Long Stitches and Loops – alessandrina.com

Experiments on Brother 260 bulky KM 1

IN PROGRESS

I no longer own any Passap equipment.
The added space has allowed my setting up the bulky model, perhaps the most underused of my km collection over the years, except for the winter season felt hat production. Although my yarn stash was reduced dramatically with my downsizing, there are still some balls and cones remaining from those days, or certainly, multiple strands of thinner yarns may be used together.
The post Brother machines, punchcards, and their use offers basic info, while the one sharing symbols and card samples will help identify suitable designs for potential knit settings.
Decades of knitting on the 4.5 mm models make for interesting adjustments in the switch of materials and scale.
I am including some results here that are found through searching through former posts, but were not categorized as bulky knits at the time they were initially published.

Cables can be hard to achieve across full needle beds because the yarn is forced to move across fixed distances on metal beds.
The links to the full series of previous posts on the topic can be found in the blog index.
This sequence was tried first on the standard; resulting crossings were nearly invisible.
The bulky swatch took some coaxing on the knit rows, and a very loose tension to make it possible.
The how-to: after casting on an uneven number of needles and some base rows, cable crossings are made every other row. Either side of the bed can serve as the starting side, depending on personal preference. If beginning on the left,
1: COL, begin cabling with the first pair of needles on the left, moving pairs of stitches in the same direction across the row; there will be a single remaining stitch on the right
2: knit one row to the right
3: COR, skip the first stitch on the left, and begin cabling with the second pair of stitches, moving them in the opposite direction of those in the first cable crossing row until COR is reached
4: COR, knit one row back to the left
Repeat steps 1-4

Lace
Producing large eyelets with hand manipulation of stitches is possible on the bulky machine as well.
Planning vertical straight bands in a spreadsheet: Some steps are illustrated in progress below.
The yarn used is a 4/10 wool with a soft hand.
The repeat is a multiple of 3+2 stitches that serve as single stitch vertical borders, along with single stitch eyelets on each side.
Transfers are made toward the center of each 3-stitch group every 4 rows.
The illustrations:
1. After the transfers are completed, there will be side-by-side empty needles. As the next row is knit, each empty needle will hold a loop. The method used to help them become stitches, except for the first row of eyelets, is one illustrated for buttonholes in a Brother manual.
2. The double loops are dropped
3, 4. A single eye tool is inserted from the back of the loop, twisted to the front, and the e-wrapped yarn is rehung on the first empty needle. The process is repeated with the second loop/empty needle
5. Formerly empty needles now hold twisted/wrapped yarn
6. The eyelets on the machine are approximately the size of a dime. The finished swatch, knit on 26 stitches, measures 6.25X4.25 inches in the patterned areas after steaming and pressing. In a different needle arrangement, the loops are secured by the next set of transfers. Every other group of transfers is planned for single eyelets along the side edgesAt the top of the swatch, rather than e-wrapping, the empty needles were brought into work alternately over 2 carriage passes, creating a pair of smaller eyelets
A 2013 post looked at ladder “lace”, with the use of a card to aid with proper needle selection, yielding the bulky sample below. In this swatch, eyelets produced with hand transfers echo the movement.
Colored cell vertical columns represent locations for needle positions where stitches remain undisturbed throughout.
Arrows indicate the direction of the transfers made with a 3 prong tool in each 8 row stitch group.
Markings in DIY can be varied to suit. The 31-stitch swatch measures 8.75 inches, 22.25 cm in width at its widest point.The same 31X16 row repeat was knit on the standard machine, with a repeat programmed to help track transfers.
The result measured 4.25 inches at its widest point, this image shows the gauge difference side by side.
This pattern is created by forming large eyelets as well. Symbols and charts exploring designs have evolved over the years.
Using the method seen in some of my latest posts:The series of double eyelets can be shortened, as seen at the bottom of the swatch.
The long floats created by the double empty needles are handled as described in the previous share.
The swatch was knit on 26 stitches, measures 6 inches in width. More inspiration may be found in the post on textures in needles out of workspaces.
Revisiting lace leaf design repeats 2 shared a 12X52 row design knit on 38 stitches. Lace punchcards_use on the Brother 260 Bulky offered a few methods for using both Brother and Studio lace published repeats.
This sample was used with a longer, 24X68 row punchcard using 2 carriages and extension rails.
The extension rails on the bulky have arms that are different lengths. The bulky rail is shown compared to the one for the standard, with a white tag on it. Their placement is easy to assess, but if the front arm has not clearly snapped into place with an audible noise, the rails can make it hard to push the carriage out to the needed position or even become flying projectiles.
Using 2 carriages
Knit some base rows.
The carriage used to select needles need not have a sinker plate in place.
Its end needle selection is cancelled, and it operates from the left side as the LC does on the standard.
It holds no yarn.
Deactivate its row counter.
Push in both its part/slip buttons.
The carriage used for the 2 knit rows separating design segments operates from the right, is set to knit, and does not advance the punchcard. Activate its row counter for future gauge calculations.
Knitting:
1. Lock the card on the first row as would be done on a standard machine.
2. COL, the first selection row is made left to right. Subsequent transfers can then be made by hand in the direction of the arrows on the card if they are available, or simply away from the carriage. All needles must be returned to the B position. When the KH carriage is set to slip, it is the selected needles that actually knit stitches. If the carriage moves across those same needles with no yarn in the feeder, selected needles will drop their corresponding stitches.
3. COR, set the card to advance “normally”, transfer selected needles to the left, and move the carriage itself to the left.
4. COL, transfer preselected needles to the right, and follow with a knit row to the right.
Continue to make transfers that the lace carriage would have made. In this instance, there will be 2 passes of the selecting carriage with no preselection, indicating the place for the next pair of knit rows from the right, end COL.
4. COR, knit 2 rows, or more if the lace pattern requires it, end COR.
Return to needle preselection with the selecting carriage from the left.
Although the bulky offered single bed cast on combs, the ribber cast on comb and a single small ribber weight seemed to be the best way to ensure proper knitting. Areas where 3 stitches were placed on single needles needed occasional coaxing for the stitch in the next row to be knit through them completely.
The swatch was knitted on 37 stitches, for 2 full repeats in height, and measures 13X9.25 inches. Exploring a lace repeat in multiple ways: the punchcard repeat was developed from the hand transfers chart, shared with corresponding standard gauge LC automated swatch, and hand transferred one on the 260 bulky.
The bulky swatch was knit on a multiple of 6+3 stitches, with a planned 2 stitch border on either side. A custom needle tape was in place to aid in proper needle selection, the repeat is an easy to track once the pattern is established

From 2015, a hand technique, A block lace pattern on the machine

Short rows
A leaf lace never fully completed, from 2017

Thread lace
2025 Returning to thread lace, adding bulky knit samples

It will be a while before my ribber will be set up. In the interim, previous posts with related info
More on Brother DBJ, including KR 260 bulky KM options
carriage settings and tips
Revisiting drop / release stitch lace 1

Machine knit fringes 4, long loop patterning

Related posts on creating loops:
long-loops-a-bit-on-method.
long-stitches-on-km/
some-long-stitch-swatches/
for double bed long loops in various designs in single or multiple colors see drop stitch lace

I became curious about creating long loop shapes on a knit ground using continuous strands of yarn, forming loops in the same direction, and allowing for knit rows between them resulting in returning the yarn to the starting loop formation side. My own preference is to make the loops with the knit carriage on the right, anchoring them with the following carriage pass to the left. To continue doing that, the yarn would either need to be cut leaving a yarn end, or it needs to travel back to the left, where it can form the next row of loops from left to right.
In these tests, the movement of the yarn back to the left was achieved by having it weave on every other needle from right to left.
Triangular shapes are easily recognized, and I began with a moderately large one, at first planning for loops on every other needle. Black cells on the right represent loop locations, and green the weaving pattern formed as the carriage knits right to left. The length of the loops determines end-use, long loops can become fringe, and short ones the macro version of pile knitting.
Tools to aid loop formation that are fixed in height across the needle bed are needed if the pattern is not used as a single motif, but rather as a recurring one. Separate strands of yarn on bobbins or balls or cones would need to be used for each shape. The loops in this swatch are large, so there are extra knit rows between each set.
I use colors and yarns that are randomly on hand for swatches unless I am planning a specific finished item.
The first swatch is worked with loops on every other needle, the second with loops on every, as shown in the photos
Worked as a single motif:
KC II: preselection is made from left to right
COL: make loops moving from left to right using ribber gate pegs, I like to bring needles to be wrapped out to hold as I move across each row, wrapping frequency may be varied apart from needle preselection, knit a row to left, anchoring them COL: knit to right, the needles for the weaving pattern to the left will preselect COR: check that weaving brushes are down, place yarn over preselected needles, knit a row to the left, securing the weaving pattern, the yarn end will be on the left again COL: knit a row to the right, needles for the next row of loops will be preselected
COR: use the yarn now on the left again to form loops from left to right, knit a row to the left to secure loops. Repeat the process. The resulting shape brings holiday knitting to mind.
The loops worked on every other needle and on every needle. The original preselection repeat may be used. The only yarn ends that need to be dealt with are at the beginning and end of the shape, the reverse of the knit has the appearance typically seen in knit weaving, where the thicker yarn forces the stitches in the background one apart. What of recurring shapes with reversing directions? It occurred to me plastic straws may prove to be handy tools for creating the loops and easier to manage than rulers. The maximum length of the straw is a limitation. Exploring the technique in a single motif gives one the opportunity to explore issues and limitations.
My straw is 10.25 inches wide, made of plastic, is not rigid, and can be squeezed flat easily. When using it as a loop guide, it was held low enough below the knitting on the top bed on the carriage side to allow some ease in the loops so the straw can have an easier time dropping below the sinker plate when the knit carriage passes over it, it can even partially collapse if needed.
I found managing the straw soon became rhythmic and easy.
The lengths of the straw on both sides of the loops serve as a handle on the left, and on the carriage, right side, the extra length can be guided down a bit to keep it from angling up and getting caught in the sinker plate.
Once the carriage begins to knit across I encountered no problems. The straw may get pushed slightly to the left with the carriage pass. Planning possible actions and a starting repeat with single rows knit between loops. In this instance, loop formation happens when the carriage is on the right, and weaving when the carriage is on the left. The latter means the weaving yarn is laid over selected needles in the wrong direction, with the long end of the yarn away from the knit carriage. That said because weaving happens only on every other needle X3 and on a max of 7 on every other needle, the first selections were no problem, and the second was manageable with some caution. The arrows indicate the direction of the carriage movement after the loops are formed, and after the yarn is laid over the preselected needles for weaving.
The image on the right is the repeat tiled in Gimp to evaluate its vertical alignment. It is 14 pixels wide and 20 high, could be used in a punchcard and placed on the center of the card making it recur centered in each 24 stitch location on the needle bed.
If an attempt is to be made knitting several repeats, vertical columns of plain knit between the pile knit columns are desirable.
The needle preselection will begin on 14 stitches, so only for the first 2 rows, the needles preselected for the first 7 stitches of the 14, shown as grey cells, push the needles involved back to B. Depending on the machine model and software used for the download, the repeat may need to be mirrored to achieve the result planned in the drawing, which is true in my 930. The starting png may be placed on a wider canvas in Gimp, here is a 30 stitch mirrored version for use on my 930. The resulting design is quite dense but successful. Planning moves on for weaving to happen with the yarn in the proper direction, particularly if more than one design is to be attempted horizontally, and to make the loops less dense. Extra rows of plain knitting are added between loop formation.
Here the design is placed once again on a 30 stitch ground but is now 40 rows high, drawn in the direction desired, not yet mirrored. It is expected the aspect ratio for the shapes will change, becoming elongated. Again, preselection for the first seven stitches on the right for the first two times selection occurs on those needles is canceled with needles pushed back to B. Clothespins, as seen in the lower right, can come in handy to put slight weight on yarn ends to help hold them in place at the start of the piece or as it progresses. The proof of concept swatch shows a very different appearance in the distribution of the loops from the first sample. It is possible to knit more than multiple series of shapes. Enough spacing between the forms is required to allow for using of more than one straw.
I had the easiest result by leaving the straws uncut.
Each straw end on the carriage side again needs to be kept down until the sinker plate begins to pass above it.
It is a good idea to try the method first and practice some hand selections. The rows where all 14 stitches in each group were worked required a bit of extra care, but knitting was quite manageable Long loops may also be created with i-cords, strips of knitting, or fabric, strung beads, and imagination is the limit depending on preference, available materials, and the specific design. Even tiny beads may be used to create loops as seen in this swatch. Dental floss may be used as the very strong “thread”, secured with e-wraps on the knit background where needed.
For threading the beads onto lengths of the chosen thread, a tool I have used (which also comes in handy for threading a serger) is an “EEZ-THRU” floss threader, recently available in this brand Here strips of knitting are used along the edge and knotted, strips are also applied to the body of the swatch during knitting for contrasting color interest I cords may be applied to the edges of a knit ie scarves, but there are a lot of ends to weave in. There are trade-offs if techniques are explored to use continuous strands with limited or no cutting.
There is a hand knitting pattern called foxpaw, for which some illustrations may be found in the photos related to the advertisement for this class https://stitches.events/shop/classes/west-2022/intro-to-stacked-stitches-6/.
A while ago I was interested in trying out a simplified version using the knitting machine, the project has remained a UFO (unfinished object) since then.
The graduated size cording here were created by knitting lengths of i-cord on 4 stitches, knitting X number of rows, folding the cord upon itself, and joining the second half to the first using seam as you knit, continuing with the next shape immediately after completing the join. When applied to a cast on edge, if the goal is to use the technique for a substitute fringe, the double cords are a bit dense compared to the body of this particular knit and too close together. Perhaps creating a trim by applying the double cord to a side edge of a vertical strip and then in turn to where needed would produce a better result, or limited numbers of graduated cord lengths might provide interest in the body of a knit.

Geometric shapes in drop stitch lace 4, stitch release, added racking

Though written in 2017, the post on revisiting drop/release stitch lace 1 has had new swatches and updated design ideas added. It includes information on how to use punchcards intended for other fabrics as possible design ideas and a cumulative list of previous posts on drop stitch lace.
The Brother publications have offered this idea for end release drop stitch in one of their volumes of punchcard patterns. Many published designs recommend beginning the knitting with the racking handle in the center position, 5 of 1-10 positions in Brother, and 0 of 6, 3-3 in Passap. Often the starting position is relative and when a lot of racking is involved, they may be varied, though not the sequences in terms of the number of movements, to different starting points if that seems to offer an easier way to track position numbers. It is one of the many things that once the method is sorted may be adjusted to personal preference. Some of my swatches below were started with the racking position on 10, some with it on 5.
Many knitters in forums appear to have success with end release drop stitch. My experience has been that episodic release of the stitches even as often as after 2 rows knit yields far more predictable results. It is how I worked my shawls produced in the technique, including these two, knit in days when I did not always photograph all my pieces Giving end release another go, this was my initial needle set up. With the majority of the needles in work on the main bed, the larger stitches in the final fabric will dominate. The stitches after the cast on have been transferred down to the ribber. The work on the machine, with stitches on the main bed released at the end of the swatch. There is a long stitch DBJ single color pattern happening which may prove to be an interesting fabric if no stitches are dropped, to preserve it, all stitches would be transferred to the top bed, and bound off.
Here the racking took place in single positions after every knit row. Dropping stitches on completion of the swatch, particularly along the edges was so fiddly and such a nuisance I simply gave up in spots, some indicated by red dots. This watch had stitches released at the end of each shape, racking in the top portion occurred after every 2 rows knit Here the same design was knit using different yarns. The first is knit using the same blue wool, the second a tightly spun rayon. So many fabrics can be automated, sometimes the fabric is a vague look-alike cousin of the original, close enough to be a reasonable compromise. Slip stitch patterning across the top bed can offer a quick solution to bypassing a lot of hand manipulation. Assuming that was possible for this fabric, my starting repeat, 10X30 pixels: and the plan would be to knit it in a 40 stitch swatch, placed in a way so that the “mock racking” would move equally from side to side. Working on a larger than needed canvas, the design can be placed on a magnified work area with a visible grid, at the chosen starting point. If the background is left as white in BW images, moving repeat spacing may erase black pixels as copy and paste in place are used. The solution is to make the background transparent using the Layer menu, as explained in other posts on using Gimp. To save the repeat as a BW bmp or png, remove the alpha channel The final repeat is 40 stitches wide, 34 high, with blank rows added to its top to serve as a place to drop stitches and have knitting happening on the ribber only.
Depending on the download program or the knitting machine model number, repeats are automatically mirrored, so if direction matters, mirroring of the repeat may need to be performed once more.
Why the repeat will not work for drop stitch: if the KC is set to slip in both directions, the function will happen on all needles in work on the top bed. On any given row, only black pixels (or punched holes) will knit. The slipped/ skipped stitches keep elongating until a black pixel replaces the white one in that needle location. The degree of elongation is illustrated in the chart in color for part of the repeat, the yellow marks the widest gap between knit stitches. If knit as is the repeat will soon cause serious knitting problems and carriage jams. Though designing for one type of fabric may fail, this repeat or similar could be used successfully double bed in other ways, using hand transfers on the top bed or down to the ribber. In this case, I chose to transfer down to the ribber, which avoids concerns about restoring correct needle selection, and the repeat was not mirrored for use on my 930, so the resulting knit appears as drawn on the purl side, but is mirrored on the knit side.
The fabric is far removed from the drop stitch idea, but as for drop stitch lace, stitches after the cast on are transferred to the bottom bed.
Newly selected empty needles will create eyelets with the next 2 carriage passes, and texture will appear on both sides at the transfer down locations.
The shapes created do not travel on the knitting bed any longer.
End needle selection needs to be canceled at any time that slip stitch patterning is used and does not occur on every needle on the top bed.
If the pattern is to be interrupted by all knit rows here seen as rows with no preselection in the programmed repeat, then any needles with stitches on them need to be transferred down to the bottom bed before continuing to knit.
As preselection begins again, those needles should be filled by picking up from the stitches below them on the ribber, and then the process may be repeated.

Machine knit fringes 3

The term fringe may be used to describe a decorative border of hanging threads left loose or formed into tassels or twists, used to edge clothing or material. Samples in these posts can apply to that definition
A collection of machine-knit fringes 1 9/19
Machine fringes 2: mock hairpin lace 10/19
Some methods for creating the long loops 8/12
Present fashion has fringe as an element in mixed locations in finished pieces. For the traditional fringed appearance, lengths of trim may be knit ahead of time followed by its application where desired. Depending on the location(s) and frequency of the applique, a repeat could be programmed to preselect needles in needle locations for hooking up the pre-knit trim or even simply cut lengths of yarn.
Dropping the ribber to its lowest position and using the ribber gate pegs to create continuous loops may provide the desired effect in a fringe or cover the surface of any knit completely.
In these beginning samples, the number of plies changes, but not the needle selection.
Many variations are possible, experimentation will help determine personal preference.
Images of loop formation in progress: after a row is knit to the opposite side, needles may be brought forward again to ensure they will knit properly, or to add a latch tool bind off in front Latch tooling in back of the cast on to reduce roll to the purl side at the bottom of the knit or add color contrast, may also be added at any point in the knit, as surface interest or to serve as a horizontal line to add elements on the knit side on specific rows after the piece is completed. Possible applique use for varying lengths of narrow trim Leaving lengths of the yarns used in the project at each end rather than becoming enthusiastic about clipping them provides a good reference as to the number of plies used for the loops and the thickness of the background yarn.
Here 3 strands were used for the loops.
Crochet cast-on on every needle and knit a few rows, they will roll to the purl side. End on the side on which you find it easier to form loops.
COR: create a row of loops, I prefer to do so from left to right, bring all the needles forward, knit a row to the left securing them
COL: knit for a few rows in the ground yarn and bind off.
Turn the work over, with the roll away from you.
Rehang the trim using the hooked on a row with purl side facing as a horizontal guide, and continue to knit.
When the piece is completed, the roll will appear on the knit side and may be used as a decorative element. Method 2: uses two strands of yarn for the loops
COL: crochet cast on with the ground yarn and knit a row to the right.
COR: knit a row to the left.
COL: move the knit forward, crochet cast on behind the stitches on the machine with the loop yarn. Knit a row to the right.
COR: create a row of loops, bring all the needles forward, a
knit a row to the left securing them
COL: knit for a few rows, lift loops off gate pegs, and position them between the beds
Continue knitting in the ground yarn until the piece is finished. There is a single row subtle roll to the purl side of the ground. If the piece being knit is a scarf, the direction of the loops is a factor if the trim is added after turning the piece upside down The solution is to produce the fringe as a separate trim which may be stitched upon completion or hung on the start of the piece and stitched on at the top with the piece off the machine after the bind off, or to knit 2 pieces with loops from the bottom up and graft them together at the center of the length of the accessory.
The method most likely to yield very long horizontal, even lengths of continuous loops or stitches as one knits at the bottom edge of the piece or in horizontal lines or patches as one continues up the piece is to remove the ribber if it is in use and use the cast on comb anchored with equal lengths of wire or something that will not stretch.
Add enough weight to it so it will not shift up as one moves across the row creating the loops, as shown in the 8/12 post. Here the yarn is fuzzy mohair wrapped on every other needle. When wearables are trimmed with fringe, there can be a concern as to how the fringe will wear over time or how the yarn ends would behave if the piece is laundered. Twisting the plies provides an answer. The yarn thickness, number of plies, and the chosen color(s) can be varied to suit the piece.
Bullion fringe is one where there are no cut ends or knots, often seen with the twisted elements equal in length. It is available commercially by the yard, and if fiber content or other features are compatible with the knit piece, the purchased fringe may be hooked on and knit in where desired with consideration as to how to best secure or hide any cut ends of edges on either side. Even in a commercial sample intended for sewing, note that there are slight differences between the width of the resulting twists and their very bottoms: It is possible to produce fringe with a similar appearance on the knitting machine.
Playing with the number of plies, spacing of twists, whether the loops are added at the bottom edge or sides of the knit, and seeking a rhythm: Note the long red loop in the background yarn occurred where the empty needle was not pushed back to the B position during working with sideways loops.
The first try at long loops across a horizontal knit: At present my ribber is set up, and since I am planning more double bed fabrics and fringes are a temporary distraction, I tried to form even loops around a quilting plastic ruler for more control of the process. Definitely clumsy and not a good idea for a wide piece. The handling of the loops remains the same.
COL: crochet cast on the width of the planned piece from left to right
COR: knit a row to the left
create a series of long loops on every other needle, done here by wrapping the large ruler The plan was to knit loops through the stitches on the corresponding needles on the top bed, the ruler was removed, there was not enough slack in the loops, and some of the stitches created with the fringe yarn jumped forward COL: to secure the row, knit a row to the right
COR: repeat a crochet cast on in front of all the stitches to the left Twist the loops, to place them on the base knit, hang the small loop/eyelet formed at the end of the twist on the alternate needles between each of the stitches created by the original loops keep notes as to the number of twists in order to be able to replicate the effect, perhaps even try to twist pairs of loops together continue knitting the body of the knit.
A completed swatch with methodical twists and wraps. The quality of the braid, both in length and in its bottom edges is controlled by the number of twists and the tension applied when releasing the twist. It takes a bit of practice with the specific yarns and loops to keep fringe lengths and their appearance even. In a final piece, the stitch count needs to be considered so loops may need to be formed on each or a single end and hung on the first and/or last needle in use before continuing to knit.
The yarn ends on either side will need to be secured, adding them to the twist on each side will do that, but then the result is considerably thicker than the other bouillion.
The bottom of twists when their count is not adequate can form loose, little donuts.
What of creating those twists? the goal is to use a tool to turn the yarn in one direction, folding the result in half, securing it, and allowing it to twist. The method is different for hooked on pre-cut lengths of yarn.
Tools commonly used by weavers to twist fringes in any length, with cut lengths of yarn where the number of twists needs to remain controllable and even, with hand cranks allow for easy counting and achieving that goal: When applied cording is required and the number of twists does not necessarily influence the result, hair braiding tools may be used. They come in multiple configurations and the same model may be found in a huge range of prices.
There are 2 selections for twisting secured yarns, the first twists to the right, the second twists both yarns together to the left, resulting in the braid. Hair is attached in place, the twisted ends are secured with elastics often supplied with the twister or purchased separately. Yarn lengths would need to be knit in securely, knotted on the edge of the twisted lengths. Cording using the same tools would need to be secured with knots at both ends and may be used as trim, hooked onto knitting in progress, or stitched in place after completion of the piece. An easy, inexpensive DIY tool created with supplies I had on hand but it is also easily available for purchase.
A small cup hook was screwed and secured into a bobbin winder normally used for cross stitch. The body of the tool becomes a secure handle, the crank makes it easy to count twists and keep their number constant if a fringe with equal length and thickness elements is planned. For fringe worked sideways, suitable for trims that can be placed anywhere on the body of the knit, the first sample is worked on a 3 stitch vertical base strip of knitting.
Crochet cast on from left to right and knit one row back to the left. Make a slip knot on the fringe yarn, knit it through the first stitch on the right COL: knit to the right, thus securing the thicker knit stitchCOR: wrap an empty needle further to the right to determine the length of the loop to be created. Its location can remain fixed throughout or varied if the intent is to experiment with different lengths of bullion.
Wrap the yarn plies around the empty needle, apply a light tension twist and lift the end of the loop onto the first knit stitch on the needle on the left, knit it through the stitch immediately above the wrap release the loop from the empty needle on the right, push it out of work so as not to pick up yarn a long loop of the ground yarn as the carriage knits a row to the left COL: twist cording and hang on the first needle on the right maintaining light tension on the twisted length, knit a row to the left, or knit the loop at the bottom of the twist through the stitch immediately above it before knitting to the right COL: knit to the right, repeat the process.
A closer look: insert the tool, and removed the loop onto it. Be sure to push the empty needle back to B until it is needed again. Tug the loop lightly forward, and begin to turn the handle to twist the yarn until the twist appears evenly distributed while keeping count, different counts may be tried in the same test swatch.
insert a single eye tool into the loop on the hook of the twisted cord, lift it onto the last stitch on the right on the top bed, it may be knit through or simply laid in the hook, bring the needle with the multiple stitches forward, tug lightly on the bottom center of the twist, and release.
To complete the bouillion: knit a row to the left side.
Lift the twist away from the body of the trim, bring the plies up and in front of the twisted yarn, and use them to knit through any stitches on that needle.
Begin the process again. With some practice, you may find some different and preferred variations to the suggested sequences. A variation: the first experiment was formed on a base of 3 stitches, here they are increased to 5
COL: crochet cast on 5 stitches, knit a row to the right
COR: knit a row to the left
COL: knit slip knot through the first stitch on the right as above
knit two rows
COL: wrap empty needle, knit through the first stitch on the left,
twist yarns and hang onto the needle,
bring needle forward,
knit two rows
COL: bring yarn ends in front of twisted yarns,
knit to the right securing the plies,
knit 2 rows,
continuing to form fringe bouillion as described. If significant or even variable fringe length is required, cut lengths of yarn may be applied to the knitting, or make long loops and cut after they have been secured.
The lengths will be twisted two or more at a time, first in one direction, then in the opposite, and released.
This is a video for the tool sold by Lacis, which is very similar to my hair braiding tool. The twists are made clockwise on one setting, then counterclockwise and released. They can be overtwisted and when the twist is reversed and released, the results appear to find a common average for fairly consistent quality.
The knots to secure the yarns may be executed as you go or at the end of the twisting process, keeping the fringe length even or varied as needed.
My initial sample used loops with 2 plies in each
COL: begin with a crochet cast on from left to right
Knit a row to the left
COL: hang cut loops across the row, knitting each through the stitch previously on the needle
use the background yarn to repeat the crochet “cast on” in front of the loops to secure them, move the KC to the right
COR: continue knitting and bind off
For the test, I used loops sized on the same ruler as for the bouillion sample and then cut. Later, below, the comparison is made between the different finished fringe lengths.
The yarns plies got combed and trimmed to even lengths.
Enough yarn needs to be secured in the twister hooks so the ends will not slip out during the process, which is very quick, and it soon becomes evident how long to twist in one direction before reversing the twist setting.
The couple of rough spots evident in my trim happened when the yarn split and was caught in the hooks of the twister, so the release was not clean.
I varied the number of plies, in each hook, beginning with 2 in each, then three, four, and mixing things up a bit more in a couple of the series. The plies in the cut end below the knots remain available for counting to verify the numbers of plies used if notes are lacking.
A crochet hook or latch tool may be a useful aid when pulling the ends through a fringe loop, forming the knots. Comparing the bouillon fringe length to the above: Here the loops are created using a factory 4 ply space-dyed wool. After a chain cast-on and a row knit in the ground yarn, the loops are knit through each stitch on the needle bed, then knitting continued for several rows and the piece was bound off.
The loops were cut open at their bottom, the hair twister was used to create the fringe, with 2 yarn thread lengths in each hook. The results are quick to produce, and worth some further experimentation. There are many other possible variations, including blending fiber content in the fringe lengths.

Knit tubes, i-cords, and simple knit strips that are allowed to twist in on themselves are all options for fringing, but be prepared to weave in lots of yarn ends. One of my slip stitch scarves, with attached i-cords fringe Series of loops, twisted or not, can also be applied in pattern anywhere on the knit, and folks who do not like fringe can create a variety of alternative edgings, some ideas will be shared in a future post.

Making a 2 color drop stitch “work”

I usually try to leave opinions out of my shares, but this post includes some along with “don’t do what I did” tips.
This was a pattern available for sale decades ago, sold directly to customers. At frequent intervals over time questions come up in forums as to possible DIY techniques and methods of design and execution to create the knit, or similar, followed by speculation.
The images from the ads online are small. Trying for a bit more detail, there is a see/peek-through quality. At first, I thought it might be a version of the stitch using 3 colors, but later, looking again, I came to believe it to be a 2 color drop stitch fabric with a dark constant motif color creating the donut-shaped designs with changes to three different colors in the background.
I am planning to execute the fabric as a modified end release, releasing stitches at intervals based on needle selection.
First flub: I was thinking of this as an addition to a prior post, and I got happy cleaning up and deleting stuff. Getting here I realized some of that stuff had to do with the original repeat used and the gimp layer images illustrating the steps used to obtain my repeat.
It is possible when that happens to reverse construct the images. That brought me back to this image, 20X16, drawn as less of a circle since the fabric technique will lengthen the design. It is scaled double length to 20X32 for processing in layers. Though the image is far too small to help define the quality of the stripes between the circles, the goal here is to include areas of solid stripes in drop stitch in the alternating colors between the shapes. All white pixel rows will not create long stitches on the top bed, only all knit rows only on the ribber, not the intended fabric.

The tiled repeat: I wanted to add solid color drop-stitch stripes, the solution being to add all black rows. Every needle will select every row in those areas, colors are changed every two rows, creating the desired effect when the corresponding stitches are dropped.
On any row where every needle is preselected, all needles can be pushed forward to E position dropping the whole row of stitches, and needles are pushed forward to E again after the release so that the second row of loops composing the stripe will be created on the top bed on the next pass to the opposite side.
My final png planned as a single motif test on the 930 is modified to 46 stitches by 72 rows. Imagining the 2 colorwork in repeat, estimating if the pattern and ground fall in the proper place A visual summary with an added color change column and row numbers with rows on which dropping all loops can occur marked with different color numbers. In this case, the ground is in the dark color, the shape in the lighter one. Determining whether the shape or the ground stripes knit the dark color is simply done by beginning the first all knit rows with the dark color or the light.
Getting to the knitting: the yarn I am using, knit at tension 4/5, is significantly thicker than that recommended in the ad for the pattern.
When every needle knits every stitch on either bed, adjustments need to be made in tensions used approaching that used for the yarn when knitting stocking stitch single bed. Brother ribbers also tend to knit tighter than the top bed.
When working every needle rib with sporadic needle selection on the top bed, it takes a bit of testing to find the ideal tension so that stitches are formed and knit off properly on either/both beds.
When lots of needles are being knit on the top bed, the carriages are likely to become harder to push.
A far thinner yarn would change the scale of the overall design even if using the same repeat.
The first swatch encountered aargh moments.
A: the color changer was frequently trying to share 2 colors at once. When I attempted to change the design color, the yarn got caught around a gate peg at the start of the row, and the knitting dropped to the floor.
B: testing reversing the colors. When the dark color was switched to red, C, the contrast and definition of the newly forming “circle” was not enough to my taste. Giving it another go, the theory worked, the details in the fabric underneath the swatch can be seen peeking through, but I would like to have stripes in the solid lighter colors as opposed to 2, and more space between the shapes. A new, untested draft is now 50X76 but those rows for the solid colors need to be rendered again with black pixels. Here some of the peek-through quality of the fabric is shown again. When any fabric is gathered sideways, it is likely the repeat will appear narrower and longer. Using a 16/2 cotton at nearly the same tension produces a fabric that is even sheerer. And now those solid stripes in 2 rows knit are really bothering me, thinking they should be switched to only one row of loops, making the original repeat without those added black rows the better repeat? Only one of the two colors would pick up loops, with the second knitting 2 rows on the ribber only. Aaargh! So what of this? Different day, yarns used before, same tensions, a very different result. The colors look different because the sun is finally out and this photo is taken in natural light as opposed to weird artificial lighting. The navy color is slightly thicker than the white, the single dropped row is not immediately visible. Stitches were dropped on any rows after all needles flatlined, and they were returned to B position prior to the next carriage pass.
Lo and behold the joyful experience of having yarn break when the stitches are pulled in order to drop them! A potential use is for the thinner knit is for it to be used as a layer over a different pattern or the same design as seen here, in the thicker yarn I have never been a fan of this fabric, and for a while.
To my eye, all over geometrics rather than floating forms on solid ground are more attractive, one such sample: seeking a rounder, smaller donut shape: The red is a thicker yarn than the pale yellow, the fabric had an interesting slight curl evocative of shadow pleats. Other possible changes include the elimination of the top and bottom row in the original design. What seems a possible easy fix is not. The above repeat knit creates an elliptical shape rather than a circular one A more stable fabric with areas of stitches dropped for a single row in each of the alternating colors. How to for both are found in the post.
I need a break from long stitches for a while, though this is yodeling. Never say never. It takes time and effort to develop any fabric to the point where it is considered a satisfactory one, let alone to write and publish accurate patterns using the technique. People who do both deserve to be paid for their time and effort, and are due respect, so no sharing if the pattern is copyrighted or is an original one available for sale presently online is proper.
That said, techniques or merely repeats are not subject to the same “restrictions” and certainly may be adapted for use in different, more personal, or new ways. If an item like a scarf is made using a particular needle arrangement and texture and someone else makes a dress using the same stitch type but shaping pieces, adding details, pattern instructions, the scarf maker, IMO, cannot really claim their work has been copied.
To my mind, credits when sharing anything if available are a matter of courtesy.

Another garment illustrated in the FB comments on the last search query for the Dowse pattern or similar fabric was created with FI shadow pleats. Shadow pleats rely on the contrast between thick and thin yarns to create folds. The double density in the traditional FI segments and the subsequent shift to using thinner yarn for the second color still have floats on the purl side of the knit and are unlikely to produce a sheer knit.

DAK DBJ color separations, templates, other software

Over the years, I have written on an assortment of methods for color separation in knits, including DBJ, a summary post with links to previous shares: dbj-and-color-separations-some-previous-posts-links/
and in the-start-of-a-blog-index/

A variety of textures and patterns may be used to achieve fabrics that are very different in appearance, using a very simple pattern along with cam button or lock setting changes. The first chart was generated at that time using Intwined Pattern Studio, a program that for a time appeared to be very promising and then moved on to lack of updates for Mac making it useless in 2013, followed by none for Windows as well, with no successful use of it reported in forums in years, but one may still purchase it The manual color separation method for punchcard machines.
The elongated X2 repeat version of the triangle is drawn in Gimp. For more than 2 colors per row, performing the color separations may be achieved manually; various software is now available for performing the work in seconds.
Ayab offers an elegant color separation solution, heart-of-Pluto, that will knit single passes for each color per row on the front of the knit, resulting in 3 color patterns with limited design stretch, and no worries about the placement of one color over any stitches preceding it in the same color on the previous pass.
The difference in the same design being knit with the standard, elongated version, allowing for two passes with the same color before each color change, and the Pluto version. knit using img2track, the vertical stretch is manually set to X2, A “hack” 2021/01/24/img2track_multiple-colors-per-row-dbj-each-color-knitting-only-once/

For more information on the various DAK separation charts and related swatches, including limitations encountered, see post: DBJ, more than 2 colors per row 4

There is a Russian punchcard site that will allow entering personal repeats or selecting one from their extensive library, where it is possible to obtain related 2-color DBJ separations as well. The punchcard color separation may be created manually, a slow process, while the punchcard templates in Dak are achieved with a few quick clicks of a mouse. The repeat may be created as a graphic file, in my case a PNG created with Gimp, the elongation in Arah because Gimp fails to scale small repeats cleanly. The image may then be opened as a graphic file,

stitch and row counts should match, and save the stp

If experimenting with changing selections and this window appears, it is OK to click on No,The separation methods in DAK:
Method C separates each color row into separate rows of knitting, rows do not have to be repeated in pairs, and the double-length switch will need to be used in Japanese knitting machines The elongated triangles repeat template is different from what would be produced with the above set at double length, may be used as is to produce a variety of fabrics including quiltingYarn choice and design make a big difference. Here, the yarn is far too thin, and the repeat too narrow in width, but the possible result is illustrated. The main bed is set to slip in both directions throughout. The ribber setting needs to slip in both directions for every other pair of rows. When the ribber slips, the main bed will knit the color that will create the pockets. There are many single stitches selected here; the KC was set to KC1. When the color is changed and the ribber is set to knit again, stitches in that color will knit on both beds, sealing the fabric in those areas and forming a solid color background on the reverse side. Here, the white forms the pockets, and the floats after a pair of passes are seen in this photo. Because the yarn is so thin there is a considerable grin through on both sides, the areas marked with arrows indicate where the white pockets were lightly stuffed with yarn ends For a review of quilting on machines including Passap see 2018/02/15/revisiting-machine-knit-quilting/, and using a second knit carriage with a modified sinker plate for knitting stitches on main bed only, making ribber settings fixed throughout, and allowing for tension adjustments for each color yarn.
Methods A and B are both used in Japanese machines when each color is intended to be knit for 2 rows with color changes on the left.
Method A works on pairs of rows. If the pattern does not consist of identical pairs of rows, there are likely to be yarn error messages that resolve when the design is lengthened in height X2.
The original triangle elongated to 8X16 If pngs are created outside the program, they may be doubled in length unless the repeat is designed that way. The associated menu options in Dak when the plan is to work in double jacquard.How the different jacquard setups process the specific repeats:
Method B creates the same separation as the default built-in KRC one in Japanese electronics. If knitting DBJ, it may be used with DAK if the pattern is downloaded as fair isle, but the machine will then need to be set for DBJ. If additional colors are used, pairs of rows will follow a single pass for color1. The print preview templates, if generated within the stitch count restriction for use on punchcards, may be used as guides for punching the required holes. This would be the card for that 8X8 triangle repeat, a tad shy of the recommended 36 rows. Passap card reader techniques saved from long-ago experiments. Other separation methods in the Passap are handled by the console with the entry of specific knitting technique numbers.
That said, the DAK color separation is applicable for printing reader templates if still using Passap E6 reader cards or punching for the Duo with Deco.
Method C see the top of the post
Method D separates each color into a separate reader card and is used to download to the Silver Reed PEI or the Passap E6, which appears to use superimposing of layers, and matches method 4 in my post.
Method E is suitable for machines with a color changer on each side, like the Brother CK 35. It works on pairs of rows and separates each row into a pass with each color. A 3-color jacquard would have six passes with colors separated as follows: Method F is a Half-Milano separation. Each pattern row is separated into a pair of passes for each color, but the second row for each color has no patterning, so the ribber stitches only knit as the carriage returns to the left side, a possible way of creating repeats for drop stitch lace on Brother machines. The elongated triangle template was split into 2 pages for viewing, they are combined in this image This may be the associated Passap Reader technique, but I have no way to test it Processing the template using numbers: a table is created twice the length of the 8X16 triangle repeat, followed by hiding the 32 odd-numbered rows, positioned in front of the scaled punchcard template, stitch markings are traced the rows are then unhidden, the repeat is checked, matched here to the F jacquard separation in DakThe numbers table is processed in Gimp to obtain the png for knitting the now 24X64 pattern Proof of concept swatches: the long stitch in 2 colors, and the pattern executed as a tubular FI knit: I had yarn issues, hence the dropped stitches. Both swatches were knit to approximately the same point in the pattern repeats, but there are obvious quality differences in width and length. In tubular knits, there are differences in the width and height of the knit on each side. The front is a slip stitch with floats, drawing the fabric in, while the ribber knits every stitch every other row. With a good choice of yarn and pattern, loosening the tension on the top bed may ease this problem. As often happens, casting on and binding off need special considerations, ie, to allow for any fabric stretch when off the machine or to leave a tubular knit open at either or both ends if that is the goal. More info on tubular knits including on PassapDAK has been a purchase made out of curiosity, and my use of it has been very limited since my designing needs are met by using other programs that are free to users and generate and accept files in multiple formats, while the Brother Knitleader or even simple use of the magic formula solves knitting any desired shape in any gauge.
That said, if one can generate the templates produced in DAK, the screengrab of the result may be used to generate a PNG with ArahPaint using the weave-from-grid feature that is then knit-ready on any electronic machine able to accept downloads. The method is far quicker than using Numbers and Gimp.

Pile_carpet stitch knitting on Passap and Brother KMs 3

Studio and Toyota machines could produce this type of stitch easily. Many efforts have been made over the years to produce the same fabric on Passap and Brother.

I was asked via a blog comment in my previous post #1 on this topic about creating a single color all-over pile on the Passap machine and have added these instructions
Executed with the lights off:
Cast on and begin with all stitches transferred to the back bed.
The back lock is set to EX, the front to CX, pushers are not needed
Knit two rows using those settings, and use a stitch ditcher to drop loops formed on the front bed.
One color carpet stitch, if programming technique #256, ignore console instructions
1. cast on so that all stitches are on the back bed
2. knit a few rows in stocking stitch testing for the tightest tension at which your yarn will knit, and experiment with the front lock tension to produce as large a loop as possible that will also drop off properly. Begin knitting your test with locks on the right side:
3. bring the back bed pushers to the in 1X1 arrangement, and set the back lock to FX with the left arrow key, not BX. Do not use the AX setting, it will tuck in both directions. All needles will tuck moving from right to left, and knit on their return to the right
3. with the front lock set to LX, it will knit on all needles when moving to the left creating loops on the front bed, while the back lock does the same, slips all needles moving on the front bed when moving back to the right.
When the locks reach the left side there will be loops on every needle on both beds. As they move from left to right, the needles on the back bed will knit, securing the loops there and anchoring the ones on the front bed while the front bed is slipped
4. with locks again on the right side, use stitch ditcher or another tool to drop off loops on the front bed, returning needles to proper work position, follow with a pass using a single eye tool to push loops between the beds, checking that none are left in the needle hooks
*make 2 more passes with locks from and returning to the right, drop off loops**, and continue from * to **
The difference in the size of the long stitches between loop rows in the photo was eliminated by tightening the tension on the back lock, it is evident that they are anchored more evenly in those segments as well. As with any fabric, the larger the intended piece, the more likely some further adjustments may have to be made. Alternative settings for one color pile: Tech 256, back lock FX and both arrow keys, pushers one up, one down, front bed to LX, drop stitches every 2 rows.
For 2 color work, Tech 184, same settings.
For a similar effect on Brother machines, begin with all stitches in work on the ribber, with the settings: opposite tuck buttons, the main bed knits to left, ribber knits to right anchoring loops formed on the previous row the loops, formed on every needle on both beds with the move to the left anchored in place on the ribber needles as the only the ribber knits as it returns to the right while the carriage is on the right, drop all stitches on the main bed, making certain no loops are stuck on gate pegs on the main bed, repeat the process throughout the piece. Occasionally skipped needles and their missing loops may not be noticeable, any loops hung up on gate pegs will be visibly longer. Tension needs to be “just right”. My first efforts, shown sideways Knitting was smoother with a change in yarn. An extra needle on each side of the knit on the ribber is brought out to hold manually to ensure their stitches knit with every pass of the ribber carriage. I prefer the all-over pile with its loops formed on the top bed. There were nearly no incidences of loops catching on gate pegs on the main bed. One of the drawbacks is that the main bed needles need to be dropped and brought back to the B position manually, bald spots will result where any needles are not returned to the proper work position, so they will not pick up loops.

The traditional hack for other than Studio or Toyota kms involved this process:
to knit, bring up the first and last needle to the hold position on the ribber to ensure they knit when both carriages are on the right and the ribber will tuck on every needle as the carriages move to the left. The carriage settings: Loops are formed on the main bed as it knits from the right to the left, and slips on its return to the right. The ribber tucks on every needle moving to the left and knits on every needle returning to the right, anchoring the main bed loops. After the carriages reach the right side, loops on the main bed are dropped, and the process is repeated.
The results are dramatically different. If considering patterning on the main bed with the addition of a second color or creating isolated motifs whether on a single color or striped background, anchoring loops by tucking on every needle is no longer possible, making reverting to EON needle selection on ribber a necessity. Loops formed where no stitches are knit on the main bed would only sit in the hooks on the ribber and create a mess. Hence the “hack” where lili buttons and tuck stitch in both directions so that loops are knit off on the next pass, and with 4 rows knit before dropping stitches so that the maximum pressure is put on those loops to hold them in place. This requires the tightest possible tension on the ribber, and by default, the EON tuck will want to spread the fabric further apart. I have found this version a failure in producing a stable fabric with a satisfying pile formation. Returning to the pursuit of pile loops in pattern on Brother: my first effort with a simple, linear shape produced separation aside the loops akin to that seen in isolated FI motifs, both when using the ribber or the main bed to create the loops. Here a simple checkerboard was hand-selected, there was separation along the vertical edge like that seen in isolation motifs and this is likely my last try at the single pile in a pattern using every other needle tuck on the ribber with the release of stitches every 4 rows. I actually like the elongated stitches in the ground but found the stitches planned for loops simply did not release easily or at all, using thinner, smooth yarn resulted in breakage, while adding elastic obliterated loops, and wooly nylon simply broke regularly. It would appear if pile knitting on Japanese machines is the goal, by all means, add a studio KM to your stash ;-).

Drop stitch lace using Ayab software 2/ HOP

At the start of 2018, I wrote a long post on creating drop stitch lace using ayab software and some of the techniques required to produce the fabric. Since then the software has been updated including several new features and among them the heart of pluto HoP color separation for executing multiple colors per row dbj, and revisited the topic providing links to all the previous related posts. It occurred to me I might be able to use it to make drop stitch lace without having to manually perform the color separation and then entering it as a single bed pattern. This was my first proof of concept effort, dropping each of the 2 colors in turn. Making things work: my first desired repeat was what I expected would produce a circular shape, it measured 33 stitches by 23 rows. Increments in height need to happen at sequences of 2 rows each, so the design was then doubled in height, resulting in a scaled image now 33 stitches by 46 rows in height, with a planned horizontal repeat X2 = 66. Note: the sidebar offers start and end needles are given for pattern placement on the needle bed. Sampling may occur on fewer stitches than that. Since the number of repeats programmed to add up to an even number and center alignment is chosen, the number of needles is even on each side of 0. In my second series of swatches, I decided to try for a smaller “circular” shape, with the repeat now measuring 15 wide by 20 high, and a planned horizontal repeat X3 = 45. If centered, the software places the odd number of needles on the right-hand side of 0. As with any pattern using Ayab, the starting side is with COL. The critical difference is that all needles are in work on the ribber, all needles on the main bed start in work but empty. White squares select first. The main bed is set to slip both ways throughout, the ribber for this fabric is set to knit every needle, every row. The choice then needs to be made as to whether both colors or only one is to be dropped. The software does the work involved in the separation, but the knitter needs to manually cancel needle preselection on the main bed on a regular basis as well as drop stitches formed there. This is best achieved by using a ribber cast on comb or a similar tool. A modified stitch dropping tool does not work unless all needles in work are in B position, so if they are pushed back it will work here as well but I found the cast on comb made the process faster. I will refer to colors as black and white, as they would appear in the design in black and white pixels. Begin with base rows in white. Whether dropping one or both colors, the first preselected row is disregarded on the main bed in both fabrics.
Begin COL: main bed set to slip <– –> (remains there throughout). As the carriage moves to the right, the first row of white pixels is preselected, the ribber only knits.
COR: for both fabrics, use the chosen tool to push preselected needles back to the B position. As you move to the left side and the color changer, the needles for the first row of stitches to be dropped in the next color (black pixels) will be preselected
For dropping both colors
*COL: pick up the color to be used for black squares, loops will be formed on the main bed as you knit one row to the right
COR: push all needles forward so stitches on the main bed move behind the latches, I tend to do so all the way to E. As needles are returned to the B position the loops formed on the previous pass will drop, creating long stitches on the ribber bed. As you return to the left nothing happens on the main bed (needles in B position are not worked in slip stitch), but the next row of white pixels will preselect
COL: pick up the color to be used for white squares, loops will be picked up on the main bed as you knit one row to the right
COR: push all needles forward to drop stitches on the main be, push all needles back to B, knit one row to the left side, as you do so next row of black pixels will preselect**
COL: repeat * to**
I knit until the green yarn broke for some unknown reason For dropping only one color of the two, I chose color 2, “black squares” after preselection starting row
COL: main bed set to slip <– –>. As the carriage moves to the right, the first row of white pixels is preselected, the ribber only knits.
COR: use the chosen tool to push preselected needles back to the B position. As you move to the left side and the color changer, the needles for the first row of stitches to be dropped in the next color (black pixels) will be preselected
*COL: pick up the color to be used for black pixels, loops will be picked up on the main bed as you knit one row to the right
COR: push all needles forward to drop stitches on the main bed, and then push all needles back to B. Knit one row to the left side, as you do so next row of black pixels will preselect
COL: now working with “white”. No loops are wanted on the main bed, so the last preselected row of needles needs to be pushed back to B before returning to the right, knit one row
COR: cancel needle selection again, as you return to left the next row of black squares will preselect**
COL: change colors, repeating * to **End with some rows on the ribber in “white” to match the number used at the start of the piece.
Casting on and binding off both need to be loose since the fabric stretches considerably when off the machine. I like to start in waste yarn, make certain my colors change properly, pull down a long yarn end, and begin the final piece on open stitches. At the top, I bind off on the main bed, either transferring stitches up to the main bed from the ribber or taking them off on waste and rehanging them there. A latch tool bind off may then be done around two gate pegs or even more to provide stretch at the top. The bottom of the piece can then be rehung and the same bind off can be executed so the top and bottom edges will match in stretch and width.

Sometimes things are not necessarily worth doing because you can. I was curious as to whether an all one color drop stitch could also be executed using this separation. It is but involves pushing needles back to B multiple times in each sequence. I started with a shape, scaled it twice as long, erased every other row, tiled it X3 horizontally, The wider horizontal band of all knit stitches was due to operator error, happened when I pushed back preselection an extra time, resulting in the ribber only knitting extra rows. For the sake of added clarity, I have added color to the chart below, assigning yellow and grey to all-white design areas in the pattern. The black squares are what I choose to drop. For illustration purposes, this is only a segment of the repeat. The process: begin with COL: main bed set to slip <– –>. As the carriage moves to the right, the first row of white squares/ pixels (yellow) is preselected, the ribber only knits.
*COR: cancel any needle preselection for white (yellow) squares, all needles are pushed back to Bas the carriages move to the left, the black squares will preselect COL: knit to the right in order to form loops on the main bed, they will be dropped to form long stitches
COR: loops have been formed drop the loops, return needles to B position. At this point, since all needles are in B a modified stitch ditcher may be used for 2 passes, dropping the loops on the first pass and returning the whole series back to B on the second. As you move back to the left, all the needles will be preselected for the all-white row (grey squares), COL: push all preselected needles back to B, as you knit back to the right the next group of white squares (yellow) in the next design row will be preselected*COR: push selected needles back to B as you move toward the left the next row of black squares will be preselected selectedCOL: knit to the right in order to form loops on the main bed, continue for the desired number of repeats and end as suggested for the two-color version.

Previously knit, not using this method, a sample with the ground behind the shape dropping stitches and one in 2-color with shapeshifts For a while, Camino bubbles were a popular topic and created with dropped stitches, for the series on the topic search

Long stitches meet transfer lace

Eons ago, when I was exploring long stitches I shared directions for a tuck stitch combination fabric At about that time I came across this image on Pinterest.
It combines transfer lace and long stitches, has characteristics that make some lace patterns unable to be reproduced on home knitting machines. Upon inspection, one will see that the number of stitches varies in different parts of the repeat. Aside from creating eyelets, the smaller triangular shapes increase in width, the fan shapes are decreased by half on their top row. Long stitches are created across all needles in work, then they are reconfigured so the center single stitch of the triangle and the center 2 stitches of the fan shape realign in the same position. The number of stitches at the start of the pattern and after the long stitches are created remains constant. Trying variations on inspiration sources can lead to success, failure, somewhere in between, but also increase learning and skill that will carry over into other knitting techniques, even if the results are never used for a finished piece.

The Brother ribber is used to produce the long stitches. A bit of review: the bracket lever has 3 positions:

Dropping the ribber down 2 mm on each side gives enough clearance for thicker yarns. At a seminar, I saw Susanna use the position to create transfer lace in ribbed fabrics, something I have been threatening to try for decades, but have not yet. Here the lace carriage is shown in position, clearing the ribber’s gate pegs. My preference is to create a chart in order to visualize and plan an “attack” prior to any knitting. White squares represent needles emptied by transferring their stitches to the right and to the left respectively. One must remember to keep empty needles in the work position to form eyelets. I found making the transfers easier an the process more visible if I dropped one side of the ribber to the second, 17 mm. position

The ribber remains set to slip <– –> on all transfer rows, and any all knit rows on main bed only. The ribber is set to N <– –> for three rows. On the first pass, all its needles will pick up the yarn, creating loops on every needle
With the ribber carriage alone, still set to N/N, free it, and make two passes to and from its starting side. The first pass releases the loops, the second returns it for coupling with the knit carriage. Below the long loops can be seen. My needle tape is “somewhere”, has not yet been returned to the ribber after my racking handle adventures were completed. Return the ribber settings to slip in both directions, and repeat the process. Dropping the ribber to the lowest position at any point can verify goings-onHere one row has been knit on the main bed only, anchoring the loops, returning carriages to the opposite side prior to starting transfers once moreA word of caution: if loops are picked up on any single row that in theory was set to slip and was to be worked on only single bed, check to make certain the tuck lever has not been accidentally brought up to the tuck position. Although tuck <– –> can serve for a free pass on the main bed, having this setting on the ribber will create loops on all needles in work My test swatch had a couple of different# of transfer trials in horizontal segments and a few operator errors. It was knit in wool for the “spring” of the fiber, and unpressed formed pleats of sorts, while with a hard press it flattened out considerably, with not as much of a wave as I might like. My later effort led to a fabric that was different from the inspiration one, but far more interesting to me than the one above. I began with a schematic, originally planning only 4 eyelets, then adjusted for 5 (yellow line marks the change) I cast on 55 stitches 27 left, 28 right. A ribber comb and weights are required.
Having a chart with any numbering that makes sense to you is helpful.
I used a water-soluble pen to mark the center needle location for the start of transfers on either side, in this case, 18 left, 1 and 19 right. The 55 stitches include 2 full repeats of 18 plus a half (9) on each side edge.
Brother has 2 #1 positions, one on the left and the other on the right of center, separated above by the red line. The fact is something to be kept in mind with stitch counts for hand techniques where needle selection is not automated across the needle bed but is reliant on accurate counts by the knitter
A 3 prong tool was used to make transfers, the pattern could be translated for use with lace carriage if one desired to do so.
At the bottom of the swatch I stopped after 4 transfers before creating the long stitches, and then switched to 5 guessing I would like the transition better, also a clearer stopping place occurred when a single stitch was left with doubled-up ones on either side of it.
I did not find it necessary to drop the ribber at all to check on the progress of transfers. Below the swatch is shown on both sides, both relaxed (to my eye the more interesting) and after light pressing

It appears to me to be the sort of fabric that is worth revisiting after a break. 😉

Machine knit fringes 2/ pretend hairpin lace

Several methods for creating fringes including some that may apply to this fabric as well were explored in the collection of fringes 1 post

Hairpin lace, familiar to many crocheters, is based on a central column with side loops that can be produced in strips, in turn, joined together in different configurations to compose open inserts, shawls, garments, serve as trims and joins.
A double-sided machine knit fringe can serve the same functions. My first swatch is knit using the #1 punchcard. Tension is totally dependent on the yarn used, the fabric may be executed on any machine, but as is often the case I am writing specifically for Brother.
The needle arrangement includes 2 center stitches, an even number of out of work needles to determine the width of the long loops, and one stitch at each end that is knit for the duration, then unraveled to loosen loops for various joining methods or uses as seen in hairpin lace references.
COR: to start with, 2 needles are cast on in the center of the piece, knit one row on them alone. This will produce a small tab that is woven in upon completion of the strip, as are yarn ends, and creates a base so whole loops may be added in equal numbers on each side.
Bring the side stitch on the carriage out to work skipping the chosen number of needles, knit one row to the opposite side, bring the outside needle on that side out to E, set machine for preselection row, knit back to the opposite side. Proceed to knit with both tuck buttons pushed in with end needle selection on.
A separate cone or ball of yarn will be needed in matching or contrasting colors to anchor stitches in the central vertical column. Bring the row counter to 000.
Multiply the number of loops required X2, since it will take 2 passes of the knit carriage to complete each pair, one on each side of the center.
I brought the side stitch on each side prior to knitting the next row out to E, rather than settling for using KCI alone, found that kept the side edges stable and I was not getting dropped loops.
If long strips are to be knitted, control over what is happening on each side matters in their assembly.
As you knit the two center needles will alternate coming forward, a separate strand of yarn is used to e wrap around the needle that comes forward with each pass of the carriage. Even though the illustrations for the technique show equal loop widths, they can actually be created asymmetrically as well, or the central column may be moved on the knitting machine as one advances through the piece for an asymmetrical version.
The dots on the metal bed are from another piece

the first selection of a needle forward by punchcard e wrapping with second yarn before moving to left e wrapping with second yarn prior to returning to right, completing a sideways figure 8, end stitches out to E before prior to each carriage pass When the required number of rows has been knit, end COR. Unravel the first stitch on the right,
at the center transfer one of the two center stitches onto the other, and secure it with the center yarn.
Drop the strip off the machine, unraveling loops when you are ready to join the strips.

Using the finished sample as an insert brings up the topic of joining knits. Here there is a single stitch on each edge. The unbound off stitch at the top on each side can be hooked on and secured with the first pick-up.
Stitches in the sides of knits form “loops and bumps”. The loops are formed carriage side as the row knits, can be used as possibly the least satisfactory single stitch increase. Opposite the carriage, as that same pass is completed the yarn will twist and create the “knot”, an easy and often acceptable single stitch increase. Which of the two is used to pick up for joining depends on yarn thickness and desired effect. Swatching will serve as a guide. Being consistent gives the best seam/join, without bumps and lags. The single edge stitch side border needs to be stabilized if it is going to serve as the detail at the bottom of the piece.
E wrapping every other needle as shown above with separate strands of yarn for 2 stitches on each side may be used to produce a no-roll edge on the sides of any knit fabric.
Knot vs loop: Using thinner yarn for knitting after the join even if on the same number of stitches, will gather the fabric More on seaming and joining knits 1 and 2. Extensive accumulation of images (crochet) for inspiration and possible technique links may be found on Pinterest
On the left is a sample using an asymmetrical width, latched join method, while on the right loops are twisted broomstick lace fashion, and there is a crochet stitch join strips of different colors used gathering tightly on one side can be the start of circles and shells

Japanese design books include their own symbols, here is part of a schematic for a shawl. It precludes an understanding of crochet symbols. The latter is simply illustrated and there is more convention as to their meaning than that for knit symbols, particularly as more and more designers are adding homegrown ones to self-published patterns The convention for joining strips of machine knitting by crocheting or latching side loops together suggest having a ladder space (white square, one or more may be used) and a side edge stitch on either side in segments of the final piece ie. afghan strips. When binding off at the top of the piece, the first and last stitch on either side is skipped, leaving them open so that they may, in turn, be unraveled. The easiest method if the goal is to join pairs of strips is to line up two of them side by side, unravel side stitches from the top-down, only enough rows to match the number of loops that will be latched through each other, and proceed for the length of the piece.
Depending on the yarn, work can be rehung on the machine, followed with a latch tool bind off, a segment at a time if needed, while maintaining a continuous piece of yarn.
Steps may be repeated for a crochet pretender edging at both ends if the number of needles on the machine will support that. Another alternative for the horizontal edges when no fringe is planned is to bind off with a crochet hook as follows: knitted edge: slip stitch in each knitted stitch, open section: chain 1, 1 single crochet stitch into first jumbo stitch, chain 1, 1 sc into second jumbo stitch, chain1 repeating across the row. If desired, sc again across all stitches. A row of single crochet may be needed to balance cast on edge as well.
Then there is the option of “winging it” and making a personal decision about other suitable alternatives.
When strips approach traditional hairpin, if you wish to work bottom-up or arrangements of loops are planned to be varied, whether, by crochet sequences or rehanging loops on the knitting machine, unraveling may be done while also threading a length of yarn through the loops akin to a lifeline in other types of knitting, making them more manageable. A hand knitting video by Bernat Yarns illustrates the principle on conventional hairpin laceThe technique is sometimes referred to as a cable join. The video also provides a reminder that if all the latching through is done in a single, same direction, the fabric will bias. To avoid that, start latching on right for one pair of strips, on left for the next pair. Finishing side edges by latching is shown in the Bernat #4 video along with adding a fringe to finish the top and bottom of the piece. If you enjoy crochet patterns longhand in the “old fashioned” way from out of print sources, here is a reference for inspiration, with hairpin illustrations # 448-456.
A join and side finishing, one side of each strip chaining strands of loops through each other, the outside edge twisting loops akin to broomstick lace: A partial illustration from Pinterest from an unknown source showing how the loops coming together to make shapes might be charted out: the ovals represent chain stitches, the v slip stitches, the different colors the finish of a complete strip’s edge Tuck lace is a fabric produced with needles out of work in combination with tuck patterning on the main bed. Patterns for it can serve as the starting point for either the center strips in double-sided loop fabrics or they can be worked in repeats with wider ladder spaces between them for a far quicker “pretend” version. This is one of my ancient swatches for the technique from a classroom demo, using the 1X1 punchcard, shown sideways to save space.
The card is used at normal rotation. Any time there are needles out of work, end needle selection is canceled to maintain patterning throughout including on end needles of each vertical strip. Tuck <– –> is used resulting in texture as opposed to simple stocking stitch and ladder fabric (center of the swatch). In the right segment, the ladder threads are twisted, in the one on the left they are not. This is what is happening: for twisted ladders on an even total number of needles have an even number in the selected pattern (4), and an even number out of work (6). This is one fabric that definitely benefits from the use of some evenly distributed weight and a good condition sponge bar. End needle selection must be canceled Here the stitches are arranged with an odd number in work (3), an odd number out of work (7)

A way of determining needles out of work vs patterning/ in-work ones for both tests: the first is knit on a multiple of 10+4, the second on a multiple of 10+3These fabrics will narrow considerably when off the machine, here is an image of the above swatch after a period of “rest”.