace pattern on KM 3 (punchcard, LC, HT)

This is the original lace working repeat as seen in previous post. It needs to be reduced in repeat width, with segments then moved to accommodate the required changes in height as well

getting things down to 12 sts repeat width, eliminating sts and rows: easy task with software and virtual “graph paper”the segments, collaged together; black squares now to become punched holesmarking out borders to suit mylar or brand of blank punchcard makes placing the markings for transfers accurately easier ie.

every 5 squares every 6 squares

chart with actions of lace carriage included, the 14 stitch by 24 rows electronic repeat now reduced to a 12 stitch by 16 row repeat; see previous post for symbols keya brief test of the resulting fabric: blue circles highlight a couple of the intersecting spots where the punchcard produced lace fabric looks different from the electronic version, because of its shortened and narrowed repeats

A block lace pattern on KM 2 (electronic LC, HT)

Sometimes I begin by analyzing the moves on large print paper to get a sense of the direction for the required transfer moves. This pattern is fairly straightforward, single moves to the right or to the left. What makes it different is what I have referred to as the knit side “chain” in the previous post. To achieve this, sets of stitches are transferred, doubled up, and moved back to the original position to create the proper eyelet placement.

Tension may have to be adjusted to accommodate the double travel of stitches. If it is just a tad off and occasional stitches sit on a closed latch, that may not be noticed, and runs in lace are no fun. Edge stitches get fussy as the knitting grows, edge weights moved up at regular intervals can help with that problem. Where 2 stitches need to move to their right or left, I have chosen to do so by hand rather than relying on the lace carriage to move them onto the single needle, and in turn back onto the center one of the group of 3. My initial notes on paper:Assigning colors for transfer, charting in excel: green to left, pink to right, checking where markings need to be for full KM repeat:

Expanding the repeat, adding 2 blank rows between pairs of transfers with the intent to white out square for “wrong” transfer rows places transfers to right on wrong chart row

all markings, shifted to proper location

symbols used: black squares = mylar markings

The lace carriage begins on left as usual, makes 4 passes before each 2 rows knit. The first sequence hand transfer occurs on row 2 of the 4 LC passes. The second sequence hand transfer on row 1 of 4 passes. After the 3 onto one hand transfer, be certain all 3 needles line up in B position before the lace carriage makes its transfers as well.

the resulting fabric’s knit side

purl side

A block lace pattern on the KM 1

A friend recently posted a forum query on a published pattern that has led to my exploring another hand to machine knit transfer lace. The “flemish block lace” design from the second treasury of knitting patterns by Barbara Walker, p. 270 seemed to be the lace pattern motif used. Here is a partial detail from the fabric that began the discussion

Below is a chart for the Walker repeat produced with Intwined. The repeat is a multiple of 14 + 3 border stitches, the first row is purl, but I could not enter an all purl for row one and not have the remaining symbols altered by the program, which assumes in lace the first row is knitthe program’s generated HK instructions for one repeat plus 3 border stitches In attempting the machine knit version I chose to use the HK chart for my transfers as it stood, the directions of the transfers being mirrored vertically did not matter to me.

This design has “chains” traveling along some of the edges of the diagonal shapes. A lot of moving stitches in groups of 2 or 3 is required to achieve the look. It may be possible to achieve the fabric knitting with the aid of a lace carriage, but planning the punchcard or electronic repeat and correcting any dropped stitches pose special challenges. My first samples were knit on the bulky KM, working in width of the 17 sts illustrated above.

I began to test transfers by moving stitches every row. Interesting things happen when single rows are knit on the machine as opposed to the traditional 2 in multiple transfer lace, as well as the resulting shape being half the number of rows long. The eyelet yarn lies single, without the twist usually seen, and begins to look more like ladders (see previous posts on zig zag ladder lace).

knit sidepurl side

with 2 knit rows between transfers (the missing eyelet in marked spot is due to operator error) the familiar look of multiple transfer lace appears

below the swatch image is flipped horizontally for a different perspective, approaching the original hand-knit inspiration 1940 looking at charting differently, back to Excel: single repeat

checking alignment, adding border stitches adding color

checking alignment, adding border stitchesThe next consideration might be how to make executing the pattern easier on a standard machine. Needle pre-selection may be used to guide hand transfers. Working out the electronic repeat, represented by black squares: the transfer directions

the chart in repeat , including bordersThere is no transfer on row 3 of the repeat next to border on the chart left, it is omitted in the bottom of the chart, shown on the top half. End needle selection is canceled throughout. The resulting test swatch, one operator error transfer missing on mid left:

knit side purl sideOne of the issues I encountered during the initial tests was that of occasional needles “sneaking”/ dropping back on the machine, so ladders rather than eyelets were formed. The needle retainer bar is old, and I like to work lace with the ribber off and a tilted main bed, explaining the possible cause.

Zig Zag ladder lace 1: on knitting machine

My previous posts on combining ladders and lace: 1, 2 . The chart below, found in a random Japanese publication, started the process of my sorting out a possible “how to” on the knitting machine

In hand knitting, the 2 empty circles generally indicate a double yarn over. On the machine these can be simulated by working with extra empty needles. For swatching, a few rows of stocking stitch will do as a start. In a final fabric, waste yarn may be followed by ravel cord and a crochet cast on. After the crochet cast on, the chain on the needles for the extra “yarn over” location can be dropped, leaving those needles “empty”, and the pattern may begin immediately.

One of the 2 yarn overs will be created by manipulating an empty needle, the other by transferring stitches by hand as one would in lace.

If the empty needle if moved back to A, a ladder is created that is essentially a float in front of the gate pegs up to the next knit stitch. For purposes here, the result did not give me enough yarn to be able to maneuver.

The first step is to decide on the repeat between transfers, and emptying appropriately spaced needles, seen here in A position

for the longer “float”: before the first row of the pattern, the empty needle is brought out to work, a row is knit, resulting in loops on those needles, that will create extra yarn slack

the loop is in turn dropped

a tool is inserted through the loop

turned clockwise for casting on in one direction,

and turned counter clockwise for casting on in the opposite. Note that in one instance the long leg of the e is in back of the knit on the purl side, in the second in front. This makes a difference on the knit side of the fabric as well.

to get the look of ssk and ssp as seen in hand knitting (instead of a simple decrease), depending on the direction you are traveling, the needle 3 stitch is moved to its right or left onto the center one to create the second “yarn over” . Both stitches are then returned together to the needle 3 position

and with the transfer and e wrap completed, one is ready for the next row of knitting. Bringing the 3 needles out to hold gives one the opportunity to check all transfers and wraps, makes the next row easier to knit

the turn of the zig zag: pick up from row below for increase, instead of e wrapping for a neater turn

my first swatch: 1/ ladder at start of row; 2/ shows chain moving along the knit side, emulating ssk and ssp decreases seen in hand knitting; all my e wraps were made clockwise, 3 shows the long leg of the wrap moving to front of fabric as opposed to the rear as in 5, each giving a different look to ladder’s edge; 4 indicated the pivot point for reversing the direction of the zig zagbelow shows the results of alternating the directions of the e wraps in each section: clockwise when moving to left, counter clockwise when moving toward right. The large eyelet at the top illustrates what happens typically when an empty needle is brought back into work at the top of a ladder.

Ladders may be created in any desired width. The look of the vertical knit edges becomes a matter of preference. Good note-keeping helps insure consistent results.

Machine knit “dragon scales” update

I had previously posted on an Armani-inspired knit scale-like pattern that sometimes was described online as a machine knit “crocodile stitch”. A fellow Raveler just shared on her project page an interesting variation that includes variations in the scale of the scales themselves. All her transfers are made onto a single center point, eliminating the vertical separation that appears at the center of my version.

my previous smaller, machine-knit sample

a hand-knit lace cousin to try with full repeat and directions, chart, and text generated in Intwined, border stitches not shown