Category: Hand Techniques

Ribber trims 3: one trim, four variations

I found this on a random sheet tucked away with references from some seminar or other eons ago, its origin is not known to me
I like to chart out my repeats and plans for executing fabrics, along with ideas for possibly varying them in ways other than suggested, this was my  beginning The sequence in photos, beginning with the cast on, 2/24 acrylic yarn,  zigzag  row with inserted ribber comb,  half-pitch  1 row is knit across all stitches to complete cast on,  knit one more row to return to the opposite side the setting is changed to full pitch, stitches are transferred between beds to match  diagrams the center needle in each group of 3 is brought out to hold for one row, knit one row to return to the other side center needles are pushed back to D position in order to be knit on return pass to the opposite side this tool makes that needle selection faster and easier when the 20 rows had been knit in pattern drop stitches on each side of center stitch transfer ribber stitches up to main bed I knit 3 rows rather than 2, to return to right side  for bind off here is the swatch, still on comb for “setting stitches”

I found the above results upon completion disappointingly wimpy, then tried the same steps in tightly twisted and slightly thicker cotton, achieved better results, but was still not happy. That set me thinking about an alternative way to produce a similar fabric with changes in needle arrangements. The full series of swatches is seen below. The yellow is knit in a 2/8 wool, the beige in the same weight cotton as the white on the right. All swatches were knit on the same tension, for the same number of rows.

The adjustments on the original pattern are as follows. At half-pitch begin as above with zig zag to left, 2 circular rows, knit back to right. Set pitch to P, transfer between beds

knit back to the opposite side, transfer each of the side stitches on the top bed onto the center needle in each group,

bring those needles out to hold for easier knitting on the next pass knit one row back to the right,  making sure stitches have knit off properly. When you have returned to the right side, set the carriage to tuck from right to left only (left tuck button), RC000loops will be formed on the center needles as they would have been formed over the needles as if holding was in use

when the 20 rows are completed the carriages will once again be on the right,  all stitches will have been knit on the previous row transfer all ribber stitches to top bed, knit 2 rows, bind off. None of my swatches were blocked other than by some tugging, particularly along the bottom edge. The spacing between stitches is narrower because ladders created by single needles left out of work are formed by yarn lengths that are shorter than those that happen when stitches are knit and then in turn dropped. The height of the swatch is also affected, and the half fisherman texture in the wool swatch, in particular, is more evident.

More variations to try in a multiple of 3+1: using either method or a DIY cast on, dropping (yellow) stitches marked with a * at the end, or transferring them to right or left and setting the main bed to tuck in one direction only. When the work is removed from the machine, stretch cast on outwards, then give each “scallop” a really good pull downwards. Steam lightly over the scallops to set them. Variations of the double bed trims may be worked on the single bed as well.

Ribber trims/edgings 1

An example of a common ruffle/ frill is produced with variations using both beds: cast on for every needle rib, knit X rows at full fisherman rib, followed by X rows at half-fisherman, and then possibly by plain rib for X rows, EON rib or even following with transfer to the single bed for X rows, bind off. The yarn used in this swatch is a wool-rayon blend  Needle transition arrangements to produce a ruffled edge:
bring every needle into work, and cast on every needle rib.
Knit a minimum of 6 rows.
Transfer every other stitch from the ribber up to the main bed
adjust tensions on both beds, and continue in rib to the desired length. The yarn used in the swatch is a 2/8 wool on a Brother standard, which pushes the machine in every needle rib. The appearance of the ruffle will vary, as usual, depending on the yarn’s thickness, fiber content, and knitting tension adjustments on either or both beds.  Exaggerated frilled starts: no cast-on needed, working on every other needle patterning on both beds.  A few rows will produce a curly edge, and more rows a ruffle proportionate in depth to the number of rows.  Passap KM: AX/AX or AX/KX 4-10 rows, continue in plain rib N/N
AX/KX 4-10 rows, knit 1-row N/N, transfer to 1X1rib, continue to knit in plain rib
racking cast on
BX/KX 6-10 rows, continue in plain rib
Pushers in the upper work position (UWP) will make the needle knit while those in the lower nonworking position (NWP) will respond to lock patterning settings. E6000 either program the front bed for the pattern (1000) or bring every other pusher completely out of work to avoid having them return to work position after the first pass. The motif repeat for 8 stitches/rows usable on any machine

Working it on Brother becomes a bit fiddly. Whether working on a punchcard or electronic KM, it is possible to introduce patterning on either or both beds as seen below.  I preferred the look obtained with the racked cast on at the start. Setting up the Brother machine: program the repeat, half pitch for every needle rib, air knit to place the pattern on the bed so that the first needle on the left (or right if you prefer) is preselected forward and will produce a knit stitch on the first row knit.  The yarn used is a 2/24 acrylic Both beds are set to knit, and lili buttons will be in use. On the ribber bed, the second needle from each side will knit, so starting on the left side of the ribber the first needle to the right of the first needle in work on the main bed is brought into work. It will need to be the second needle in work when the carriage moves from left to right in pattern knitting now another needle on the ribber is brought in to work on the far left, it will tuck with lili selection when moving from left to right remember the ribber rule with lili buttons: an even number of needles must be in work, this shows the start and end of selection on the ribber on alternate needle tape markings, as required It is sufficient to continue with no circular rows after the first zigzag one. The start will be “loopy”, but will improve when the bottom row is stretched vigorously. In this Brother version, the first row of the pattern needs to be selected toward the carriage and yarn after the first pass by the paired carriages. Beginning COR, a row is knit to the left side. The knit carriage is removed from the bed and brought back to the right. COR: a “free pass” can be made with the machine set to tuck in both directions as well as to slip. Using tuck avoids errors in recalling to switch cam button functions.  Using KCI (or II) the carriage with no yarn makes the free pass preselection row to the left, where the carriages are coupled again. I used KCI for my swatch. Before continuing to knit make certain lili buttons are engaged, that both carriages are set to tuck in both directions, and continue in pattern for X rows. Switch both carriages to N/N and continue in every needle rib (or knit 1-row N/N, transfer, and continue in EON rib or single bed). If stitches are transferred for EON rib or stocking stitch knit on a single bed, the yarn tension will need to be adjusted.
To review: lili buttons on ribber, checking needle selections on both beds. Cast on with no circular rows, zigzag only, option 1: tuck <– –>, tuck <– –> loops will build upon every other needle for single rows, so the frill can be continued for any desired height
option 2: tuck <– –>, tuck <– –> to desired # of rows, knit 1 row N/N, transfer for 1X1 rib
option 3: combination slip/tuck
With no circular rows after the zigzag note the edge, and the amount of stretch

Using a racking cast on followed by the same carriage settings as above
COR zigzag row right to left
COL rack 1 to left (increase 1 number on racking lever), KCI (pattern pre-select), program row 1 of pattern, knit one row to the right
COR rack to right (decreasing number) set both beds to tuck, and knit X rows (I chose 10).  After completing the desired number of rows continue in every needle rib or knit one row with carriages set to N/N, transfer for every other needle rib, and continue on the EON rib.  Both pieces compared for width and rippling

I was plagued with random dropped stitches after my transfer to EON rib, one seen above left.
 I finally sorted out that I had been using a ribber arm from an older model punchcard machine. When I replaced it with the later model arm shown at the top in the photo below, etched by the factory with #2 (outlined in magenta), I no longer had any problem.

The latch opening plate use and installation

Here the latch opening plate has been secured into place in the connecting arm without the #2 mark. The change in height is noticeable, and brings the unit closer to the needles when on the machine during knitting

A reminder: if the needle presser bar on the ribber (all plastic) is to be removed, it is reinserted back in with ridges facing, and flat side down

From the Brother Ribber Techniques book: frills and more:pp113-115An intro to scallops: p.120

A previous post on checking ribber alignment 

Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2

Over the years I have avoided ribber fabrics that involve hand manipulation of stitches in addition to patterning. Runaway stitches are hard to see and repair.

In these fabrics, transfers are made by hand with multiple transfer tools. As stitches are moved, the last of the stitches transferred on the purl side (in this illustration 4 stitches), one will lie directly behind one of the stitches on the main bed (marked in red), sharing the same needle hook space. As the next row is knit, the needle emptied by the transfers picks up a loop. The following knit carriage pass will complete the stitch on the needle holding the loop, and the eyelet.

There is often confusion about the terminology, English, or half fisherman rib has only one bed tucking every needle, in a single direction, with all stitches knitting in the opposite. Here that bed is the ribber, the knit carriage is set to knit throughout. Illustrations from the Brother Ribber Techniques Fisherman, aka full fisherman rib, is a tubular tuck with each bed tucking in one direction, knitting in the other My recent posts reminded me of a repeat from an older Brother punchcard pattern book that combined lace transfers and fisherman’s rib. The original repeat is shown on the left, designed for use on punchcard machines.  In this instance, the main bed knits in one direction and tucks in the other while the ribber knits every row.  Stitch and tuck loop combination transfers are made every 4 rows, prior to knitting that row in the opposite direction. The machine is set for half fisherman’s rib. Tucking happens on the top bed on all needles in one direction only, the ribber remains set to knit both ways throughout. If all transfers originate on the same spot, a vertical line of eyelets is produced

Can plaiting give me 2 colors the “easy” way? If transfers move to the right or the left, an arc will be createdAiming for the punchcard pattern book inspiration I began at first by marking up the needle tape with a water-soluble pen to help track repeat segments After a short trial swatch I sought to automate needle selection to serve as a guide for moving stitches across the needle bedThe main bed is set to tuck in both directions. White cells tuck, black cells knit. Rows in Brother preselect for the next row with each pass of the carriage, so on even number design rows as the carriage moves to the opposite side, all needles will form tuck loops on the main bed. The next row will be preselected, with some needles now back in B rather than D position. With an appropriate transfer tool, move the stitches on the nonselected needles to the adjacent selected needle to their right after pushing it back to the B position. After each transfer, push all worked needles and their stitches as well as the now empty needle to the E position. As the carriage returns to the opposite side an all knit row will be completed. Several tension adjustments may be needed to ensure loops do not get hung up on gate pegs as stitches move across the bed, while still being loose enough to knit off properly.

The charts below reveal planning for a more complex fabric, a 2 color repeat with mirroring of the original above, colors are changed every 2 rows with setting changes on the ribber. For more detailed instructions see 2 color ribbed brioche stitch on Brother knitting machine 1.
Seeking new geometry, the repeat “inspiration” is mirrored horizontally. The final repeat is on the far right. The knit carriage is set to tuck in both directions throughout. On white cell design rows the main bed tucks, and the ribber is set to knit. For added directions see 2 color ribbed brioche stitch on Brother knitting machine 1. On most or all-black cell rows, the main bed will be knitting, the ribber is set to tuck. In this fabric, the transfers are made on knit stitches created on the previous row prior to moving the carriage back to the opposite side. All transferred stitches and the empty needle are brought out to the E position prior to moving the carriage to the opposite side, which will be creating the second all knit main bed row. Transfers are made every 8 rows, with pairs of transfers being made toward each other, no longer all in the same direction as in the single color sample The central repeat is color reversed to achieve the final repeat on the above right in order to produce those transfers on knit rows. The final row count needs to be a multiple of 4 rows in height. Here is a 2 widths 36 stitch X 32-row repeat chart The extra line seen occurs when one forgets to reset the ribber to tuck, and stitches are all knit on a “wrong row”. It is by coincidence that they seem to occur in the same spot in the repeat more accurate knitting  On the bottom half of the swatch below the difference is the result from when one carriage knits every row on both beds, requiring a change on the knit carriage as well, canceling its tuck setting with every other color change The last repeat may be flipped vertically as well. It then needs to be edited so those white squares land on the row after an all knit row, not below it. The final repeat on the right is 36 stitches wide by 64 high. There are still 8 rows between transfers. On the left is the first resulting chart, on the right the amended chart places selection for transfers on the proper row. the germ of one last idea, the repeat 14 stitches wide by 96 high, max transfer seven stitches (odd #)playing with ideas a bit more, max transfer six stitches (even#)

This was my attempt to shoot for a recurring shape and planning on having transfers land on like color, the repeat is 8 stitches in width, 112 rows height. Six stitches are the max number transferred. More would give a wider curve, the final repeat would be exponentially longer its reverse side :
When the main bed tucks in both directions with one color, knits in both directions with the other: I did try to eliminate those lace holes. On the right of the swatch as shown below I threaded a needle and attempted to close the eyelets with stitches, getting closer to the line one might get in a hand knit. On the left, I hooked up loops to fill the empty needles. The latter changes the intersecting lines completely
picking up only the white yarn from the tuck loop below the transfer bringing filled in needle back to E position prior to knitting next row the difference in intersecting lines at the outer edge of my intended shape. This is what happens when a new design is being tested, and the lili buttons “accidentally” happen to be engaged on the ribber

2 color ribbed brioche stitch on Brother knitting machine 1

I have always found 2 or more color patterned brioche stitches executed in hand knitting as inspiring and complex challenges to admire, but have not been tempted to actually attempt to execute them in any way.
I have not knit on a Studio KM in more than a decade, have been asked whether this fabric is possible to produce on Studio/Knitmaster. The crucial difference between the 2 brands (Passap has its own universe) is the fact that Studio selects and knits with each pass. Needle pre-selection for clues as described here is not an option. Some Studio information from manuals on tuck knitting including settings for “English rib and Double English rib”:  tuck on Studio km.

This was my first Brother machine knit swatch result: Each of the 2 colors tucks for 2 rows and in turn, knits for 2 rows alternately. Settings are changed manually as shown below after every 2 rows knit, following each color change on the left. Making things a little easier: the top bed may be programmed on any machine, including punchcard models to avoid cam button changes in the knit carriage every 2 rows. With the main bed set to tuck <– —> throughout, black squares will knit for 2 rows, white squares will tuck, also for 2 rows. The first preselection row is toward the color changer. When no needles are selected on the top bed (white squares) the top bed will tuck every needle, the ribber is set to knit. When needles are selected on the top bed (black squares), the ribber is set to tuck in both directions. The ribber will tuck on every needle. Proof of concept: blue yarn is used on rows where main bed needles are selected (black squares). The crossed stitches at the top right begin to represent an effort to create surface shapes or designs on the fabric. They are created by crossing stitches 1X1, making certain the stitch creating the “shape” is carried to the front side of the fabric, the opposite stitch crossed so it is facing the knitter. I used KCI in this instance, the first needle on left in work on the ribber bed, last needle on right in work on the top bed. A border is created on the knit’s edges on the far right and left. The reverse side of the fabric:  Using a blank square on a knit row to help track 1X1 crossing patterns  Working the 24 stitch repeat using KCI; both first and last needles in work on the ribber bed. Due to operator error and forgetting to change ribber settings after a transfer row, I chose to stop knitting rather than attempt a pattern correction  Another attempt at cabling, 1X1 and 2X2. That white line in the bottom image on the right was caused by the color changer picking up and knitting both colors for part of the row before I noticed it. I got rid of the “wrong” color from the feeder and continued on. The wider 2X2 cables require “special handling” and eyelets are formed on columns aside from them after transfers are made. In 2022 I wrote a series of posts on visualizing cables including using the charts to anticipate ribber work and using custom printed needle tapes to facilitate the process. This chart illustrates cable crossings, which can be made in either direction. My own cables were made with the #4 stitch moving in front and over the #2 stitch. Keep in mind when direction matters, crosses will be mirrored on the knit side.
This particular repeat when used in 2 color brioche will move the cable stitches across a center vertical line in the same color as the stitches being crossed
For knitting using only one color, the machine is set with the main bed tucking on every needle in one direction, followed by knitting on every needle as it returns to the starting side, the ribber does the same but in the opposite direction. It is a circular tuck, also referred to as fisherman’s rib. The possible cam setting options: The cable crossings are made on an all knit row, following tape markings and always on needles marked in the chart.
Knitting the pattern in 2 colors requires ribber setting changes as described at the top of the post, and the first preselection row is made toward the color changer.
Knit rows are created after every needle is preselected, which happens for 2 consecutive rows. After the first row is knit, push back to B needles with stitches involved in the cable pattern, cross the specific ones, push any/ all needles B position needles out to E, and the second all knit row will be completed with the return of the carriages to the left.
Tension adjustments will likely be needed with every needle tucking on each bed for 2 rows. I had a loop hung up on a gate peg that was not noticed, which can be seen as a snag toward the bottom of the colored swatch segment. After the fact repairs in these stitches can be hard if even possible.
The concept swatch has varied test spacing between crossings.
Again, note that with this method crossings occur over a center column in the same color, not the contrast as in previous swatches. Plaiting is sometimes suggested as a way to imitate color changes in fisherman-rib. In this particular fabric, the result was quite muddy on both sides. The situation is different when working on single bed vertically striped fair isle designs. One of my ancient machine-knit demo FI swatches: On any knitting machine with every other punched hole, or electronic with black squares, or pixels locked on a single row, if the pattern is knit in FI, continuous columns of vertical color are created. If the goal is creating the continuous and unbroken vertical stripe 2 color pattern single bed, one must place like color on like color.
Because FI is essentially a slip stitch the fabric, it will have less stretch and is narrower and shorter than when knitting either yarn in stocking stitch.
Cables on the machine need to be transferred across fixed widths between needles, so there are distinct limits as to how far stitches will allow their movement in groups in either direction. Loosening the tension can often help. Sometimes it is possible to create extra slack by a variety of means, making moving the stitches easier.
I have found my own limit for this fabric was working with a 2X2 cross (it is possible to work moving single needles as well).
Adding to the complexity of single bed: proper needle selection for the next row knit needs to be restored prior to knitting it when using the FI setting, movement of stitches is mirrored on the knit side in the opposite direction of that viewed on the purl. Visualizing some possibilities as worked on the purl side to consider the knit side appearance mirroring is not enough the direction and appearance of the crossed stitches on the knit surface are reversed from that on the purl as well When working every needle rib it will take 4 rows of knitting with 2 color changes to produce the striping on a single row. R represents stitches on the ribber, K the stitches on the knit bedThis shows an instance where crossing the numbered stitches on the main bed with color changes every 2 rows, by default, lines up the same color on the same color. Stitches in the same color are formed in the in-between needles on the opposite bed.
Another way of looking at the 1X1 crossings on the top bed behind a single central fixed stitch on the ribber. The fabrics may be tested and knit in single colors as well. When working on the 2 color brioche crossings are made on a row where all stitches are the same color; 1X1 cables when made in this case, are forced apart by the tucked stitches between them on the opposite bed, in the alternate color, implied here by the white line Tuck stitches widen the fabric. As a result, the tucked knitting in this chart on the ribber (represented by the color yellow), forces the space between the knit stitches produced on the main bed (represented by the color green) apart, while stitches tucked on the ribber will create the gap between the stitches knit on the ribber, appearing on the reverse side of the fabric. The combinations create the appearance of single stitch vertical stripes.
This is an illustration of one possibility for programming reminders for tracking the location of cable crossings  Every needle ribs are generally knit at tighter tensions than when the same yarn is knit single bed. Too loose a tension in any tuck fabric causes problems with loops forming or knitting off properly, too tight will produce stitches that do not knit off properly. One limitation of crossing stitches here is the actual stitch size, which needs to be constrained to produce the fabric. Tiny stitches need to travel across fixed space. One by one crossing is manageable, 2 by 2 requires extra slack to make the transfers possible.

Adding some “give” to crossed stitches
1: the carriage has moved from left to right after the color change. All needles except for the four white squares in my design were preselected prior to the next row of knitting. The carriage now stays on the right
2: take note of the white tuck loops formed on the ribber on the previous pass from left to right
3: white tuck loops ( I chose center 3) are lifted up and off their respective needles and allowed to drop between the beds. This will allow the 4 white cable crossing stitches to have more slack. 
4: cross your cable in the intended direction
5: push cable stitch needles out to E
Knit from right to left, change color, continue in pattern
With some planning on longer pattern repeats it is possible to plan added clues to tracking rows on which the cables occur and their location on the needle bed. Repeats with very few marked areas merit testing in tile as any other repeat.
The charted repeat on the left below when tiled shows the area of a patterning error, on the right with the missing blank rows added the problem is shown to be resolved, the repeat is now 24 X 84. A proof of concept swatch: Planning for all over the brick layout of corrected repeat: The tiled repeat .png, 96 X 336, the single 24 X 168. More detailed charts of the 2 repeats, suitable for punchcard machines. Ayab knitters need to repeat the final motif across the width of the download in order to match the number of pixels to the number of stitches in use across the needle bed, using the single setting.

Adding complexity, there is the possibility of lace transfers meeting fisherman rib 
and a plaited swatch attempting to avoid color changes every 2 rows, the technique is not a personal favorite Other related fabrics may be found in posts:
Geometric shapes on ribber fabrics with tuck stitches 1
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
Geometric shapes on ribber fabrics with tuck stitches 3

Fisherman_ English tuck stitch rib 1_ checks patterns_ Brother, Passap

More than 6 years ago I produced a series of scarves that were double-sided, reversible, and were considered “manly” by some of the customers at my shows. Some were one color, some in 2. I found an early post with no clear instructions for them, but with this image and that of a punchcard marked for a racking pattern (given below). Coincidentally the question of checkerboard rib knit patterns came to light in a forum, and I found myself reviewing the technique, with part of the intent to reproduce this fabric. I have, over the years, been terrible at keeping good notes (if any). At times what I was working on was so “obvious” I had confidence I could rely on my memory. At others my attitude once the problems were worked out and a limited one of a kind series was produced, was that I was “done” with that particular fabric. Now here I am, years later, with a mystery pattern on my hands and a time-consuming quest, wishing I had documentation for how on earth I achieved it

Definitely not “there” yet:

Early translations from the Japanese or German manuals did not always communicate clearly the meaning of symbols or actions required to be taken by the knitter. A bit clearer meaning may be gleaned from these instructions in Brother Punchcard Pattern Volume 5. The hatch marks on the racking symbol indicate the number of pitches the ribber is moved in either direction. The number of stitches moved corresponds to the number of needles in work on the ribber. Recommended settings for English rib also known as half-cardigan, royal rib, or pearl-stitch, with no patterning or racking, the beds may be reversed. It is a 2-row repeat. One row is tucking on the main bed on every needle in one direction,  knitting on every needle in the same bed upon return to the starting side. The opposite bed knits every row. There is one textured round followed by one of 1X1 ribbing. It is not a balanced structure, looks different on each side. Variure denotes fabrics wherein the same bed is tucked for 2, 3, or even 4 rows followed by one or 2 rows of rib knitting every needle on both beds. The tucking bed may also be set up with needles out of work and with added racking as well.
In fisherman’s rib, the settings are for a tubular tuck, with opposite tuck buttons set in the carriages. While a bed tucks on every needle, the opposite bed knits every needle, reversing the process on the return row. It is also a two-row repeat and referred to as full-cardigan stitch or polka rib.
It has the same appearance on both sides and does not contain any rows in all rib. An additional illustration of both The recommended Brother ribber’s “needle rule”.More tuck rib variations may be found in posts on interlock 1, and 2.
Adjustments to the needle rule may be needed depending on the fabric. If only one bed is knitting while the other is tucking, having the first and the last needle in work on the knitting bed. In English (aka half fisherman’s rib) only one (either) bed tucks.  Directions marked with green #6 on left are from the Brother Ribber techniques. The remaining images are for the single-color racked checkerboard pattern from Brother Punchcard Pattern book #5. No pattern card is involved, every other needle arrangement suggested on the right accommodates slightly thicker yarns. A half-pitch setting is used.

In the above instance, the main bed is not performing any patterning function, it is knitting on every needle in the work position. On a punch card machine, a card may be used to track racking positions. With the carriage set as usual for patterning and needle selection but with no cam buttons pushed in, the main bed will continue to knit stocking stitch. No rows are punched, and the numbers on the card in the colored columns indicate the racking position for corresponding rows. The “card” on the left is designed to match racking positions and carriage travel directions (colored arrows) to mirror those in the publications. Since a 36-row minimum is recommended for continuous punchcard use, the “card” on the right has added a 4-row segment for each segment of racking directions. The full repeat is now 40 rows rather than 32 in height. The numbered columns on the far right are as they would appear on standard blank Brother punchcards. The number one is at the level of the first visible row while the card reader drum is actually selecting the first design row. End needle selection is canceled (KCII on electronics). The first move as indicated by arrows is to the right, so the first row is preselected from right to left. The card is then set to advance normally and released. If any errors are made treat card adjustments as you would in any other fabric.

Adding main bed needle selection for selective patterning: the actual punchcard here includes annotated changes in racking sequences from 5/4 pitch positions at its start to 5/6 racking positions for the top half of the completed repeat on its left side. It may be used as-is or set to double length either for use with a single color or combined with color changes every 2 rows.

The card as punched may be used in many ways. In past experiments, I have shown that not changing the racking pitch for a single row while keeping the two alternating pitches constant created scale-like textures rather than checkerboard patterns

here again for a 16-row sequence

On fabrics with racking enlarge the stitch size by 1/2 to one full number to accommodate the stretch needed in racking the stitches.
Color changes: fabrics made in full fisherman rib are reversible, while those in half fisherman are not. In full fisherman rib in order to knit a specific color, that color must be knit for two rows and tucked for 2 rows alternately. In Passap AX with pushers and arrow keys must be used, in Brother, ribber needles would need to be hand-selected to the proper position on every row. 
The yarns used should be soft and have some stretch. Every other needle patterning may be used with slightly thicker yarns.
Racking in the same pairs of pitches ie. 4-5, 4-5 with no added actions taken, produces vertical columns, akin to results in any fabric that repeats the same functions in the same locations on the needle bed

I knit my first “checks” sample on a 930 electronic programming a single repeat to match the card used double length. The goal: the check sample pictured in punchcard pattern book 5 

In programs or machines that allow for memos that correspond to design rows for each repeat, enter the racking pitch number beginning with design row number 1, and continue to 32 or more as needed. The racking sequence is changed at the halfway point of the full repeat.

Added experiments: using the same electronic repeat above, here I worked *20 rows racking every row between positions 4 and 5. One row was then knit on all stitches on the top bed** (I pushed needles out manually rather than changing cam settings), repeated * to**. The fabric reminds me of racked herringbone, the “checkers” are distorted Changing color every 2 rows shows the same lean in the fabric. I have had intermittent problems with my ribber, stitches begin to simply not be picked up by the main bed and are dropped for no apparent reason A very different fabric is created using the repeat and instructions below*Knit 2 rows, rack 1 pitch to left; knit 2 rows, rack 1 pitch to right to RC 20 (or preferred row count); knit 1 row continuing in pattern to the opposite side without racking**. Repeat * to**. One repeat of the 2 sequences is 42 rows in height. At row 1 of each new (here 21 rows) sequence, the carriage starts on the opposite side Changing colors every 2 rows is possible. The racking will begin with the carriages on alternate sides of the machine after the single-row knit without racking. In segment 1 racking occurs on the left, color changer side, and in segment 2 racking occurs on the right, opposite the color changer. 

“Full” fisherman rib with patterning on both beds: on Passap the back bed is capable of many more patterning choices than in Japanese machines, and strippers help hold loops in place on the needle beds. The Passap “needle rule” places the first needle in work on the front bed, and the last on the back bed. This is also variable depending on the fabric being knitted. Using the repeat

tech 129: (black square tuck for single row) on the front bed. Set up back bed after prep rows, making sure pushers are in the same work/rest position as on the front bed *Knit 2 rows, rack to left, knit 2 rows, rack to right to preferred row count ie RC 20; knit 1 row still in the pattern, without racking**. Repeat * to**. One repeat of the 2 sequences is 42 rows in height. The resulting pattern is reversible.” This swatch was knit with the bottom 3 blocks using 6X6, both arrow keys on the back lock, and N in front. The back bed pusher setup is doing the patterning. The top 3 blocks are set to pattern selection on both beds, using AX, arrow keys, and KX on the front lock. Using technique 130 will double the height of the repeat, working each row twice.

On Brother, the second bed selected needles will face tucking needles on the main bed. This creates a knit stitch on one bed, holding down the tuck loops on the other, allowing for side-by-side tuck loops on opposing beds. Such selections would need to be made on the ribber manually. Both beds are set to tuck, both arrow keys. The needles on the ribber immediately below the ones tucked on the main bed are brought to the E position and face the tuck needles on the main bed, while its non-selected needles will tuck. Rack before pushing those needles (black dots) that will be knit up to the E position. The Brother settings for full fisherman suggested in their Ribber Techniques Book and manuals produce a “circular” tuck stitch, with each bed tucking and alternately knitting on all stitches in opposite directions, so the cam button setup is different than when one is planning textures in varied patterns It is also possible to produce “checks” without any racking at all. On the Passap, this sample was produced eliminating racking completely. The front lock was set to knit throughout / N, the back lock alone did the work. Pushers were selected 6 up, 6 down, the back lock set to AX with left arrow key for even multiple rows divisible by 4. I used 24-32 to get a sense of scale. The arrow key was canceled for the next 2 rows AX 0 to switch the pushers.  The working repeat became *32 rows 6X6, left arrow key, 2 rows AX 0*with the front bed programmed

Here the front bed is programmed for the repeat below, technique 130 (black squares tuck for 2 rows After the initial prep on the front of the bed, prior to knitting the first pattern row, pushers were manually selected on the back bed to match the pusher work/rest position selection on the front bed. Their position will change as the back lock moves to the left. After 12 rows, the arrow key was canceled for the next 2 rows to AX 0 to switch the pushers. The working repeat became *12 rows AX, left arrow key,  2 rows AX 0* with the front bed programmed, and its lock set to KX. The back bed produces a “checkerboard”, the front bed produces checks as well, but in a vertical alignment

A similar half-fisherman (only one-bed tucking) fabric may be produced on Brother machines by automating patterning and switching “beds”. The main bed is set to tuck in both directions, the ribber is set to knit throughout. My sample was pretty much a disaster at the start. After trying different carriages, switching out needle retainer bars on the main bed, checking alignment, and every trick I could think of I was rewarded with stitches simply not being picked up at intervals by the main bed. Time for a break for both the operator and the machine.  

a bit more success:

Below is my electronic repeat, 12 stitches by 56 rows in height. It is intended to mimic the work done by the pushers on the Passap. Alternate groups of 6 stitches will knit (black squares) or tuck (white squares) for 2 consecutive rows. At the center and the top of the full repeat, the two extra rows of squares result in alternate groups of stitches tucking or knitting for 4 rows, contributing to the shift in the color and texture of the checks.
Passap specials: the idea of hand-selecting needles every row while watching multiple loops tucking on both beds and even adding racking is far too daunting to my mind. Highly textured patterns are far more easily produced in machines that allow for a greater range of patterning on both beds.  To review, E6000 tuck settings:
N, EX: same on both locks, may be used without pushers or console
KX and AX: tuck in both directions
OX and DX: tubular tuck. FB: tucks right to left, free pass left to right, BB is opposite
The FX setting is incorporated into several techniques used with KX, 104, 105, 112, 113, 167, 259, and 260. Some techniques for adding back lock settings are 106, 114,145, 158, 167, 168, and 190. Techniques 259, 260, 269, and 270 use racking; 200, and 212 require manual changing of arrow keys; 284 uses the U100 transfer carriage in combination with fisherman rib for an embossed effect.
Using FX settings with pushers full fisherman rib can be combined with full needle rib or half fisherman rib on the opposite bed.

Technique 167: use FX/KX

Front bed pushers are always selected up from right to left by the console independent of pattern, so they will knit. Set up pushers on the back bed in the pattern after the first row of the pattern, and make certain they are in the opposite arrangement of work/rest positions on the front bed. EX knits on all needles from left to right. Black squares represent knit stitches and white tuck ones. Making lock changes at the start of the repeat: knit 14 rows,* Knit 2 rows FX <–/KX, followed by 12 rows FX 0/KX** Repeat* to ** One full repeat of the 2 sequences is 28 rows. The original BW building block is 6 stitches wide, 7 rows high, pairs of each form the unit used to form the larger repeat blocks

My chart for my full working repeat test sample: dots represent pushers, green highlights rows with lock changes for pusher reversal. The latter are made here on RC13 and 14 rather than RC 1 and 2

Getting back to that scarf and reversible checks, I finally sorted out the how-to and a repeat in a different number of stitches and rows. Technique 180: disregard console directions. Set up with 1 extra needle and pusher on the back bed at each side. Pusher selection on the back bed as described below matches half the number of stitches in the full repeat starting on the right side of the back bed. End with a single pusher on the far left in the opposite work/rest position of pushers in the group to its immediate right. Reset the front lock row counter manually at the end of each full repeat (24 for mine) back to 000. As an option one may choose to knit half a repeat at the top and bottom of the piece. My first swatch is testing one full repeat + a few rows. My full checkerboard repeat is 24 stitches wide by 24 rows high, composed in turn of a set of 4 blocks 12 stitches wide by 12 rows high. The AX setting changes pusher selection every 2 rows, and the AX 0 rows reverse pusher selection, resulting in the shift in the patterning on the back bed. Knit the first 24 rows (full repeat #) with no lock change, I found it easier to reset the arrow key at the start of the repeat on RC 1 and 2, rather than RC 23-24. The single BW building units are 6 stitches wide by 6 high with blocks 4 producing the 12W X12H repeat segments A working chart for the full repeat: Black dots = pushers in their work/rest positions, numbers on right = full repeat in rows

Reversible DBJ, Brother knitting machines

I am including notes on my working through the process and some of my stumbles at the start of this post. More specific how-tos are found toward the bottom of it.

Such fabrics may be created with both the KRC built-in function or with the color separations that knit each color for each design row for 2 consecutive, identical rows. Punchcard knitters are not excluded. The starting side is on the left for the KRC setting (B in this illustration), on the right side for the alternate color separation (C, double length, or drawn with each row repeating X 2). I am still testing my 930, for my samples I began by using the built-in pattern #16 in the Stitchworld Pattern Book I. In the absence of a jac40, the fabrics are knit by manually selecting stitches to the upper working position (E on Brother) on the ribber bed every row. Preselection for the next row to be knit on the main bed makes the process far easier.

In my first sample, the colors are the same on each face. Since the same number of needles are selected for both design and ground, both sides of the fabric will be exactly alike. There will be floats, enclosed by knit stitches of the opposite color. Beds are set at half-pitch. Consistency makes any process easier and more predictable. My ribber set up was also with an extra needle on the ribber at either end of those in work on the main bed. I found I had less issue with the long floats in my design when I made certain the needle selection began with needles to the left of those in work on the opposite bed rather than to the right, allowing for the color in use to knit first on the ribber, then in turn on the main bed. It may not matter with patterns with shorter spans worked between the 2 colors. The dropped stitch issues below were resolved by using different yarns, no other changes. 
The needle set up in colored squares and on my needle beds showing matching selections on both beds (different design rows). Some of the floats may be seen created by the blue yarn in the bottom photo. If the first and last needle on each side were not selected on the main bed, the needles at each end on the ribber were added to hand selections for the next row (blue squares)


better results with the different yarn choice

For DBJ that reverses ground and pattern colors, opposite needles are selected on each bed. Color 1 knits the design on one bed and the background on the other at the same time, while color 2 knits the reverse. There are no floats. I knit this fabric as well at half-pitch. The ground color created pockets (white squares), with the pattern color (black squares) locking the layers of fabric together. Here again, first and last needles on the ribber were worked on each row. I began pushing needles up on the ribber beginning to the right of each needle in work on the main bed. Needle selection on ribber matches unselected needles on the main bed (pink). All needle positions in each bed are mirrored.

needles actually selected on both beds (pink), different design rowOne design row, 2 different angles

Since ribber fabrics are not visible for a large number of rows, I frequently scrap off after short distances to proof technique before committing to longer pieces as well as to assess whether the effort is worth it in order to produce the fabric in that particular technique or yarn.

Moving on to a self-drawn pattern, the technique proved to be sound. On inspection, however, I saw I was actually missing a pixel in the .bmp I downloaded, and on the reverse, the green arrow is most likely operator error in needle selection. The orange dots highlight the missing pixel/contrast color stitch, and on the color changer side, I had a really sloppy edge that needs sorting out (red dots). A possible added factor: I knit the motif using KCI, and later recalled end needle selection does not always work with the carriage I am using. Here I filled in the missing pixel, and drew a single-pixel black line along each side, testing a “border”. The first and last needles on each side were now cast on and in work on the main bed.

That single stitch solid color line does not add to the design in my opinion, so back to the drawing board: side “border” pixels are eliminated. The first and last stitch are now in work on the ribber. This fabric is the best by far, at the very start I forgot to cancel end needle selection (KCI), then switched to canceling it, KCII on electronic. The how-to in summary: first and last needle are on the ribber. On the electronic choose KRC for the built-in color separation for the fabric to be worked in DBJ. KCII (no end needle selection). With a free pass to the right, both carriages set to slip <– –>, select for the first row of knitting to be worked in color represented by white squares in the design chart. Both carriages remain set to slip in both directions throughout. On the ribber bed, bring up to E/hold position first needle on the right of any needle selected on the top bed, then continue to push needles up into work to match the number of not selected needles on the knit bed. As needles are arranged, there will be a space between the last hand selected needle on the ribber, and the next needle in work on the main bed Now that there is that extra needle in work on the ribber on the color changer side, to match selection as seen above, needles are hand-selected to E beginning on the far left, still keeping that space just before the next needle selected by the pattern reader. Remaining selections began to right of needles on the main bed as described above.when selection begins on the main bed on the left Getting back to working the same pattern on both sides of the knit:  the first needle on the left is on the ribber, the one on the far right on the main bed. On the electronic select KRC for the fabric to be worked in DBJ. KCII. With a free pass to the right, both carriages set to slip <– –>, select for the first row of knitting to be worked in color represented by white squares in the design chart. Both carriages remain set to slip in both directions throughout. On the ribber bed, bring up to E/hold position first needle on the left of any needle selected on the top bed, then continue to push needles up into work to match the number of selected needles on the knit bed. Small selection errors are seen on the left image, ie on the second row on its right, may be easily repaired by duplicate stitching. The stitching yarn may be fed easily through layers of double knit for short distances before and after the “mistake”. With all settings and yarn being equal, there is a difference in size between this fabric (larger of the 2) and the one with color reverse on its other side 

A similar setup, working in full pitch. Here needles line up directly below each other. If the wrong needle is selected it will be point to point with the needle immediately above it and is an added clue the wrong needle is being pushed up into hold/ E position. My first swatch had a distinctly different side / vertical edges. Cast on was for every needle, half-pitch (top image), the first needle on left on the main bed, last needle on right on the ribber. When completed, it was followed by a change to full-pitch prior to pattern knitting, lining up needles point to point, directly below each other (bottom image). I prefer the edge obtained on the half-pitch throughout, seen in the previous  sample 

Still, pondering those edges, and what about repeats with large areas of a solid color? The image on the left is 25X26 rows in height, the one on the right adjusted for an even number of solid color rows, and a total row repeat divisible by 4, 25X28. The single black line at the top is a marker for returning the carriage to all knit when the top of the repeat is reached. When using full pitch, solid areas remained open at both edges with carriage set to KCII. A wooden tool handle is actually inserted through from one side to the other at the bottom of the swatch. Because the needles are point to point, no extra needles could be brought to work on both ends as a workaround. KCI will select end needles on the main bed. I tried that as the first workaround to seal the edges. I paid no attention to whether needles were selected at each end every row, and got another creative pair of edges.

Returning to half-pitch I brought up to work the first needle on the left every row (too many rows at seen at R top edge compared to the other side) and pushed the last needle on right up to work if it was not part of the group to be brought up to E.Analyzing the fabric structure in those areas of solid colors on alternating beds: at first full pitch makes sense if one has knit tubular stripes or solids which have closed edges, with the yarn making a single pass on each bed, traveling back to the color changer, with the option to stripe every X, even number of rows. Such stripes occur evenly spaced and identical on both fabric sides. Here the goal is to knit the fabric with large blocks of solid, alternate colors on each side. The main bed knits color 1 on selected needles on the top bed only, the alternate color is knit with the ribber needles being hand-selected up to E while the main bed is slipping, with none of its needles selected. Other than that first set up row with preselection from the left, 2 rows are knit in color A, followed by 2 rows in color B. There are no stitches traveling between the beds to seal the fabric together in those areas, creating open sides, so if the goal is to have the edges seal. other steps need to be taken. A single-pixel solid line along either edge of the repeat did not create a good edge. Full pitch is easier than half pitch to manage. One possible solution to both issues is to alter the side edges of the design repeat so there will be alternating needle selection along those side edges, thus sealing the fabric.

I decided to cast on with white and to continue with white as the first color used in the pattern (white squares in the chart). This swatch was knit in full pitch. Edges are sealed throughout. The only hitch was when the top was reached and that all black squares row was reached. I was on the right at that point, with my dark color in the feeder. The row toward the left would have knit in the dark color instead of the white on the top bed. I cut the dark yarn, made a free pass to the left, continued in plain knit in white to right, and then transferred stitches and bound off. Top and bottom edges /borders in terms of the number of rows, whether to add pattern there as well, are all subject to personal preferences and taste.

For an off-topic reversible double bed fabric using thread lace setting, see post

More dragon scales and chevrons in ribbed, racked (4) fabrics

Over the years a variety of fabrics have been named dragon scales or crocodile stitch. Here dragon scales have referred to shapes created using a lace technique and resulting in a pattern such as this

that was followed by hand knit samples and an investigation into possibly creating a ribber fabric with auto shaping resulting in similar protrusion

ribber-pitch-a-bit-on-racking-1-chevrons-horizontal-herringbone/

vertical chevrons/ herringbone which eventually led to this, where a reversal in racking periodically shifts the lean in opposite directionsautomating the pattern in half fisherman rib/ mylar repeat tracking shown. Any repeat in a factor of 24 may be used on punchcard machines as well. The start of a series in varied colors and fibers: sometimes I enjoy getting back to the simplicity and predictability of punchcard machines, though punching those cards can be slow and a bit tedious. I am presently curious about striping again, and creating a wider “scale”, with a crisper fold. The chart is for the working idea, the punchcard typical of what some of my cards begin to look like as my work evolves. When marking cards for any action, the fact that the eye is not on the same design row as the reader needs to be taken into consideration. Here racking numbers begin to get marked on what would normally be row one on a factory marked punchcard, 7 rows up for Brother KMs on any other brand punchcard, or card roll # position. Though the final repeat is an even number of rows in height (42) note that each half repeat is not (21). The color changer sits on the left, so the first preselection row is left to right, cam button on KCI to insure end stitches knit. Any color changes happen every even #X rows, so they will technically be in a slightly different spot on the alternate repeat. some of the trial and error, random yarns. The white is a 2/15 wool, the yellow a 2/12, the blue an unknown, also wool. The best of  the lot, but not “there ” yet, going back to one color knitting So then you go for a yummy alpaca and silk, make a racking error and manage to correct the pattern, and lo and behold the yarn breaks halfway across the row a repeat up from there! “They” do keep talking about how relaxing knitting is ;-). Yarn specs: Fiber Content: 80% Alpaca/20% Silk; Weight: Lace; Gauge: 8 sts = 1″, 1/2-lb cones/3472 YPP (1736 yards/cone)This yarn is an English import, 2675 yards per pound. It felts into a lovely fabric (not the goal here) and knit tolerably well. The fabric is quite stiff, however, and the surface change is minimal and nearly completely lost 2/18 Jaggerspun wool-silk: worth a shot at a scarf. Starting ribber cast on left, followed by 2 circular rows, one closing row right to left, and first KCI row from left to right will set up patterning in tuck so that the direction of the arrows on the left side of the card, lines up with the racking number appropriate for that row prior to knitting it. The fabrics below are as they came off the machine, not blocking of any sort

I have some lovely cash wool in 3 colors, 2/48 weight. Using 3 separate strands fed through the yarn feeder separately resulted in uneven feeding, loops, and too many problems. Using 2 strands “worked” easily, but the fabric was nearly flatCautiously winding 3 strands onto a cone prior to knitting gave far more predictable results, and there now is a scarf in progress. The difference in color is due to the lighting at the moment My best advice to anyone attempting this is to knit slowly. The most likely spot for errors in my experience is at the point where 1: no action is taken for a row (or more in later swatches), so racking position remains at 10 for 2 rows, and 2: for racking position 9 the knit carriage position is reversed in each half of the repeat. One can get also reach a left-right rhythm, and without realizing it, begin racking between positions 9 and 8 as opposed to 9 and 10, throwing the pattern off. Another look at racking positions: the numbers reflect racking position before the carriage moves to the opposite side, the arrows the direction in which the carriage will be moving. Once the knit carriage moves the card advances, so glancing at the card after that move will show the action for the next row at eye level, which can be confusing at times. A finished piece, 9.5″ X 64″, in the coned 3 strands of merino. Occasional single strand caught on ribber gate pegs, no yarn feeding issues as such. The fabric has not been blocked in any way, but allowed to “relax”. I like the larger scale of the “scales”, would still like to introduce striping in a way that pleases my eye. The knitting is slow thanks to all the racking but is probably faster than using single-bed holding for similar shapes, with a very different finished look. Future of the fabric TBD. 8/16: interestingly enough when the fabric relaxed, it became quite a bit less 3Dand back to introducing stripes in contrasting color An act of faith after lots of trial and errors and a punchcard redesign, that this may have been worth the effort when done. I am choosing to cut the yarn and weave in ends for longer solid areas, and am giving myself permission to only knit while I feel focused on manual changes in color and racking. It may take a very long time to get to “scarf length” and here is the fabric in a completed piece, about 54 inches in length when off the machine. The top right photo shows reverse side of the piece, the bottom right is how it might appear when worn  Next up was a test on how to use 2 carriages or changing settings, allowing for the turning stripes to help the scale shape bend more outward into a “point”. I found to get the width I needed, along with striping it was simpler to change ribber settings to slip <– –> for all knit rows and retain the use of the color changer on the left.

It is easy to share successes. There are also those days however when one should not be anywhere within range of a knitting machine and perseverance does not lead to anything positive. The above scarf was knit in charcoal, using 3 strands of cash wool. Two strands of the blue created a nearly flat fabric, 3 strands did the job. So I now turn to true black and white. Knitting 3 strands of the black was impossible at any tension for any length. Then I noticed the ribber on the right was lower than it should be. It turned out the bolt used to adjust the height of the ribber was loose, and the slightest turn of it loosened it completely. So then it took way too long to get it back in place. Got things back together and set up, and with each movement of the racking handle the ribber dropped on the right. After a lot more fiddling that got me nowhere, I decided to use the ribber for another Brother machine that had not been used for years. That was dry, the grease on it had turned black, and time flew cleaning and oiling and waiting. Back on the machine, the right ribber bracket of the alternate ribber will not allow it to drop on that side so it’s back to grease and patience and yes, I finally got up and running, only now the smell of the oil and lubricants makes me want to leave my apartment. Outdoors the temp is a dozen degrees warmer than inside it and grossly humid. I don’t want my knitting to smell like the solvents either, so the remainder of the day is called in as a period of rest and recreation mixed with a touch of, hopefully, amnesia.

Moving on to the next day: success in one color with no major problems or errors, have a black scarf, 64 inches long with lovely bumps, here as it appears immediately off the machine 8/16: 3D shapes held up very well So what would that true black in the thinner weight do with those stripes in a true white? I found myself forgetting completely to set the carriage to tuck for several tries, then messed up the color-changing sequence. Time for more R&R.

8/7 after several tests with minor variations in the pattern, sorting out yarn weights preferences, I decided to “go” for a version of the same stitch type as the charcoal and white in true black and white. Again, I am not able to use 3 strands of the black Got a third of the estimated desired length knit, and whoopee! about 10 stitches dropped off both beds on the color changer side. Oh, the joys of unraveling several rows of sewing thread weight black yarn, in racked tuck stitch, down to an all knit row in the white to make certain the proper number of stitches are in work on both beds. Got that far, and am ready for more R&R.

And 8/8 this is the last in the series, at least for a while in true B&W. The 3D pattern is reduced by the weight of the piece as it is worn Just a reminder: the service manual http://machineknittingetc.com/brother-kr120-kr710-kr830-kr850-kr230-kr260-service-manual.html provides information on ribber adjustments. The part in question I believe, is #24, the “slide plate guide stud”. In the image below b= the bolt that became completely loose. I discovered after getting things back together that a, which secures the ribber bracket, is actually directional with a barely perceptible difference in shape, and if accidentally rotated 180, it will keep the ribber bracket from changing height positions and working properly. Rotating it restored expected actions, so now I have 2 well-functioning ribbers to work with.  

Still at it, 8/16 I now have a lovely, equally bumpy fabric in all 3 colors using 2 strands each of the cash wool at the same tension. The single difference in my execution is that I am now using my alternate KR 850 ribber. The height and other adjustments appear identical to my eye. I am reminded of my teaching days in a Brother punchcard lab, where at times the same model machines might be side by side, and fabric would work perfectly on one machine while not on the other supposedly identical model. Students were not allowed to swap off machines, the one exception being if that was the only way to get the stitch types in their final projects completed after I attempted to work out other possible issues. “They” do keep talking about how relaxing knitting is, but with machine knitting, there are lots of opportunities to wonder about that suggested fact.8/17: complete a royal blue scarf in the smaller scale repeat, previously executed on my 910. The punchcard below it image may be used to achieve the same fabric. 8/18: trucking on, planning a couple of more pieces with the large-scale repeat. It seems I have been having more drat-it moments than one might ever want, resulting in having to discard hundreds of rows of knitting for any number of reasons including racking operator errors. I have also encountered another problem. In the past, I have used cello clear, or a variety of tapes to seal off holes accidentally punched in the wrong place. I very rarely produce multiples of any of my pieces, and my limited edition items were usually knit on an electronic due to its increased ease in adjusting the repeat width and height to suit. Transitioning from the solid repeat to the striped one, I decided to punch out holes on my original card to test my ideas, and when returning to the large scales I was too lazy to punch yet another card, and taped over sections I wanted to eliminate from the selection. Hundreds of rows into yet another piece I began to notice odd behavior in needle selection, which was fully remedied by investing time into punching a new card, and yes, starting over yet again. Note to self: do not do this sort of taping over in the future, no matter what the tape, and especially when knitting multiple pieces thousands of rows in length! 

8/21: I am working on a final series of large-scale, single-color scarves. As has often been my experience in knitting long pieces of ribbed fabrics (most of my scarves are 1200 rows or more in length), I have a talent for developing problems after the ¾ point. Two factors that can have an effect on stitches not knitting off properly “suddenly” can be the result of 1: the slide lever setting being changed accidentally when moving ribber sinker plate ie to correct patterning errors and bring it to the opposite side, and the ribber alignment for needle positions relative to each other on opposite beds changing slightly from all the side to side motion in racking nearly every single row.

The slide lever has 3 positions. I have out of habit gotten used to simply leaving it in its center setting (lili) for my knitting, and used to teach students to keep that constant if possible. Sometimes when knitting ribbed cuffs, bands, or collars, I have seen the differences in length and width of them changed for separate pieces and not noticed until one was ready to join pieces.  

adjusting needle bed positions (for more see https://alessandrina.com/2015/01/13/a-bit-on-ribbers-japanese-kms_-alignment-and-symbols-1/)

The last piece produced by me was in a charcoal color, using the same yarn brand and weight as the black. All things being equal, using the same tension (required to avoid knitting problems), the charcoal version stitches were considerably looser, and longer, also due to changes in gauge. I think the charcoal scarf will put this fabric to rest for me for a very long time. This was my final, pre-punched card, and its markings

Some Passap patterns 2016/01/13/racking-2-vertical-chevrons-herringbone/
and 2016/01/09/ribber-pitch-a-bit-on-racking-1-chevrons-horizontal-herringbone/

Knit and purl blocks to create folding fabric_ “pleats”

Knit and purl combinations may be executed in hand or machine knitting. Knit charts are generally planned and illustrated based on the fact that the same side of the fabric is always facing the knitter. Hand knitters have to accommodate for the fact that the work is turned over (unless knitting tubular) with every row worked, so plans would need to reverse knit for purl and vice versa if needed. For more ribbed, pleated/ folding fabrics please see Pleats: ribbed, folding fabrics , and Origami inspired 2: more pleats and fold using the ribber

The easiest way to produce this particular fabric on Brother machines would be to let your garter carriage do the walking and working. For those of us that do not have that option, there are transfer carriages, (I honestly have only used mine once, decades ago, will have to dig it out of mothballs) and transferring needles by hand. Pairs of identical stitch transfer tools may be used to move stitches from one bed to the other. If the goal is to produce a knit with tension as tight as possible, the latter can be problematic and result in dropped stitches, so testing the yarn and the mode of transfer should be part of swatch trials prior to committing to larger knit pieces.  I found moving stitches between beds one at a time for me was preferable and more reliable

The chart for the initial concept: The number of needles used for “pleats” is constant (7); 3 stitches move up (or down) in turn, indicated by arrows. After the first 3 are transferred, 3 more are now moved adjacent to the now remaining 4 stitches from the opposite bed in order to maintain a total of 7 on each bed, excluding any borders, in which stitch placement remains fixed.

cast on for every other needle rib after completing cast on rows, set up for pattern by transferring between beds*knit 6 rows, transfer between beds knit 6 rows, transfer again restoring original selections**repeat * to **; transfer to main bed, bind off. Swatch on KM prior to binding off If the goal is to retain the texture, it is best to knit using a yarn with “memory” such as wool, which may be steamed or blocked lightly while retaining the fabric’s quality. A rayon or cotton would flatten permanently if pressed. The photo shows both sides of my swatch, beginning on left with it slightly stretched with pins, relaxed in the center, and with a bit of vertical “tug” 
The fabric changes a bit when some stitches remain fixed on alternating beds, and the same sort of approach is used. My initial intent had been to transfer every 4 rows, but I actually did so after every 6 rows knit. Colors in the chart on right: Its numbers indicate the working needles on each of the 2 beds. The first 3 needles on either side are never transferred. Groups on either bed after transfers remain constant at 6 with the exception of the borders. The starting set up and the alternating one, repeated in turn throughout the knit. Note border stitch selection, constants in between still on the machine,  and my small test swatch. The fold on each side and the swing in the pattern appear crisper and better defined to me
What of horizontal folds? Transferring every stitch to and from the main bed manually is more than I am willing to deal with in addition to transfers for those blocks. I am also interested in the effect produced with the use of thicker yarn. This repeat is presently on my hand knitting needles, is suitable for electronics or punchcard machines. A single unit is 5 by 16 rows, the punchcard repeat is 24 X 16 X 3; 32 rows is a tad shy of enough rows for the punchcard to roll and advance properly, 36 rows in height is the recommended minimum. Knitting as tight as possible makes for a stiffer, crisper fabric. I decided there were things about this repeat I did not like, however, including the change in pattern at the folds 
The new repeat, with only 2 rows worked rather than 4 between block pattern reversal, the repeat is now 12 rows rather than 16 in height  The hand-knit swatch, using 4 ply yarn on #5 HK needles. The arrows mark the area where 4 rows were knit between knit and purl blocks rather than 2, creating an added ridge, and a straighter line than the row pairs an attempt at a side view an earlier hand knit project in the same stitch family Another handknit swatch in worsted weight, perhaps suitable for G carriage Its repeat turned 90 degrees clockwise  Getting rid of those blocks altogether: a generously shared free pattern on Ravelry and a link to the author’s blog
More blocks to try
Zigzags in varied configurations

Pretend/ mock cables 3

A Facebook group query brought up the possibility of creating cables in an “easier, quicker” way than by crossing stitches by hand. Over the years different authors have suggested a “sewn” method for pulling stocking stitch columns together in order to achieve the cabled effect. The illustrations are usually of the work done on a ribbed fabric, but it also may be achieved in simple stocking stitch, with ladders marking the edges of the mock cable, and providing a visual line to follow and count spaces when smocking the fabric up. The width of each column, the yarn fiber content, and personal preferences will determine the success” of the results.

I was reminded of “magic cables”, a technique made popular years ago in a copyrighted pattern series by Ricky Mundstock, ie this one from 1969 (illustrated online). The concept originated in a Japanese publication years before, relies on hooking up tuck loops to create the cable-like effects. I tend not to knit from published patterns, set out to understand what makes the fabric work in theory, and then sort out whether I have other preferences of my own for creating it. I began to experiment with a totally random tuck card. Tuck is chosen for the background because it is short and fat, giving the taller all knit rows for the “cables” the possibility of an additional gather, adding to their depth. I chose a purely random repeat, which is a good way to start for DIY if hesitant about the process. White squares will not be selected, will tuck for 2 rows, have a knit stitch (black dot in card) on each side of them. Max on Brother, unless using very thing yarn would be white bars single square in width, 4 rows in height (yes, there can be exceptions on rare occasions)
The card is cropped to the 24 X 44 stitch in width and height for the repeat to be worked in electronics. The area colored blue on the far right indicates possible all knit rows for hooking up “cables” during knitting, mustard color indicates ladders created by an out of work needle on each side of the central, all knit column. The ladders make it easier to identify each all knit column. The tape over holes idea does not work for masking a punchcard since that blue area would need to be all punched holes. The tape over would result in “unpunched” ones.

This takes the revised card single repeat and indicates some quick possibilities for altering it I added 2 more stitches to establish a slightly different pattern. The grab form my work in Numbers was then opened in gimp and scaled to 26X44 for the possible knitting pattern. If working with black and white squares, the image will need to be colored reverse for knitting. I abandoned this repeat for my final swatches in favor of keeping markers for hooking stitches up along the all knit column inside the ladders as opposed to the knit body of the remaining shapes. Here the non-selected needles are placed along the knit column itself, on alternating sides. The final repeat after correcting a pixel error I discovered while knitting: Ayab does not repeat across the horizontal row, each stitch in the width you are planning to knit needs to be programmed. For a test swatch, I decided to work with programmed 72 stitches (knit on fewer). This would be the downloadable file

magnified and gridded to visually check again prior to knitting it This is what is seen by the knitter when the image is loaded, but any image loaded is automatically flipped/ mirrored horizontally by the software. Direction may not matter in the overall pattern, but here we have needles out of work, which if selected on the basis of what is seen as opposed to what is knit, would be in the wrong location. The first preselection row is also only possible from left to right. The easiest way to empty the proper needles is to do transfers after that row, to either side, restoring needle selection prior to continuing to knit. Also, since there are needles out of work, end needle selection is canceled (KCII).

In my first swatch, I tried the idea of hooking up stitches in opposite directions, but was not pleased with the result, wanted to reduce the amount of hand manipulation involved. In the later swatch, I hooked up every other selection onto the same side. Arrows here indicate the direction, not the proper needle position.

Alternating side hooking up with some yarn and needle change issues. Hooking up to one side only was quicker to execute and appeared more pleasing to me. Both swatches had blips from an errant pixel. Steps in knitting the above fabric. The actual knitting will happen with what is shown as the repeat with white pixels on the dark ground, seen looking at the center vertical all knit column of the repeat when knitting the fabric. Allow the non-selected needle on the left side of the column to tuck, providing a marking row for picking up stitches, knit until the needle on the right side of the column is not selected. Prior to knitting across that row pick up the tucked loop and stitch on the left side
Lift both loops up onto the non selected needle on the right side of the column, bring that needle all the way out to hold (three yarn loops in the hook) 

Continue knitting until the next non-selected needle in the column appears once again on the right, pick up from below the left marking spot, and repeat. For DIY insert all knit columns on your chosen repeat and proceed as above.
Visualizing possibilities: chart for side by side columns actions on the purl side is shown. The black columns with arrows coupled with photos show the direction of the hook-ups in the back, purl side of the fabric, and potential “cables” as seen on the knit side using the column repeat illustrated above. This is a garter stitch version found on Pinterest

Revisiting pleats on the knitting machine: single bed

A cumulative collection of links to pleat-related blog posts
Single bed
Origami folds inspired pleats 1
Shadow pleats with added FI patterning
Shadow pleats knitting 
Revisiting pleats on the knitting machine: single bed 
Pleats created with lace transfers
Ruching 2: more working with stitch groups
Ruching 1: fern “pretender” and more 
Pleats: automating “pleating”, single bed
Double bed
Pintucks 2, ripples in knits using the ribber
Pintucks 1 vs shadow pleats, Fair Isle pintucks 
Origami-inspired 2: more pleats and fold using ribber
Slip stitch patterns with hand-transferred stitches, double bed
Knit and purl blocks to create folding fabric_ “pleats”  
Pleats: ribbed, folding fabrics
On two needles  hand-knit and purl folds
Some authors and publications include hems in the category of pleats as “horizontal”. To my mind, they merit their own category.
HEMS
Machine knit hems 2 
Machine knit hems 1
Ruching/hooked-up stitches 
Any techniques may also be used on only parts of finished projects.
Presently, in fashion and knitwear, skirts and clothing with ruffled or folded fabric variations abound.
In 2013 I shared a post on automating single bed pleats including downloadable files of one of my early handouts and working notes.
This post contains some of the same information, repeated for convenience, along with additional info and images added in 2023.

Addition: transfer lace punchcard repeats for Brother machines can vary, from 6 stitch patterns to 8, 12, and 24. Two blank rows (grey cells) would be added above the transfer marks (black dots) below to complete a single transfer repeat. The red line marks the centerline of the 24 stitches.  Proof of concept swatches:
a slip stitch design repeat, punchcard-suitable, is redrawn with black dots representing knit stitches, and blank cells representing slipped/skipped ones. Empty circles along with red numbers mark the locations where stitches are transferred to the right or left, and empty needles are pushed back to A position, out of work/OOW, resulting in ladders. The appearance of the knit side,  and the purl Vertical lace transfers: When working in a stocking stitch, if a soft-looking pleat is desired, the knitted fabric is simply folded to form the pleat and joined to keep the fold. Crisper folds require the added techniques described above. In hand-knitting fold lines are created by slipping stitches on the fold line on the “public side”. Assuming the latter is the knit side of the fabric, this is often indicated by “sl1 with yarn in the back” for the front fold line (and as another slip stitch option, with yarn in front for the back fold line). A purl stitch is more commonly worked on the same side of the knit for the opposing, inner fold. Both the slipped stitch and the purl one are purled on the return purl row pass. It is also possible to work the former purl stitch as a purl, resulting in a garter stitch inner fold.
To review, parts of pleats:

knife pleats may be put next to each other and pointing to the right (S) or the left (Z)

Box pleats are composed of alternating right and left knife pleats, pointing away from each other. Inverted box pleats are composed of one left and one right knife pleat, pointing toward each other.

Accordion pleas are a series of knife pleats in which the back of one pleat forms the face of the next 

It is possible to knit folding pleats in a knitted stocking stitch with the pleats formed vertically rather than sideways. The two needles (highlighted in red) close together form the top hard outer ridge, and the two empty spaces where needles are out of work (red dots) form the under-fold.  The remaining black dots represent out-of-work needles as well Normally, EON knitting is reserved for tuck lace or heavier yarns on standard machines.  For my test swatch, I used a coarse 2/8 wool on tension 4

The fabric narrows considerably as it is stretched lengthwise to set the stitches. Several panels would be required for a garment such as a skirt. Such an item would need to be pulled into shape, pinned, and hot pressed. Fiber content will determine the crispness of the pleats after blocking, and their retention after cleaning. The swatch below is turned sideways for the sake of space. More variations with folds can be made by varying the “rules” commonly recognized for creases. Working sideways once more: on a punchcard machine, using card # 1 locked, cast on making certain every other needle as well as the first and last are selected.
In the swatch varies the number of all knit rows between creasing methods. Overlapping at fixed width at the top of the piece once the fabric is rotated lengthwise, creates a fair amount of bulk as pleats are fixed.
The all-knit sections could be combined with holding techniques to vary the width of pleats from one end to a different width than at the other.
The change knob remains set to KC throughout.
With no cam buttons selected, all stitches will knit.
After the desired number of rows, cam buttons are set to slip in both directions for at least 4 rows (commonly this is done for 2). Cancel the slip setting, complete the next knit section, and transfer every other needle to the adjacent one on either the right or left. The needles holding 2 stitches may be brought out to the hold position as each transfer is made, or pushed out to hold after the fact to insure the stitches have been transferred and will knit off properly. The number of needles in work remains constant.  Change the cam buttons to tuck in both directions. On the first carriage pass, the empty needles will pick up a loop, on the second pass a second loop will be formed on those same needles.  Cancel the tuck setting, and leave the needle selection on to form knit stitches once again, continue with the determined number of rows.
Repeat the process beginning with the slip stitch setting once more.
The yarn used is a 2/24 acrylic, seen here stretched flat.  The slipped stitches form the inside folds in the pressed swatch, while eyelets and tuck stitches fold a picot edge to the outside.  The placement of the holding sequences may be varied, with the eyelets allowed to form and considered a potential design feature.  The number of slip floats or tucked stitches may also be altered by widening the slip repeat or lengthening it, and tucking on alternate pairs of stitches for usually no more than two rows.  Extending the repeat to a punch card with slipped or tucked stitches flanked by a single knit stitch on either side. The outlined blocks of colored cells represent subsequent knit rows.
The folds to the purl side may also be created by simply doubling up the yarn for a single row. Both yarns in this case are 2/8 wool. The second color is used for illustration purposes but might be a design feature in some pieces, and is not clearly visible on the knit side.   Hand selection aided by some of the standard multiple-selection tools is easy enough to use for tests on small swatches to determine resulting effects and preferences prior to any programming.
In this swatch, such increases are combined with holding techniques for what might become anything from an extended ruffle to a full skirt.
The issue with sideways knits is that the number of needles available and the knit gauge may limit the possible length of any garment produced in a single piece.  Single bed pintucks may be made by knitting any number of rows on the top bed, followed by the use of every other needle selection to create slip-stitch floats on the machine to serve as markers. The short floats are picked up and hooked onto the corresponding needles in work after more knit rows.
Short-row shaping may be automated to include needle wrapping to diminish the size of the resulting eyelets.  This photo is of a multiple-decades-old skirt that has been stored folded for years, as taken out of the storage box.  It measures 26 inches in length, with a 97.5-inch bottom circumference. Single tuck and slipped stitches were used along with short rows to create intentionally soft folds.

Useful math calculators for planning wedges
A look at miters, spirals, and angles to create shapes 
Some notes on circular shawls 
Round yokes and more
Hems created using this technique are faster than those where every needle is rehung and may be stuffed or threaded with other materials ie suitable size plastic tubing, or upholstery cords for sculptural effects.

Planning is required for the best method as to how to join panels in items such as skirts.
Markers at regular counts added while the work is on the machine in areas that are to be folded or gathered into a waistband, yoke, or to other shaped pieces are useful.