Lace – alessandrina.com

Revisiting adapting Studio punch card simple lace cards for use on Brother.

Ways to modify electronic and punch card published transfer lace designs looked at some ways to achieve lace designs on Brother models with single knit rows between transfer segments, which influences the number of total knit and lace carriage passes, changes the appearance of the spaces between the resulting eyelets, the height of the finished piece, and the aspect ratio and gauge of the original pattern executed as intended.
This post revisits a source of pattern inspiration for such knits that explores cross-brand patterning repeat development.
Links to historical blog posts on the topic are listed at the bottom.
There are so many sources for free, published volumes of all sorts of brand-specific knitting techniques, that finding inspiration in them for execution or DIY designs is endless and production-ready.
That said, as with punch card volumes for Brother machines, in Studio equivalents, not every type of possible stitch type is represented, and names for each may vary not only between brands but sometimes within the same brand, depending on the time of publication.
Testing techniques using simple geometric shapes and knitting with light-colored yarns makes it easier to understand what happens in the process and how stitches are formed, informing the choice as to whether to invest in DIY variations.
Perhaps not ideal to pursue in large pieces, some of the working through of issues to translate designs cross brand can increase understanding of how stitches are formed, and aid in developing personal preferences and patience limits in seeking out something specific or “new and different”.
The method for charting out the transfers by assigning colors to the left and right transfers aids in translating hand-knit charts for machine knitting.
Of note is that the yarn lines formed between the eyelets can take on multiple appearances.
The first exploration below uses a triangular motif taken from this hardbound edition, which is still readily available for purchase and offers a section for lace carriages that transfer and knit in single passes, as seen in Studio simple/plain lace patterns. Repeats are the standard 24-cell width, but row counts are not provided. A 24X52 repeat, IX.8, and its associated PNG. The arrow markings on the left of the cards do not necessarily indicate the direction of the transfers, simply the direction of the movement of the carriage, able to knit and transfer in a single pass, or plain knit.
The punch card advances with each carriage pass.
Blank rows on the card result in rows with no transfers, only knit stitches,
which can vary in numbers.
In traditional transfer lace on Brother, only the lace carriage passes are programmed. The knit carriage does not advance the card, unless for some reason, its cam is set for needle preselection in it as well.
If multiple knit rows are to be planned between lace segments, it is for the knitter to track where to place them.
If extra blank rows are present, they are usually intended for the lace carriage to advance the design before changes in direction, i.e., following the ins and outs seen in diamond shapes.
For proper needle selection, the lace carriage electronic trigger must move past the turn marks on either side. When testing on a small swatch, if the carriage is replaced on the opposite side inside the mark, there will not be proper needle selection.
A reminder, although these repeats may remain 24 stitches in width, the adaptations are suitable for use only on electronic models when operating carriages from both or alternate sides.
Punchcard models repeat selection with each carriage side change.
Electronic models with patterning engaged, i.e., using the LC, or the knit carriage set to KCI or II, advance a design row with each respective carriage pass.
These repeats do not require mirroring when programmed.
These spreadsheet-generated charts identify the direction of left and right transfers by assigning cyan to transfers to the left, magenta to transfers to the right, and the repeat is expanded to use the method described in the previous post, with the LC making 2 passes in the direction of the arrows, followed by a single knit row and a move of the LC to the opposite side for the next pair of rows.
In this instance, knit and transfer rows alternate with all white knit rows throughout the design.
24X52 (L), an increase of 4 rows to 24X56 (R)

The lace shapes are quite compressed. The same, 24X56 repeat, a different approach, analyzing the carriage actions on the single repeat height, 24X28.
T&K = Transfer and Knit. Noticing that each transfer/knit row is followed by a second, plain knit row, so that 2 knit rows follow each row of transfers, until the point is reached where 4 transfers have been made at the top of each triangle, resulting in 4 empty side-needles, remove the lace carriage, knit only one row to the opposite side, and place the LC on the opposite the knit carriage again, beginning transfers followed by two knit rows until the next set of 4 transfers at the top of the mirrored shape are made, then knit a single row, begin transfers once more from the side opposite the knit carriage. Comparing the purl sides of both for scale and similarity to the swatch image pictured in the publication. There are other arrangements of transfer and knit rows in the published sources.
Here they are staggered alternating transfer and knit, T&K, to the left, followed by T&K to the right, up to the all blank row, which is an added plain knit row between repeat segments.
The repeat, expanded into a chart using Mac Numbers, adds lines marked in red for the execution of 2 consecutive knit rows.
On those rows, the LC remains on the same side, the KC makes its 2 passes, and the LC moves toward it again, alternating sides followed by single knit rows, until the next 2 knit rows sequence, and the process repeats.
The 24-row design is easy to track for the paired knit rows. If preferred, or for longer repeats, some machine models allow memos to be set, with beeps reminding the knitter of locations for specific actions. 12X24tested on 36 stitches. A design with no blank rows, with the initial plan to move the LC again to alternate sides, followed by a single knit row after each LC pair of passes, IX.16. The original repeat, 26 rows in height, expanded to 52 rows. 8X52tested programming on 32 stitches made for an interesting design, but very different from the original.
Looking at the related expanded chart, each T&K row is followed by a knit row, so there are pairs of rows for the alternating to the left and the right transfers, requiring a different row expansion.
On the Brother, the LC and KC remain on their respective sides, with the LC making 2 passes for transfers to the left, four passes for transfers to the right.24X78 is also suitable for punch card machines since the respective carriages both travel away from and back to the same side of the knit bed.
The resulting swatch was tested on 32 stitches. The difference in yarn thickness can make the match harder to recognize; here, the result is compared to the working repeat for the original. This last design is from an electronic Studio pattern book. There are no blank rows; the left and right transfers alternate, offering an opportunity to treat the repeat in yet another way. The starting 28X24, rendered double height, 56X48, takes on a structure similar to thread lace designs, except that the eyelets are not placed in straight horizontal rows; they alternate.
Patterning begins with KC on the right,
LC on the left makes 2 passes, is removed to be brought to the opposite side,
The KC makes a single pass to the left,
LC makes the next two passes from the right and is removed,
KC makes a single pass to the right; the steps repeat.
With each second pass of the LC needle selection of stitches already transferred, repeats, and empty needles are brought forward before the next KC knit row pass.
The test swatch: So many machines…lace punchcard knitting 4/11
Lace punchcards_use on the Brother 260 Bulky 5/11
Studio transfer lace knit on Brother 910 3/14
Studio multi-transfer lace punchcard use on Brother punchcard machines 3/15
Studio simple lace on Brother electronics 9/13
Studio simple lace punchcards used on Brother 3/13
Revisiting the use of lace patterns Studio vs Brother machines 2/19

Ways to modify electronic and punch card published transfer lace designs

Recently, in the Machine Knitting Facebook Group, a post by Jeannette/eKnitter describing her method with an associated YouTube video on Transforming a Brother Stitch World Lace Pattern sent me down a new-to-me, what-happens-if-rabbit hole.
Results for any lace designs vary considerably based on the yarn used and the number of rows of plain knit planned between design segments.
My opinion on the altered lace patterning is in the closing comments.
The appearance of the yarn crossing the open spaces created by eyelets can vary from single strands to twisted double ones.
The blog post Revisiting the use of lace patterns, Studio vs Brother machines includes a range of samples, including this very early analysis of the differences, and associated links.
The method of using any carriage engaged with the belt to select from opposite sides will not work in punchcard models, as the carriage switches sides, the same needle selection repeats.
The process for achieving the new repeats can likely be AI-assisted vibe-coded for ease and speed in altering the original repeats containing an even total number of multiple pairs of 2 blank rows, alternating between transfer segments, adding 1 row to one pair for a new total of 3 rows, while removing 1 row from the next pair, reducing it to 1 row. The convention for commands is to start in reverse order from the top, with the conventional two blank ending rows converted to one, and progressing, changing sequences moving toward the bottom of the design.
My tables, visualizing the steps required, are worked out in a spreadsheet using Mac Numbers, adding and deleting single rows alternately in the body of the table where needed.
The total number of rows programmed remains the same.
My first effort began with the same SW 121 repeat in the video.
Working out the changes that need to happen in the design itself in a spreadsheet, things to notice:
The repeat is 44 rows in height, an odd multiple of 4
The LC in the original, 12X44 design, moves for 4 passes from and back to the left, followed by 2 rows knit using the KC from the right throughout, an easy-to-track sequence.
In this method to alter the original, passes of the LC still happen in 4 row sequences, but they are followed by single knit rows rather than pairs with the knit carriage, and the LC is moved to the opposite side for the alternate groups of 4 passes.
When no cam buttons or KCI or II are used, the knit carriage does not engage the belt, and the pattern is not advanced with its passes.
The technique shortens the height by half the number of knit rows, compressing the finished pieces in the number of passes to the finished height ratio.
In the top half of the 44X2/88 row repeat, there is a shift in the LC starting side that results in a change in the knit structure, seen in the chart with only the altered rows shown on the far right.
The first pair of blank rows between lace repeat segments is changed to 3 rows, with the next pair reduced to one row, repeating the process.
The height of the original repeat does not change. The samples were knit using 2/18 wool. Not paying full attention to the task at hand resulted in the extra knit vertical columns in the test of the original on the left, along with the joy of dropped stitches that can occur in lace knitting.
The amended design, 12X44 pixels, was used on the right and knit for 132 rows, checking the vertical alignment. A new repeat, SW 128, 18X64, again is intended for operating with the LC from the left, with two knit rows using the KC from the right, following each repeat segment. The sample from the pub is shown on the left, and a cheated copy and paste X2 in height of the new knit repeat is on the right.
The 64 row height is an even multiple of 4, resulting in a more symmetrical arrangement of eyelets and threads traveling between them. The design is tested on 36 stitches, twice in height.
On one side, the transfers were made close to the edge, while on the other, a several-knit-stitch border was taken for a test run. Side edges are another consideration when planning finished pieces or seams. A planned try at another SW design, my last on this topic. It is 13 stitches wide and 44 rows in height, as published, another odd multiple (11) of 4 again, the spreadsheet manipulation, the new file, also 13X44, knit-tested on 39 stitches.The side-by-side comparison. There is a degree of unpredictability in the final result in DIY pattern drafts; one must trust the process, and progress in the actual knit length is slow.
All these samples in this post used original design repeats with recommended 4 LC passes followed by 2 rows knit throughout.
In theory, the technique should apply to other Brother transfer lace with variable numbers of LC passes between knit rows.
Brother published electronic patterns do not require mirroring, while if starting off with a punch card design, mirroring may be required, depending on the machine model and download software.
Users of knit from screen programs have the added advantage of clues as to when to change carriage sides.
Without the benefit of such clues, remove the carriage from the machine as soon as the 4 rows are completed to avoid making another set of transfers from the same side.
Check needles with 3 stitches on them after transfers, making certain that they have knit off properly after the single knit row, and periodically also check that no loops or stitches are hung up on gate pegs.
If a second row is knit after the LC passes, it can easily be unraveled.
It is possible to add beeps in some models, or to generate DIY reminders on switching carriage sides, i.e., for an 88-row repeat or more.Before committing to using the technique in finished pieces, knit a large swatch to test whether the necessary steps are maintainable without error, block it, treating it the way you would the finished project, and let it rest hanging.
With so much open space in some of the other repeats being offered in FB, if a predictable gauge is necessary, it may be a hard thing to maintain even after blocking.
Tiny stitches require a larger number of needles in work; experimenting with thicker yarns and tensions that tolerate the transfers is worth it when planning beyond test swatches.
I completed a lace scarf in a very thin cotton at one point, which I discarded simply because it was too limp when finished.
For me, the results from this process raise the question as to whether one should simply because one can.
The lace designs may be new and different, but as to whether they are better and worth the effort? The ultimate choice and preference to pursue this type of lace work or not, as in the use of any other techniques, remains a personal one.

After seeing Emanuela Mammarella‘s FB comment on the thread discussing the electronic patterns and her Instagram feed mentioning achieving a similar concept with a single row knit between transfer lace segments in Brother punchcard machines, I gave it a try.
The card used for my swatch was randomly chosen, 19S. It met the requirement of the recommended 4 passes of the lace carriage, followed by two rows knit throughout, and came in the basic pack of cards included with my punch card machine purchase.
I prefer to use yarn color and thickness that allow me to identify stitch structures easily.
This sample is knit using a 2/18 wool, with modified LC selections at the bottom of the images, and traditional ones at the top. The effort is worth a try, and helps inform the decision as to whether the results are to one’s liking, and again, if one should simply because one can.
The bottom of the swatch is knit in the new technique, the top in the traditional published method.
I found it easier to disregard row numbers and counts.
After the second series of transfer was completed in each group, with the lace carriage on the side opposite the carriage again, sometimes after a required additional pass, I removed the LC, knit a single row with the knit carriage to the side opposite its last place, returned the LC to the bed from the side opposite it, and began moving toward the knit carriage making transfers as needles were selected once more.
There were many rows with carriage passes, and no needle preselection, added to the sum since each move and start from the opposite side does not advance the card, but rather, repeats the last preselection. And then, trying to get a PNG for the same repeat, you notice one of the 3 vertical repeats in each half is an odd duck. Just when I thought I was finished with all this!
Comparing the factory-supplied punch card to the amended “correct” design repeat, for a very different, more symmetrical result.
The PNG for the amended repeat, 24X48, can only be used in the traditional method, not to achieve the modified version. This yarn is also a 2/18 wool; the blue yarn used in the other swatches has reached its end. Studio machines and their published simple lace patterns are by far the easiest way to achieve eyelets with single rows knit between them, unless otherwise indicated by extra blank rows in the cards.
My closing advice? If the effect is really liked, and there is interest in collections of production items without the involvement of additional carriages, borrow a Studio km and cards from a friend. 😉

That said, there are other hacks for achieving the look of lace with single rows knit after transfers, rather than pairs of rows.
On electronic machine models, one method is to use select tuck or thread lace designs, such as this 24X40 design, doubled in height to 24X80, so each needle preselection repeats twice, and tested on 48 stitches. The programmed design starts with LC on the left, the first pass to the right, toward the knit carriage, selects needles, while the second pass makes the transfers to the left.
Remove the LC; it will make the next pair of passes from the right.
Knit a row to the left, KC stays on the left.
LC makes the first pass from the right, preselects needles on its first pass to the left, and transfers stitches on them to the right as it travels back to the right.
Remove the LC.
Knit a single row to the right, the KC stays there.
Return LC to the left, and repeat the process. The same design knit as thread lace. A similar inspiration knit in 2011 as a mock filet mesh with traditional LC operation from the left side, the image was rotated sideways whwn shared. The partial card repeat shared at the time,
and the full 162-row punchcard, located more than a decade later, was rotated to view factory row numbers on the right. Taking it to a PNG, and modifying the result: the full repeat, 24X162.
The LC makes 2 passes for transfers to the left, 4 passes for transfers to the right.
Punch cards may be rolled forward manually in the reader to any chosen spot, locked into place, and released after the first pre-selection row to modify the start of the design.A 24X84 segment was in turn isolated, drawn in brick repeat, 24X168, visualizing both files drawn in repeat, easy to achieve with present software.The swatch, tested on 60 stitches, helps to determine whether other DIY arrangements, i.e., widening the repeat or altering the edges of the shapes for use only on electronic machines, should be made.
For some reason, the yarn used, which had posed no problem in recent swatches, was particularly cranky in transfers today. The swatch has several dropped stitches. The original repeat, used in one of my limited edition shawls, with a coordinated border. Using a Studio card to achieve a similar knit on the bulky, #18 was randomly chosen from my stash. Lock the card on row 3. The Studio card reads the first design row 5 rows below the #1 marking on the right, Brother 7 rows below.
Cancel end needle selection on the knit carriage, which is set to select pattern needles, but for plain knitting, with no cam buttons pushed in.
COL knit one row to the right.
Release the punchcard.
COR Transfer all preselected needles away from the knit carriage, to the left.
Knit one row.
COL Transfer all preselected needles to the right, away from the knit carriage.
Knit one row, returning COR.
COR Make transfers to the left, and continue alternating transfers consistently away from the knit carriage after single knit rows to the opposite side.
This test swatch, containing a couple of operator errors, was knit on 28 stitches, using a random 4-ply wool on tension 5, and measures 8.25 inches in width, at a gauge of about 3.4 stitches per inch.

Using the same repeats in many ways: hand transferred lace

Lots of designs can be developed by shuffling repeat segments to achieve desired textures.
Here, the same number of stitches is hand transferred using multiple prong tools, and selections are aided by electronic or punchcard needle selection with the knit carriage set to knit with no pattern buttons pushed in.
The maximum number of stitches moved is 5.
The post on hand-transferred lace with color striping explores variations with transfers that share the concept.
In a spreadsheet, potential results can be visualized, i.e., placement of eyelets once stitches are moved, locations where transferred stitches are placed in each sequence (yellow columns), and easily adding personal notations.
Each of the designs is 24 stitches in width, suitable for punch card models as well. End needle selection is canceled.
A manipulation beginning with transferring single stitches, followed by inverting the shapes
24X24, and with transferring groups of 5 first, followed by inverting the shapes 24X24. Results are similar. A brick configuration, 24X48, will form chevron shapes of knit stitches between transfer segments.
And finally, a brick alignment, 24X24.In the bottom of the swatch, the full eyelets are retained, moving toward the top they were reduced in size by picking up from the row below on each side of the transfers.
The resulting 3D textures were referred to as dragon scales in previous posts, some with better results than others, at times with the transfers toward the center of the groups made on each side of an undisturbed center stitch as opposed to on it.
This version from Single bed scales made with stitch transfers
was created following the associated chart.A review that includes single and double bed samples can be found in Revisiting 3D scales and shells, automated and not

Pinterest inspirations vs implementation, tuck and lace combos 2

This post will be a growing companion to Pinterest inspirations vs implementation, tuck and lace combos 1, addressing designing repeats for automation of such designs on electronic machines.
Lace transfers made in the same direction will lead to the knit biasing in that direction.
Reversing the direction of the transfers at intervals will balance some of that bias.
In the post on A return to lace with automated patterning, adding color striping, the LC transfers were charted moving diagonally as well, achieving this result. In this inspiration source, the transfers are made in rectangular blocks. Assigning symbols and BW fill to cells in turn, expanding the repeat following arrow markings pointing to the LC selections and transfers in the correct directions. The single repeat, 20X42. In the bottom design rows 1-13, the LC makes 2 passes followed by 2 rows knit, in the top 14-41 rows, 4 LC passes are followed by 2 rows knit.
The test knit on 51 stitches. The side knit borders are 2 and 3 stitches, respectively. Next to the 2-stitch one, the eyelets are slightly compressed, appearing smaller than those next to the 3-stitch border.
There are charts worked out for fully automated tuck and lace combinations using both the LC and the KC to tuck.
Many are published in the Brother punchcard volume #5, but
they are not usable as provided in electronic machines.
The punch card machines repeat selection when the patterning carriage is retrieved for use from the opposite side.
The final charts in the DIY electronic versions will appear quite different, and although they may still be in repeat widths suitable for punch card machines, they are not interchangeable.
Electronic models advance the design for a row with each pass of carriages set for pattern knitting.
An idea using similar, alternating loop and lace diagonal shapes. In terms of fabric qualities, tuck stitch is short and wide, and lace tends more to long and wide.
Casting on and binding off may need to be adjusted to be looser in final projects.
Jumping right to the use of black and white pixels, following the arrows to track movements of both carriages to achieve the 24X36 final repeat.
Two all-knit rows occur after completing tuck segments, avoiding LC attempts at transfers containing tuck loops far beyond LC tolerance, capable of producing interesting LC carriage jams: The swatch was tested on 50 stitches. My seemingly endless supply of white yarn has reached its end, hence the color change and restart. As usual, the tuck texture is more evident on the purl side. These were published in a Japanese knitting magazine from the late 80s, with accompanying symbol charts. Counting up from the bottom, it looks as though they were intended for use in Brother models, with row 1 marked 7 rows up on the right of the proposed punch cards. Tentative planning in a spreadsheet for each repeat with arrows indicating the respective carriage movements.
The first preselection row is from left to right, and both begin with tuck patterning.
Testing the first 24X28 designquickly identified a problem area where already formed tuck loops with added yarn from the lace transfers try to meet more tuck loops. Cyan T cells represent tuck loops, the magenta cells the loops formed when emptied needles are brought back into work as the next row is knit. 1: The first pair of tuck loops is complete,
2: and meet the pair of lace transfers stitches to the left and to the right.
3: When needles emptied by the lace transfers are advanced to knit, the center needle between them is meant to tuck once more, but refused to do so with the next all-knit pass.
Often, the limit for the number of stitches or loops on any one needle to knit off properly on 4.5 mm machines is 4, unless the yarn is thin. A solution is to add an all-knit row to the design repeat, marked with blue cells. The amended design, drawn in repeat, checking alignments, programmed on 48X28 for test knitting, and mirrored horizontally on the 930enabled sorting out likely places to watch for any added issues, i.e., location and reasons for any dropped stitches. The second repeat, tested on 48X52, with the pair of added all knit row as above, still posed issues; all-knit rows between the lace transfers must be programmed for execution by the knit carriage traveling from right to left and back to its home on the right. Programmed 48X52 Test knitting required mirroring on the 930

More tuck and Lace combos:
Lace meets tuck on Brother machines
Tuck stitch/ combination fabrics
Large diagonal eyelet lace
Combining tuck stitches with lace 2 (automating them)
Combining tuck stitches with lace 1

Pinterest inspirations vs implementation, tuck and lace combos 1

A companion to this post: Pinterest inspirations vs implementation, tuck and lace combos 2. Both are subject to edits and additions over time.

This has become an interesting rabbit hole for me. I am sharing working notes so far while I explore and document additional textures and combinations that move me forward, making them available to anyone wishing to participate in the journey.
Several images of tuck stitch combined with lace eyelets and diagrams with instructions in a foreign language not clear enough to attempt a translation led to this first exploration of what appeared to be the most complex pattern.
The source image: Pubs are not always in agreement as to the significance of specific symbols. In the published chart, the black dots are assumed to indicate stitches in hold or tuck, building up loops on the machine on the associated needles, the black triangles pointing to the left and to the right, the doubled-up stitches after transfers, and the curved shapes, the place where eyelets are formed after needles are emptied.
Many of my lace posts use cyan cells to symbolize transfers to the left, magenta for transfers to the right.
Starting with a symbols chart, in DIY, one may assign symbols that make sense personally. Conversations with self:
A row of knitting must happen in the location of the emptied needles after each lace transfer.
Each held stitch/ tuck gather in the source image is textured enough to indicate 2 loops represented in tuck stitch by pixel units of 1 in width, 2 in height.
Transfers should occur in the same rows as the first tuck loop formation.
The next carriage pass forms the second tuck loop, with single yarn loops on the needles emptied by the transfers.
Concurrently, the double tuck loops are moved forward on needles to the knitting position, along with preselection for the next first tuck row, and for the next transfers.
Transfers are made after every pair of rows before the next carriage pass, and the process repeats, manipulating needles and their stitches as needed, while also maintaining proper needle selection.
Watch for needles accidentally taken out of work after transfers.
Bring each pair in the transfer groups out to D or E; they need to knit on the next pass.
Getting started: this is a chart that also includes a plan for beginning and ending a program on equal repeat segments, with added cells marked in green.
Charts can contain as much or as little information as to be useful. The tuck stitches and the transfers in the final draft are both programmed as white pixels, resulting in the corresponding preselected needles remaining in the B position. The swatch was planned with 2 all-knit vertical columns on each side edge.
In many tuck designs, both single and double beds, having a pair to a few stitches on the edges, can provide a serviceable rolled edge that follows the pattern movement.
Since the programmed tuck side edges here are not symmetrical in my test PNG pattern, it was mirrored horizontally using the built-in function in the 930.
Leaving the carriage set to knit for beginning selections helps to identify the anticipated placement of the eyelets.
After the pattern was established, the work on the machine appeared to provide enough clues as to stitch transfer directions to develop a rhythm in making them. This far “simpler” design was planned from the outset in BW pixels. Simplifying the automated repeat, starting in only black and white: all transfers are made toward the center needle in each of the groups of 5 unselected needles.
The 10X8 repeat, programmed on 40X16 to include knit side edges, mirrored for use on the 930. The emptied needle and the one with the transferred stitch are brought out to E position, making certain the center stitch, the location of the tuck loop, remains in the B position.
The result is subtle, more evident on the purl side than the knit. The swatch was knit in 2/8 wool, first at tension 7, then at tension 10, an experiment in gauge and texture.
While on one side there is a 2-stitch border, the other has 3, and the eyelets on the 2-stitch side pull in a bit more and appear smaller than those on the opposite side, something to consider in planning finished pieces. Using the same concept, a yet untested design chart: the 10X20 repeat and 37X20 to match the chart Returning to a more complex design using a spreadsheet and a different approach:reviewing the guessed symbols in the pub at the top left, with the colored cell significance for this exploration in the center column; in the table, 20 rows in height, every other row beginning with 1 at the top was hidden; symbols used previously and colored cells were added, including vertical columns in grey for planned needles out of work to heighten the effect of the tuck stitches.
and then with rows unhidden, colors were added in the needed locations. The placement of black and white pixels began to be considered. This 20X20 effort replaces the white pixels in the third column from left with black, the purple with white for tuck stitches. Eyelet locations are marked in black as well. There remain 2 issues. When drawn in repeat in height, there is an error at the center, which is eliminated by extending the height to 60 rows and shifting some pixels, now 20X60tiles without errors. The 20X60 repeat, without all the added black cells, can be printed and coded to suit, with added clues, perhaps even as a guide in an all-hand-manipulated version.
Transfer directions and their respective rows are annotated in this chart.
In the column with cyan and black cells, the cyan indicates tuck loops or needles brought out to hold, and the black indicates the return of those needles to knitting. The last consideration is that the columns with lace transfers need to be color inverted, or all those white cells will tuck. Unselected single white cells will then point to transfers, and the ground in their respective columns is black, with all those stitches knitting.
The swatch was planned for knitting on 50 needles with 2 stitch knit borders added at each side. On the machine: ladder locations > NOOW on either side of where tuck loops will form.Depending on the location in the repeat, transfers are made to the right or to the left on the center non-selected needle between ladders and areas with expected tuck loops, which are easy to identify as the knitting progresses. after transfers are made, both needle involved are brought out to E position.

Cable crossings meet eyelets and ladders

More on combining lace patterning with added stitch types looked at lace transfers consistently to the center of groups of 3, with stitches transferred down to the ribber between them, creating vertical columns of knit stitches on a purl ground alternating with lace patterning.
One of the related swatches: Those who prefer the look, or anyone without a ribber, can use ladders to separate the pattern groups.
The color and fiber content are contributing factors, as always. In addition, with time and wear, stitches aside, the ladders may grow in size, with the space between them becoming diminished. There are always pros and cons to any technique.
This design was tested on 31 stitches and on both a bulky and a standard machine.
Cable crossings that formed eyelets occurred after every 6 rows knit. The repeat was sampled on a multiple of 4-1.
My scrawled needle tapes for both machines to help track transfers. After the first few repeats, the knit itself becomes a clear visual guide to stitch movements and is easy to execute.
Start with every 4th needle out of work, knit 6 rows.
The center stitch in each group is moved over by 3 positions, and the emptied needle is moved back to the A position to create the new ladder.
Moving the needles out to the E position offers the opportunity to look for proper stitch transfers and any dropped stitches.
The formerly empty needle, as one moves across the row, is returned to the work position, and new groups of 3 stitches are formed and knit for 6 rows.
At that point, after repeating the actions on each group of 3 stitches, one returns to the same distribution as in the starting position.The design 12 row repeat: circles represent stitch transfer location with the corresponding needles taken out of work, while orange cells point to locations where empty needles are returned to work, becoming the center stitch in each new group of 3.
The test swatch was knit using a softly spun rayonscale compared to its bulky knit companionAdding stitch transfers to the ribber along with a change in in the type of stitch crossings, eyelets are formed where empty needles are returned to work. The work on the machine on a multiple of 12+2 stitches, with needle tape markings, and needles brought out to D position after crossings:

Getting more complicated: the move of 2 stitches as one so as to leave empty needles, shares the same concept as in the last swatch, but over a wider space. The setup rows are on every needle, all stitches knit on every row, a border can be added on each side, what appear to be ladders are the result of the yarn getting tugged across needle spaces by cable crossings.Stitch and needle arrangements on the machine after the respective completed series of transfer rows.
Closer looks: the pairs of stitches that will be moved to face the back of the work can be rested on their tool on the adjacent pair of needles, leaving the hands free to manipulate the remaining pairs of stitches. The stitch further away from the center group of 8 is moved first, onto the adjacent one, then both skip a needle and move one spot over, the held pair of stitches moves in turn, to fill the empty pair of needles, completing the first set of transfersWhile moving across the row, as long as the needles are in B position, the needles with double stitches and the adjacent empty one may be used as the resting place for the double eye transfer tool while the adjacent pair is manipulated.
The test swatch was knit using a 2/8 wool.
The bottom includes testing tension and simple crossings.
Cables for me are an excellent way to not only test the machine and yarn tolerance, but that of the operator as well.
The back of this knit is textured and stretched taut between metal machine parts, so errors (or discoveries to follow up on, “design features”) are not immediately identifiable without careful checking.
More to browse
Ladders with lace, (leaf) “making things work” 1
Ladders with lace, (leaf) “making things work” 2
Ladder lace
Ladders and Lace
MK ladders, and a bit of crochet includes a hand crochet edging

More on combining lace patterning with knit weaving

Brother Punch Card Pattern Volume 5 is a great tool for learning about the various technique possibilities on any machine.
The accompanying swatch images are guides to visualizing the results and the relationship between punched holes and stitch structures and textures.
Some designs may be used as published on electronic models, while others need some adjustments.
When 2 carriages are used to select needles from opposite sides, punch card machines do not advance the card with the first pass of the second carriage from the opposite side, repeating the selection in the previous row, while electronic models advance a design row with each carriage pass.
When traveling between machine models and developing DIY variations, test the lace portion of the design first; depending on the machine type or the software used to download to the machine, the PNGs provided may need to be mirrored horizontally. The big clue pointing to mirroring being required in testing is if there are two empty needles side by side after any of the transfers.
Electronic models can do that with the selection of a button. Keep good notes for future reference of the specific patterns.
This series began with a ready-to-knit repeat for the technique.
End needle selection is canceled; the goal is to maintain the weaving pattern along the side edges.
The smallest repeat segment in the card #275 is isolated, in this instance, to 12X28. The image on the far right shows areas where selection rows are repeated with the change of the carriages.
The chart for the repeat was plotted first in a spreadsheet, 12 columns X 36 rows, with arrows indicating the direction of the carriage moves, and the knit-woven rows were also noted with red cells. The sample was drawn in repeat X3 to 36X36, and a border column was added to each side, adjusted for an evenly distributed woven floats, used as is on the 930, no mirroring required, 38X36, Using a random card design for transfer lace, #623, with the smallest repeat isolated to 8X18,8X24doubled in height, altered to maintain the weaving pattern repeat,8X48tiling checked on 96X96knit tested on 33X48, mirrored horizontally on the 930Choosing a pattern from a published design for electronic Brother models, repeating the process with #182 Drawing the initial 13X66 file drawin in repeatX 2 in width revealed areas with double cells in the weaving rows, shown edited on the rightthe new PNG, 26X66, with tested tiling knit on 44X66 to accommodate edge transfers and with pixels added to maintain weaving pattern required mirroring on the 930
The weaving yarn used is the same space dyed wool worsted, and the lace yarn thickness matches the 2/18 yellow. A larger motif, still using comparable weight yarns, #161, 24X48.The process, summarized, the knittable 24X72 BW PNG, and its tiling alignment

The tested repeat, 50X72, required mirroring on the 930

A spreadsheet offers easy editing of cell groups and rows. The concept applies to any available and familiar tools that allow for planning the sequences.
The steps in my process using Tables and Mac Numbers in summary:
begin with a published design with 2 knit rows occurring after each series of LC carriage passes, filling the corresponding cells with an easy-to-see color. It is useful to have a symbol or shape to add to any column, indicating Lace Carriage movements. Selecting either of the 2 yellow rows, expand the chart by consistently choosing either the top or bottom row, adding a row below the top or above the bottom one X2, yielding 4 yellow rows.
The red cells in the column on the right indicate planned knit carriage passes. Adding BW cells indicates the placement of alternating pairs of weaving patterns. When programming repeats for the number of needles used in the piece,
verify that the direction of the transfers works so as not to produce side-by-side empty needles. Some machines and download software require horizontal mirroring of lace patterns; electronic models have buttons that will perform the mirroring without added programming.
Tile the weaving design in height, isolated in this sequence, and illustrated simply as a BW file, 24X16, with correct tiling in height. Check that it is maintained with the full “final” LC, and the weave repeat is doubled in height; look for any same row repetitions. In those instances, adjustments will need to be made in the top half of the design by shifting and redrawing cells. Add needles in work on either or both sides if needed to avoid side edge stitch transfers.
For better finishes on side edges, maintain the weaving pattern repeat, filling in cells in the PNG, or pulling needles out by hand if needed.
Returning to my episodic leaf lace obsession, #576. The 24X56 start Two-stitch side borders were added, marked with magenta cells in the corresponding chart, resulting in a multiple of 24X2=48+4=52 stitch width repeat, no mirroring required on 930Sampling was planned using a 2/8 green wool for the lace, which test-knit fairly easily at tension 9.
Then the fun began: the yellow, thicker yarn was a loose, three-stranded variety, and began to separate and skip getting caught. The second shade of green worked fine after a tension adjustment, until I forgot I was weaving, almost transferred a whole EON selection row, got a lovely LC carriage jam, and was not happy at the degree of contrast between the two greens. Thought I had sailed through this sample, and then, when steaming it, I found the many dropped stitches that had gotten away from me and my eyeballs.
May consider regrouping and a third try, but not today!

Knit-weaving methods and associated swatches
Knit weaving 5: manipulated floats 8/24
Knit weaving 4: combining stitch types 7/24
Knit weaving 3 5/24
Knit weaving 2: swatches, experiments 2/21
Knit weaving 1 2/21

More on combining lace patterning with added stitch types

Far older posts: Combining tuck stitches with lace 1, Combining tuck stitches with lace 2 (automating them), the arrow points to operator error, both from 2015
Lace meets weaving on Brother Machines 1, 2020 Lace meets weaving on Brother Machines 2, 2020Lace meets FI on Brother machines 2020 Lace meets tuck on Brother machines , 2020
Punchcard volumes offer many variations for this technique.
Both the knit and the lace carriages select needles in pattern.
It is necessary to keep in mind when planning to attempt using the published card repeats on electronic models that they advance the design with every carriage pass, while the punch card models repeat the same needle selection when the alternate carriage makes its first pass from the opposite side. To match results, the electronic repeat would need to be edited.
A sample knit on the 930:2026
Pinterest inspirations vs implementation, tuck and lace combos 2 Pinterest inspirations vs implementation, tuck and lace combos 1 2025
Combining automated tuck patterning with hand transfers to form eyelets in vertical columns on a tuck stitch ground
For working on the single bed, the spreadsheet plan includes markings for transfers, magenta cells to the right, cyan to the left.
The repeat is 16 stitches wide, knit on a multiple of 16 needles +5.
The grey columns represent needles that are emptied and pushed back to the A position; ladders will be formed in those spaces.
The first and last stitches in each group of 5, marked with blue cells, remain undisturbed throughout.
Though the repeat could be shorter, it was tested in a 40 row height, 16X40on 56 sts, mirrored horizontally for use on the 930, air knitting the preselection row: as hand transfers are made, emptied needles and the remainder of each group of 5 must be in or returned to the work D, or E position to form eyelets amid kit stitches on the next pass. Watch that empty needles are not accidentally brought back into work. Vertical lace columns and rib:
End needle selection is cancelled, as in any case where not every needle is used on the knit bed
The knit carriage may be set to select, but no cam buttons are pushed in, knitting every stitch
Needle preselection guides the transfers, as with tuck lace, proper needles need to be taken out of work, and while hand transfers are being made, watch for needles being accidentally pushed out of work, or out of work needles being accidentally pushed back into work.
A vertical column is added on each side for a knit row, aside eyelets formed by transfers, the full repeat width remains a multiple of 5. Programmed repeat, 38X12The swatch needle setup with added needles in work for more knit stitches, first and last needles on the top bed: All transfers were made toward the center stitch, beginning consistently with the stitch on the left. The yarn used initially was a 2/20 silk/wool blend, which lost surface texture and flattened permanently with steaming and light pressing. The same proved true with a slightly different design using the same needle setup but with transfers on alternating sides. Using 100% wool yarn produced designs with a more defined texture. These knits narrow considerably when off the machine, and wool has spring back that may be diminished but not eliminated with blocking.
The programmed repeat used was the same 38X12 as in the first sample in the series.
The needle setup, first and last on the ribber

The repeat for the second test was changed to bring the eyelets a row closer together,
programmed on 38X18

A review of brioche patterning

Nearing the end of another year, reviewing previous drafts, I find myself coming across posts that were never quite completed or published.
This content began to be brought together in 2022.

The term brioche in knitting is used loosely at times in any references to tuck stitches. Designs may be worked in single colors, or with more complicated planning, they may be executed in 2 colors.
Some patterns are fully automated, with the knit carriage set to tuck in both directions, the ribber set to knit in both, others are worked as a tubular tuck, and lastly, some require frequent changes in cam settings in either or both beds.
My explorations for the use of tuck stitch settings in double bed every needle rib fabrics began with attempting to create a solid color shape on a vertically striped ground in Geometric shapes on ribber fabrics with tuck stitches 1.
The arrow marks the spot where both colors used were picked up from the changer. C1 and 2 show indicate cam setting changes used in the last part of the swatch.
Here, a simple shape was programmed, and varied carriage settings on either or both beds were explored Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages. Geometric shapes on ribber fabrics with tuck stitches 3 explores self-drawn repeats in multiple colors. Added samples and files in the subsequent post New double bed swatches based on published sources of inspiration 2
Lace transfers meet fisherman rib in 2 colors on Brother KM 1 Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2 These are advanced, complex fabrics. The repeats for 2 colors can grow exponentially in length.
Returning to designing suitable repeats, beginning in a spreadsheet: grey vertical lines represent stitches on the ribber, which will force apart stitches created on the top bed, creating the more familiar tuck rib surface.
Mac Numbers offers the opportunity to hide both columns and rows. In this instance, with the 10 grey columns hidden, one begins to get the sense of shapes and movements needed on the top bed Working toward a repeat for knitting the shapes in a single color, imagining the location of eyelets resulting from stitch transfers, I used two repeats, adjusting the first repeat to vary the resulting shape slightly A 11X30 repeat mirrored horizontally for use on my 930, tiled twice horizontally before programming and downloading, used as a 23X30 single motif to obtain a matching border on each side, A 9X28 repeat, my second try, programmed as a 20X28 single motif, When 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.
A slight shift in patterning may change the outline of the desired shape, introducing or removing stray lines or secondary shapes.
The possible cam setting options: In two-color brioche combined with hand-transferred stitches, the main bed is set to tuck in both directions, white cells tuck, black cells knit.
Brother machines preselect needles for the next row with each pass of the carriage, so on even-numbered 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 non-selected 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.

Planning a fully automated design, reducing the ground, and staggering the color of the shapes. In these knits, the colors in the background form clear vertical lines:
24X44
brick repeat 24X88tiled.

A half-drop tiling error was revealed, and the file was reduced to 23X44. The half drop repeat 46X44 Using the 24 stitch repeat executable on a punchcard machine as well, planning to knit the test swatch on 72 stitches, anticipating what will happen with color of the alternating pairs of rows forming the shapes, noting that the total number of rows is an odd multiple of 4:adjusting the repeat to 48X40with the total rows an even multiple of 4, tiling check, 72X80the stitches composing the all the shapes will knit in the same color The pattern, tested in thin yarns reveals the stitch structure even more. That said, the dark color was 2 thin yarns threaded on the same side of the mast. At one point, one of the 2 began to loop around needles, causing a carriage jam and a bent needle hook, hence the short height of the sample. Passap to Brother 6, exploring a possible tuck stitch design
More shapes on ribber fabrics with tuck patterning, fantasy fair isle

More designs worked on the double bed using tuck cam settings on either or both beds:
Ribber fabrics with main bed tuck patterning 1/ pick rib
Fisherman and English tuck stitch rib 1_ checks patterns_ Brother, Passap

Knitting with more than 2 carriages
Pintucks 1 vs shadow pleats
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
Interlock explorations 1

Modifying a sinker plate for use with double bed knits
Knitting with “unusual” fibers/ elastic 2
Ribber fabrics with stitch transfers between beds 2
Ribber fabrics produced with 2 knit carriages selecting needles
Multiple color drop stitch lace using img2track and more

Added play with lace designs 1

This experiment began with this full published punchcard chart, 24X40 cellsThe related PNG, 24X20, was tested on the 930 electronic machine.
Weight and tension adjustments led to avoiding dropped stitches, familiar to many with experience using the lace carriage (LC) to make the needle selections and transfers.
The side borders can be planned to be vertical columns of knit stitches or with shaping created by the transfers. Reverse engineering, from punchcard repeat to a hand technique chart begins with color coding the transfers, cyan to the left, magenta to the right.
The punchcard machine automatically reverses programmed motifs, but in charting for hand techniques place the symbols and their direction are as intended with the purl side facing.
This startled to the first draft for use on the bulky.Needle beds and tapes may be marked in a variety of ways to help track hand techniques. Custom needle tapes on any model can be printed to scale and inserted under needles for similar guidance.
Claudia Scarpa has published tapes for a large range of needle spacings on her blog. They are numbered and in colors to match factory tapes for both full needle beds.
Mac experiments on printing needle tapes and punchcard templates to scale and other tips shares 4.55mm bed downloadable documents.
Each table cell in my bulky DIY measures 22X26 points in a Mac Numbers, an editable spreadsheet: bulky tape
The related PDF file, needle tapes only bulky , printed to the correct scale using these setting adjustments.The 23-cell table screen grabbed, opened in gimp, cropped to content, 1177X91,
also printed to proper scale and offers the opportunity to fill individual cells or blocks with specific colors using the fuzzy select/ magic wand tool The 9mm tape is shown in place with markings chosen to match the chart for alternate pairs of rows.The result is with knit rows after each series of transfers.A side-by-side view/comparison, highlighting differences in the number and size of the eyelets. Readjusting the repeat, shown in progress; the rows marked with red cells take into consideration the actions of the automated LC selection.
The transfer in each segment is made first, and then subsequent selections and transfers are made until the final eyelet is formed in the desired place for each of the following segments.
The yellow cells represent blank rows in the cards.
Multiple transfer tools, in this case a 2-prong one, can be used to make the multiple stitch transfers in single moves.
The final repeat is collapsed to place eyelets in the proper location and is reduced to 8 rows in height.The knitting in progress on the bulky machine illustrates transfer rows, and shares its appearance with this test on the 930 knit using 3/8 woolThis 31 stitch swatch was executed first on the bulky km following a chart, measures 8.75 inches, 22.25 cm in width at its widest point.On the standard machine, a 31 stitch X 15 row PNG program was used to help track transfers.
The chosen yarn was a 2/8 wool, the swatch measured 4.25 inches at its widest point, as opposed to the bulky, 8.75 inches at same.
Here the swatches are compared side by side.