Geometric shapes on ribber fabrics with tuck stitches 3

Previous related posts:
2 color ribbed brioche stitch on Brother knitting machine 1
Geometric shapes on ribber fabrics with tuck stitches 1
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
The last post on using Gimp:  2021/07/18/gimp-update-for-mac-2/
The method for color separation used for mosaics

The sources of inspiration from hand knitting or industrial knitting machine designs are endless. There are many features that simply cannot be duplicated, sometimes compromises can be reached that can achieve only imitations of the original. To my mind when knitting garments or long pieces the greater the degree of automation, the less likely one is to have patterning errors occur, in ribber fabrics, they are also more complicated to correct than single bed knitting.
I recently came across a pin of a Ravelry hand knit pattern which led to my return to this topic once more, including perhaps the addition of more colors. The plan is to create a repeat which may be knit using color changes every 2 rows. Each design row knits each color twice, so the standard built-in KRC separation is not a consideration, though the same cam settings may be used in those fabrics as well.
The required color separation has been discussed in several posts on the various forms of DBJ, a review:
The initial test repeat is 18 stitches by 44 rows, designed using 2 X 2 blocks, to begin with. How it might appear knit in fair isle:  Transitions in charting visualizations:
A: FI repeat with pattern progression in two-row increments
B: every even-numbered row beginning with row 2 is color reversed
C: B repeat is doubled in length to 18X88 for initial samples
D: repeat adjustment for a first try at introducing 2 additional colors End needle selection is canceled, the first and last needles are in work on each side on the ribber knitting every row, the first preselection row is from right to left, cam buttons are set after the left side is reached. Knitting in these samples began with the blue yarn in the number 2 position in the color changer. The ribber remains set for knitting in both directions throughout, the images on the right do not reflect the amount of surface 3D textures.
with the main bed set to tuck in both directionsLock settings are easier to achieve on the Passap than switching out cam buttons in Brother machines. This was knit using 4 carriages. Color one knits with the main bed set to tuck both ways, color two knits with the main bed set to slip both ways. The slip stitch reduces the width of the fabric considerably Here each color alternately tucks and slips. The choice of cam buttons matters, tucking first from left to right, slipping from right to left, with cam buttons set COL after the first preselection row This last cam setting appears to my eye to produce a texture “close enough” to the inspiration fabric. Attempting to add more colors: the repeat, D, is still 18 X 88 but is now shifted slightly.  Somehow the slip cam button was not set, so the knit carriage tucked in one direction while knitting in the other. I am vaguely reminded of illusion knits. Considering altering both the color choices and placements again. A way to imagine exact color change placements beginning with solid colors repeats once more, which can be followed by new color separations. The existing repeat may be reduced further to 18 X 64, eliminating some of those extra rows in the center of the chevron shape  The new BW image, tiled: Whether or not the design is intended to retain chevron shapes in alternating textures, actions may be plotted pre knitting in any way that visually makes sense to the person designing the pattern and tools available to them. Reversing the png so that the more textured stitches will begin with the color in yarn position 1Using either repeat, color changes now occur after every 32 rows knit. Another color change location clue is in the needle selection change above and immediately following the red border in the chart on the left.  Adding colors can be planned cautiously or allowed to happen randomly depending on the preferences of the designer and end-use. Ribber fabric designs are not visible until several inches have been knit, too late to catch color sequence errors. Some machines allow for memo placements or sounds to help track color changes, but only within the initially programmed repeats. A quick spreadsheet can provide customizable checkboxes or added information. For an attempt to retain chevron shapes in different textures: When using 3 colors, rather than 4, the texture of the zigzags on any specific color, will vary in placement. It is easy to change colors in any chart to approximate those that will actually be used in the knitting.  Proof of concept: each of my yarns is slightly different in both thickness or fiber content from the others, which can be a drawback in resulting textures. As in any 2 color dbj, if 4 consequent rows are knit in one of two colors the positive and negative portions of the image reverse, as seen at the top of the swatch. The green was not intended to be used originally, the white yarn simply ran out. Such accidents at times may provide pleasant improvements. There is bleed-through of each color behind the other in the tighter knit areas as well which contributes to visual color blending, noticeable even in the areas with fewer tucked stitches. Splitting zig-zags into triangles, working color 1 with color 2, followed by color 3 with color 4 pairings A PDF including row numbers and space for notations zig zag
An editable Excel spreadsheet created as an export from numbers zig zag
For Mac owners a Numbers doc. zig zag
A simpler repeat suitable punchcard owners as well using only 2 colors The test swatch and observations: patterning was begun with color 2, yellow.
The yellow yarn is 12/16, the maroon is 2/15 in thickness.
The triangle, because slip and tuck stitch settings are used, is compressed in height, while there is enough tuck happening to still make the knit wider.
The pattern is 24 stitches wide, the swatch was knit on 40 needles. Smaller swatches are fine for testing tension and colors. If committing to larger pieces, tests on at least 100 stitches by 100 rows are needed for gauge calculations in any double bed work or very textured patterns on the single bed.  On some occasions when a far larger number of needles are in use, problems may turn up that require going back to the drawing board in terms of items ie tension settings, weight used, etc.
A: patterning was begun with thicker yarn, the yellow, in color changer position 2, both yarns are 100% wool
B: KCI, end needle selection on, a 2 color “beaded” edge is created
C: KCII, end needle selection canceled, patterning occurs on end needles
D: transferring to the top bed and using the standard latch tool bind off for these fabrics is far too tight  The tiled repeat, 24X48, does keep the stitch quality constant for both colors, Assumptions based on optics of tiling are not always accurate clues to potential patterning errors, here those darker lines are part of the actual design Continuing on a 24 stitch repeat, the original design may be rendered at double height and separated once more, doubling the separation height to 96 rows There are days when either or both machine and knitter need a break. At the start of the first swatch, the cam buttons were not set, resulting in plain knit stripes. At its top, the purple did not get picked up properly from the color changer, and the knitting of course fell off the machine. On a second try, the same issue happened again with the purple yarn. Multiple incidences of such events were fondly nicknamed “dropitis” by my students. The test is on 24 stitches, the width of a single repeat, the triangles are much more balanced in size, this knitter is putting this pattern to rest.  Another try at the diamond shapes that began this topic. The first .png when tiled appeared to not have enough space between the shapes, was amended to this the differences when tiled the color separation can happen completely within Gimp using color invert the white yarn is an acrylic, slightly thicker than the purple toned one. Sometimes simply exchanging yarn positions can change the qualities of the overall fabric. The repeat begins with 2 blank rows. To achieve the tighter white shape as opposed to the honeycomb purple one, at the start of the repeat that color needs to be in use on rows where knit stitches happen as the KC, set on slip to the right, knits needles brought forward to D position. Red in this chart segment marks pertinent rowsBoth with hand knits and commercial knits because of the hand actions possible on both sides in the first, and as many as 4 beds selecting and knitting on the other may be in use at the same time with more complex needles as well, there are fabrics that are difficult or even impossible to duplicate. There often are obvious differences in the results, but the journey may still yield results that are pleasing and worth pursuing. Another even more complex inspiration from a sweater attributed to Falke, Spring 20 collection, using similar stitch structures, but in addition, also transferring stitches between beds exposing a purl striped ground.

Tuck trims 4 and other edgings

WORK IN PROGRESS

In the FB machine knitting groups questions about tuck-lace trims have once again surfaced with regards to their design and use as edge finishes or decorative details. Some automated potential details have been covered in previous posts
“Crochet” meets machine knitting techniques: tuck lace trims (and fabrics 1)
Tuck lace trims (and fabrics 2)
Ribber trims 3: one trim, four variations
Ribber trims 2
Ribber trims/edgings 1
The trims, however, may easily be created on any machine using hand needle selection and holding techniques. Over the years a number of names have been assigned to such trims, from idiot’s delight to shell, cockle shell, double shell, and scallop shell.
Trims are generally knit vertically, are often quite “lacey”, applied upon completion, generally with their knit side out. Some people think of them as mock crochet. They can go from tiny to heavier double-edge versions.
Generally, they benefit from being knit slowly with some weight to help hold the stitches in place and have the groups of tuck loops knit off properly. Start with a few rows of waste yarn and ravel cord to anchor to hold the weight, follow with a permanent cast on-on needles represented by grey squares in each group. Knit 2 rows on all needles and begin in the pattern. The method for creating tucked loops manually is to bring needles out to hold after setting the knit carriage accordingly. Until those same needles are pushed back into work loops will build on their shanks and will be knit off when the involved needles are pushed back into work. The limit with automated patterning for tuck in 4.5 mm machines, unless very thin yarn is used, is often 4 rows. There is greater tolerance in tucks created by hand techniques, but as with any fabric, it is best to test on swatches prior to committing to significant lengths of fabric. 
When knitting trims and ruffles, end with several rows of waste yarn in a contrasting color, allowing for unraveling and binding off after application if the trim is too long, or for unraveling to a knit row and knitting more if the initial length is too short. Seam-as-you-knit might not be the best method to use if the intent is to retain the shell-shaped forms trim sides.
It is possible to visualize repeats both singly and in groups using tools from simple graph paper to spreadsheets. Japanese machines may not tolerate more than 4 rows of held or tucked loops unless the yarn is on the thin side, machines like Passap or Superba have a far greater tolerance.
Pivoting around a center stitch and adding width in vertical trims makes them foldable around a finished edge. When using electronic machines the garment’s finished edge may be picked up and the repeat for some of the trims can be programmed on the width of the piece for a predetermined height and bound off. If one is using a punchcard with single repeat vertical patterning or for more than one vertical trim with blank spaces in between them, the card would not be suitable for a finish on a horizontal knit edge.

To knit: bring needles in positions represented by yellow squares out to hold,  push back to knit by the number of rows indicated in the chart.
A good source for pattern ideas can be found in punchcard volumes in the sections marked for thread lace. To add to the mix, once the repeat is worked out, transferring needles intended to be left out of work on the main bed may be transferred to the ribber when knitting trims as well.
Segments marked with green cells may be grouped in a variety of ways to create repeats in different widths, asymmetrical ones are also a possible consideration
Two repeats on a single cardThe process for knitting a sample as a hand technique: Cast on the 7 stitches marked in work, bring needles2, 6, and 10 to holding position set the knit carriage to hold
knit 4 or chosen number of rows
push needles back into work position and knit one or chosen number of rows
return needles 2, 6, and 10 to hold
repeat the process for the desired length
bind off or remove onto waste yarn
An electronic or punchcard repeat for 4 tuck row: I like to start my repeats with an all knit row when possible. The design may be knit as a single motif, and though it is symmetrical whether the machine model used flips the image horizontally or not can have an effect on whether the uneven number of needles will be to the left or to the right of 0. If there is any question a few air knit rows will clarify pattern needle placement.
The automated repeat: The samples below were knit using a 2/8 wool, at T4, are shown folded along their center on the right of the photos, with the open edge on the left as they came off the machine. The usual single bed tension for this yarn might be 7 or 8, depending on stitch type. The greater the number of knit stitches on either bed, the closer the tension will have to be adjusted to that used in stocking stitch for the same yarn. Wool also has memory, will want to roll to knit side at the top and bottom, to the purl side along vertical edges, steps often need to be taken to reduce the rolls. Using this repeat as a stand-alone, the roll is severe, with the cast-off edge picked up, continue from there, a rolled edge with no stitching required is formed, no further finishing required, is shown after light steaming Even if a repeat for automating the trim or edging is designed and may have been used before, it is best to test the repeat as a hand technique in any new or untested yarn first to see how many loops can build up before the stitches on each side may not knit, or the loops themselves might not knit off properly as a group on the next all knit row. Five rows were the limit for this yarn A bound off edge was picked up, purl side facing, a side edge could be as well. Test to see which side facing may suit your piece best. Ten plain knit rows were followed by holding for 5 rows on every sixth needle, followed by a central single all knit row, 5 more rows held on the same needles locations, ending with 9 rows knit on all needles, and the trim was bound off. It may be folded to the purl or the knit side before being stitched into place and is likely to require some blocking. A variety of edgings may be produced by simply hooking up ladder floats created by leaving needles out of work after X number of rows. In this instance chain cast on over 11 needles, dropping the center 5 chains and taking the corresponding needles out of work.
Knit 12 rows.
Pick up six floats and the chain from the start of the piece, bring them to the front of the knit, and place them on the needle marked with red cells at the right.
Knit 6 rows, pick up 6 floats again, place them on needle marked with red cells to the left,
repeat This variation uses the thicker blue yarn, knit at tension 4; 12 rows are knit before hooking up the lower groups of six ladders, which makes the floats easier to pick up or count using a single eye tool. Repeating selection on the same side allows the trim to be easily bent around corners  Trims using holding alone border on the possibility of automation using slip stitch programming. A simple one to start: cast on 7 stitches, with the center needle out of work. Knit a few rows, set knit carriage to hold.
COR: push needles at left out to hold position
knit 8 or chosen even number of  rows on needles 5, 6, and 7 on the right
COR: push needles 1, 2, and 3 on left to D position, knit 3 or a preferred odd number of rows, ending with the carriage on the left
COL: reverse the holding sequence  The single out-of-work needle produces a ladder that nearly disappears after the trim relaxes, any our of work needle arrangement may be tried between the two groups of 3 needles in work.
Adding holding: cast on needle arrangement shown. The 3 stitches will roll to the purl side creating an edge that looks very similar on both sides of the trim. knit 3 or more rows, end COL
bring the 3 needles on the right out to hold, knit a row
COR wrap the inside needle of the 3 in holding, knit back to left 5 times
COR knit 5 rows (or DIY odd number), ending on the opposite side
COL reverse shaping

Double bed embossed patterns

Some of the previous blog posts containing applicable samples:
Ribber fabrics with stitch transfers between beds 1Slip stitch patterns with hand transferred stitches, double bedBrother shadow lace, rib transfer carriage Combining knit carriage needle selection with racking   Racked patterns 5: Passap/Brother 2
directions and samples from manuals including racking on tuck stitch and other ground variations, this on a tucked ground, in a thin yarn 

Embossed, raised textures are familiar in single bed work using stitch structures such as tuck, slip, weaving, gathered and ruched hand techniques, and in double bed as pile, blister, lace, and ripple patterns.
When embossing is done double bed, the background fabric is knitted in purl stitches on one bed, and the raised design or panel in knit stitches on the other. The first method produces double knit patterns where all needles are working on the back bed, coupled with selected needles for the pattern on the opposite be. The raised, embossed portion is a double knit, showing relief on a purl ground. The second method is to use knit/ purl combinations, easiest to execute with a G carriage.
The striped ground occurs in areas where there are no needles in work and selected for patterning on the main bed. A cabled pattern to try: color changes in these instances are every 2 rows.
Because there are needles completely out of work on the main bed along with pattern selection, this is an instance where end needle selection must be canceled.
The first preselection row is from right to left toward the color changer.
Any transfers or stitch manipulations between or on either bed are made before the first pass to the right with the next color.
The knit carriage is set to slip both ways on the first pass in pattern from the left and stays there, the ribber is set to knit in both directions throughout. Depending on the yarn and the pattern distribution the all striped areas will be longer than those gathered by slipped rows. As usual, begin with a plan. After the first preselection row, transfers are made down to the ribber as indicated at the top of the chart. Cable transfers are made after every 14 knit rows, with stitches crossed on rows 15 and 31. After the cable cables are twisted, the stitches in the color that is going to knit in the next pass are brought out to E so they will knit in that color before the pass to the right, and again before the pass to the left, rows 16 and 32, Y.If the intent is to have solid vertical columns of color, those areas as in column marked A, need to be adjusted for using alternating colors as well. Using the repeat on the left of the chart After the first preselection row to left, transfers are made down to the ribber, stitches that will compose cables are selected in the pattern,
colors are changed after return to the left, and every 2 rows, stitches in the color that does not knit become elongated. Because column A was not color separated for alternating colors, each color in the corresponding needles will knit with every two carriage passes, and the result will be a striped vertical column Cable twists should be planned to retain the correct movent, can alternate each time or repeat in series, charts for location and direction of twists are helpful to avoid errors. The solid vertical columns here are planned in only one color, could be programmed to alternate as well. The repeat used in my swatch includes a solid column on each side of the finished piece, the color swap in the twist at the top can be an unplanned error or serve as a deliberate design change

Analyzing the stitch structures involved for planning 2 color DIY:
two-color ribs on a striped ground require cards or electronic repeats that select each color alternately. Fabric where the backing on the ribber or back bed in machines such as Passap knits all stitches every row is often referred to as half or full Milano. The backing may be also be knit using slip/ tuck settings.
Working in a single color, in half Milano and every needle rib course is followed by a plain knit row on the opposite bed, it is a 2-row repeat. In full Milano fabric, a row of every needle rib is followed by a plain knit row on one side of the fabric, and then by a plain knit course on the other. The repeat is three rows high. On every third row, the ribber carriage must be set to slip for one row, in the direction in which the carriage will be moving, prior to knitting a row with every needle preselection on the top bed. The setting is changed back to knit for 2 rows when the carriages reach the opposite side. The required cam change will happen on alternate sides. Both sides of the fabric have small stitches alternating with longer ones formed by slipped rows. half Milano full MilanoOften an all slip setting is used on the top or front bed, the result has less elasticity than a full needle rib, and the knit will have a tendency to curl toward the side which shows fewer knit rows, so in a finished piece side borders in the same stitch type should be considered.
Adding color changes in the ground requires altering the repeats.
Hand techniques may be used to modify ribs by cabling, racking, transferring stitches to the backing. When knitting again on empty needles, if you want eyelets, simply keep knitting. If not, hang the pull loop from the adjacent stitches on the opposite bed before resuming knitting.
Cable color placement must be reversed at the cable crossing.
Racked sequences are made along with stitch transfers.
To emboss other than vertical ribs the needle selection needs to be changed every 2 rows. This can be done manually, following a chart, or with programmed patterning whether with punchcard or electronic options.
Plaiting can produce 2 color variations without color separations.
When increasing stitches, moving the adjacent stitch onto the new needle, leaving it empty, will change the eyelet location a stitch away from the edge.
When moving stitches for decreases, lateral transfers may be made with multiple stitch transfer tools for different effects.
Transfer carriages can speed up the process.
To start the pattern one can begin with a cast on only on the ribber or back bed, or transfer non-selected stitches after the first preselection row on Brother as seen in most of my previous swatches, with 2 rows knitting on the backing alone, and 2 rows of the main color knitting on both beds. With either cast on, the preselection row is made toward the color changer with needles in work position on the main bed, so the knit carriage needs to be set to slip so as not to pick up unwanted loops on the top bed as it moves toward the color changer, and will remain set to slip both ways throughout the pieces.
As mentioned, the term Milano refers to ribs composing weft knit structures where one side of the fabric knits more rows than the other.
In half Milano, a single long stitch is created in the pattern color, in full Milano small stitches alternate with a row of longer stitches created when traveling back to the color changer.
The preselection start is determined by the type of long stitch, and how the repeat is programmed. I prefer to start my repeats with knit rows.
A half Milano swatch is begun with all stitches on the ribber bed, COR: the needle actions for each design row if patterning were on every needle are shown below. Designing may be easier to plan or chart on a template, followed by actions for each pattern design row with the second color. Half Milano on left, full Milano on right for use in 2- color-work 
Half Milano stitch formation on the left, full on the right Planning for a half Milano shape design outlined with added borders and with vertical columns at intervals in the alternate color: every 4th row is marked in yellow as the underlying template. A simple shape is charted out, marked with black cells, the pattern starts with a knit row. Preselection in slip stitch is made toward color changer, black pixels will pick up stitches moving to the right, slip top row moving to the left. Decreasing to maintain the dominant color shape is not necessary, while the border, in this case, is shaped by decreases made by transferring non-selected needles to the ribber before knitting with that color from left to right. Border cells are added immediately up and to the side of those planned for knitting on the previous row, their respective cells are outlined in green. Software programs make it easy to alter the repeats and add borders  if wanted
Actual knitting will indicate whether adjustments are needed in making the repeat continuous vertically or with some added striped ground only rows in between. I had not noticed a stitch hung up on a gatepeg, explaining the distortion in the row marked by yellow arrows, where the yarn was caught and pulled up. 

These techniques share some features with the category of double bed appliqué, where one bed knits the main fabric while the other creates the shapes, which are attached to the fabric as you knit. In the finished fabric the purl side is the right side, the ground may be created in a solid color or striped. Both shapes are knit at the same time, as opposed to performing the technique on a single bed. As usual, the color changers should be threaded so that yarns feed smoothly and do not cross. With simple shapes as in shadow lace, no punchcard may be necessary, while cards or electronic repeats simplify the steps and help prevent mistakes.
In Japanese machines, for each row in the charts 2 rows are knit in the background first on the ribber, followed by 2 rows in the shape color on the alternate bed.
Smooth yarns and contrasting colors that still allow identifying knit structures easily are best. There is a limit to the number of colors that may be knit at once. Beginning with hand techniques: it is good to chart out the design before tackling it, and with color changers limited to holding 4 colors, if planning several shapes, the sequences in the color changes may need to be plotted out ahead of knitting as well.
Purl loops are the tops of the stitches in the row immediately below the stitches on the needle on the opposite bed, marked in green, while sinker loops consist of the yarn that is between the stitches on the needles, marked in red. Hanging the purl loops will help to eliminate or reduce the size of the eyelets. Take care not to use the sinker loops between the stitches, marked in red.  In executing the fabric as a hand technique, the main bed is still set to slip in both directions, the ribber to knit every row
1. Knit 2 rows on the ribber alone
2. Bring needles to be worked in the pattern at the upper working position D or E, hang loops from ribber if there are increases if preferred, knit a row
3. Bring needles in pattern manually to D or E again, knit the second row of the appliqué
Repeat steps one and 2
In published directions color 1 usually refers to the ground color, which knits on the ribber only. Color 2 generally knits on the patterning bed as well. When most needles are in work on either bed, the tension for the yarn on that bed approaches the one used for that same yarn if it were being used single bed.
Punching all squares in 2 consecutive rows, or programming 2 all-pixel rows filled in completely across followed by two unpunched blank or all white pixel rows makes the process quicker. Punching or filling in single rows may be done as well, but requires elongation X2. Increases or decreases may be done on more than single stitches, and less frequently than with every pattern pass.
Fully fashioned shaping alters the edge of the appliques and places the eyelets in pattern, at or away from the edges. In Brother machines preselection of needles needs to be retained after any stitch manipulations.
Adding shapes with additional eyelets: practice shaping, keep notes, fully fashioned=FF  Begin with simple shapes, examining the quality of increases and decreases, whether single or multiple, eyelet formation.  Picking up from the row below before the next pass with the contrast color eliminates eyelets
picking up from row below at any point during knitting decreases in the number of stitches, in contrast, may be made by transferring down to the ribber prior to changing back to the ground color Simple increases or decreases are made by moving stitches laterally in either or both directions.  Increases may be made by moving contrast color stitches laterally, followed by the choice as to whether to fill in the empty needle or allow it to create an eyelet.   Fully fashioned increases or decreases are made by moving a stitch or a group of them to the adjacent needle/s to the left or the right and then taking the double stitches back to the original position, leaving a single empty needle for the planned eyelet formation. There should not be multiple needles with no stitches on them unless the goal is to expose a stripe of ground typically, in these exercises, there should be single empty needles after transfers, making certain proper needle selection for the pattern group is maintained Combining eyelets with lateral increases When transferring stitches, watch for any loops getting caught on gate pegs, as seen on the left below, increases and decreases may be pre-formed on more than single stitches

Planning a medallion: cyan cells represent transfers to the left, the magenta to the right. At the top of the single medallion, the stitches were transferred to the ribber prior to knitting with the same color once there was no needle preselection for it on the top bed.
Programming repeats to help track needle transfers as well: it is possible to start with a published repeat, though once the principle is understood, required markings for DIY become easier. Electronic machines leave one free in planning repeat width. In this test, a repeat from the Stitchworld pattern was used. In its built-in memory format, it will not work, the repeat needs to be altered. Each sequence of passes with the LC consists of 4 passes, followed by two rows knit with the KC. Two rows are added to each lace passes sequence, which will knit on the ribber only, in the contrasting color. Transfers to left and right are marked in cyan and magenta. The specific software used or machine model may require that the repeat be flipped horizontally prior to being knit, true on my 930. Markings on the left are for ribber actions and settings, those on the right for the main bed. K indicates that that bed will be slipping, K that it will knit. The first preselection row after the chosen cast on is from right to left with end needle selection canceled and the knit carriage already set to slip in both directions, with all required needles on the top bed in the B position.
Transfers are made prior to carriage passes made with the pattern color, in this case, white. If a transfer patterning row follows a white row on the ribber, extra white rows will appear on the striped ground seen in this test, where the ribber remained set to knit every row in both colors  To eliminate the extra white rows, the main bed stays set to slip every row, the ribber settings alternate. It is set to slip for two rows immediately after knitting with the red yarn, then will be reset and knits for 4 consecutive rows.  Transfers to create eyelets are made on selected needles on each of those two rows, always toward the carriage, even as the transfers themselves change directions as the angles of the shape decrease toward its center on the top half of the design. After the first transfer and the carriages travel to the right, a long float will be evident, will “disappear” on the return to the left. Patterning selection will reappear as the carriages return to the left. The color is not changed. The ribber is set to knit in both directions again, forming stitches on both beds for the first two rows, followed by a color change and knitting in the red, on the ribber only for 2 rows, completing a sequence of 4 knit rows before the ribber being set once more to slip.  For consistency, I changed the settings on it to slip before picking up the white, changed it again after preselection of lots of needles meant the top bed stitches needed to be knit on both beds again. The first proof of concept, observing choices: as with other samples, the first patterning row after all stitches are transferred to the ribber requires a choice as to whether to pick up from the row below or simply allow empty needles to pick up loops on the next pass, the choice throughout here, marked A. Reducing stitches may be done by transferring down to ribber, B, or lateral transfers, C. D marks the spot for a possible shape design shape. Arrows on the purl side point to the direction of transfers, cyan to left, magenta to the right  As with single bed lace, the first pass after transfers creates loops on empty needles, which here need to be kept in upper work, D position after transfers. For non Brother knitters, Brother positions are A, B, D, E, skipping C. Knitting over the loops on the next pass on that bed completes the stitch. This design is knit as continuous, the striping at the bottom is wrong because the red was not picked up after the first 2 rows knit in pattern with white,  most sequences for the remaining fabric are 4 passes with white in the feeder, followed by 2 in the red.  All eyelets here are reduced in size by picking up from the row below, all transfers for decreases are made laterally, the border is set to a width of 4 stitches, the pivot point for the repeat has been narrowed the differences at the edges of the shapes.  Many of the same principles may be applied to designs using tuck stitch settings, where the striping will appear vertically rather than horizontally
2 color ribbed brioche stitch on Brother knitting machine 1
Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2
Geometric shapes on ribber fabrics with tuck stitches 1
More on Lace transfers in single color rib 

Large scale mesh, a punchcard repeat adapted for electronic

Previous posts including fabrics in this family:
2011: Large scale mesh, breaking the rules 
2013: Large eyelet lace, hand transferred (or not)
2020: Revisiting large eyelet lace, hand transferred (or not)

This was the punchcard provided in the first post, knit with 4 passes of each carriage, the knit carriage set to tuck in both directions Brother punchcard machines do not advance pattern rows when two carriages are used for needle selection as each carriage begins to move from the opposite side, the same preselection is repeated. This means editing is required at times if the same designs are to be used on electronic machines, particularly true in lace combination fabrics. The process has been discussed in posts on automating lace edgings with slip stitch settings.
End needle selection is canceled in both carriages, if any end needles are selected prior to a lace carriage pass, they need to be pushed back to B position manually in order to avoid transfers resulting in decreasing stitch counts or dropped stitches.
All versions proposed below share transfers that result in 3 stitches on a single needle, with two empty needles on each side of them.  Here the needles are preselected for the next pass which will begin to fill in the double space, the needle in D position will knit, the one in B position will tuck;   this is how the yarn is laid over those 2 needles after the first tuck row is completed,  and both when using the card and in the first electronic repeat there will be a third tuck loop that is laid over the needle holding the 3 stitches. This is the appearance of the stitch formations just prior to an all knit row  Here analyzing the actions of the punchcard, marking rows according to card actions, the repeat is expanded to include the extra duplicate rows. Though the repeat remains 24 stitches wide, it is no longer usable for use on a punchcard machine. For knitting on the 930, the design requires flipping horizontally in order to knit properly. The third tuck row may be eliminated to produce an extra all knit row, resulting in a slight difference in the shape of the eyelets Lastly, the repeat may be amended with extra stitches and rows between each eyelet  


Origami inspired 2: more pleats and folds using ribber

WORK IN PROGRESS

Periodically I search out previous drafts, this post was started in September 2019. Drawn to folds in a variety of ways again, I am publishing it in progress with the intent of adding more and information and related swatches.

Some previous posts with related topics and technique swatches: origami-inspired pleats1, racked patterns Passap/Brother 2, ribber pleated fabrics, and some possible needle arrangements 3.
There are many considerations if long panels or wide ones are required when setting up repeats in addition to what happens at the edges of patterns in racking as one bed moves near or past the needles in work on the opposite bed. If something like a skirt is planned, the choice must be made as to which side of the knit is preferred, and the end stitches of each panel should be on the underside of the piece unless the join is a deliberate design feature. To achieve that, some panels may need to be wider than others. If the pleats are bulky and involve deep foldovers, panels may be attached to yokes to reduce bulk at the hips. If working from illustrations for pleats for another brand, the needle setups shown may need to be reversed, or, since many such fabrics are reversible, if manual set up and no additional patterning on the Japanese machines knit bed or European true double bed they can be knit as illustrated. Lock settings for the Passap are given with the back lock first (ribber settings on Brother), then for the front bed lock (top, knit bed on Brother). Cast ons must be fairly tight so there is no flare at the bottom of the pleats. They usually start on a standard needle setting. Needle transfers are usually made after the cast-on is completed, sealing the stitches with one row of all knit stitches. Swatches should be a minimum of 100 stitches wide by 100 rows if the end goal is a gauge significant garment. All fabrics with texture may change in both appearance and gauge after a period of rest. Some shaping if needed may be obtained by tension changes, OOW needle arrangements on either or both beds, or stitch type within folds (ie adding fisherman, half fisherman, EON patterning, etc.)
Pleat formation on the double bed is “easy” because the pleats are formed “automatically” according to the needle arrangement on each bed. That is true if the resulting folds are created by stocking stitches in vertical bands. My goal is not to provide patterns. There are many well-written ones easily available.

How small can one go? A tiny pleat: It is easier to transfer stitches when the ribber is set to P (Passap handle up). Remember to return the setting to half-pitch before continuing. The pleat is reversible, shown on both sides, reminds me of shadow pleats racking by one position X3 at first, and then X 5 in each direction did not produce results worth the effort IMO, the result is subtle, the reverse side of the fabric is slightly stretched in the bottom photo. Here the fold is created by 2 stitches tucking for 2 consecutive, then knitting on the same needles for 2 rows on regularly spaced pairs of needles on either bed. Most knitting is on a single bed. A lacey series of eyelets begin to appear, and in some random racking at the top of the swatch, the possibility of developing a secondary pattern due to the combination of racking and tucking begins to show. The middle image is of the fabric slightly stretched.  Passap Brother: the ribber can do the stocking stitch background, every needle in work, carriage set to knit. The setup is the same as the Passap diagram. A repeat with 2 black rows of squares followed by 2 white can be programmed on the top bed. On every needle selected rows, pairs of needles will knit, on the white, no selection rows the same pairs of needles will tuck for 2 rows. Moving away from vertical ribs becomes significantly easier if one has a G carriage. The alternative option is to create geometric folds that require transferring between beds. Any of these fabrics are best knit in a yarn that has memory and can spring back. Yarns such as acrylic can be permanently flattened by pressing, resulting in loss of texture. A quick experiment: black cells represent knit stitches, blue purl ones The needle setups: after casting on, transfer for a stitch configuration based in this case, of blocks that are 5 stitches wide. A single needle on the opposite bed is used on each outside edge of all needles in work.  When there are no groups of stitches in work on both beds the pitch can be set to and remain on P, which also will make transfers easier, as needles will be point-to-point. The ratio used in the test was in multiples of 5. The groups were 5 stitches wide, 15 rows high, with all knit 10 rows in between the repeats. The fabric is shown first relaxed as immediately off the machine, then lightly steamed and stretched. The yarn is a 2/18 wool, far too thin for this use, and likely to flatten considerably with pressing. The close-up of the purl side offers a better view of the resulting folds The repeat, 10 stitches by 40 rows. More on Knit and purl blocks to create folding fabric_ “pleats”Pleated, plaited shadow lace Pleated one color “shadow lace” in Slip stitch patterns with hand transferred stitches, double bed

Pleated dbj A repeat that will spiral, usable in spiral socks Spaces between any and all blocks may be adjusted to suit one’s preferences.

Lace meets FI on Brother machines

Very little has been written on this topic.
The easiest method to produce the eyelet and fair isle combination is to create ladders in spaces between vertical FI motifs. The end needle selection is canceled. The swatches show the transitions in the development of the final design

Susanna in her Machine Knitter’s Guide offers a version knit in combination with the ribber on page 218, and a small amount of information on single bed versions on pp, 220-221.
Before any DIY, I like to start with a published pattern. Toyota, in this volume,    offers 4 punchcards for use with this technique I chose to work with #170. The lace carriage in the Toyota models operates from the right side rather than the left as in Brother. The direction of the arrows marked on the card actually indicates movements for the carriage operating from that side. That fact is taken into consideration planning a possible Brother punchcard repeat. Lace direction arrows are matched based on the punchcard image being mirrored horizontally. The card in its original version is imaged on the left, mirrored on the far right, the proposed Brother punchcard in the center The proposed Brother punchcard repeat is now expanded for use on the electronic machine, ready for converting to .bmp in Gimp. Numbers in the middle of the chart on the left helped keep track of repeat segments. I also used red dots initially to mark segments as I had completed in the expanded the repeat, then erased them
  The Gimp magnified punchcard repeat  in turn in need of mirroring for the .bmp to be used in the 930the resulting fabric Observations and settings:
The knit carriage is set to FI patterning for the knit rows, the typical floats will be created. Commonly, when floats are wider than 5 pixels, anchoring the longer ones may become a preference or even a necessity. This would add time to an already complex fabric. Each FI design row is repeated twice.
The transfers in this design are made on the yarn in the color in the B feeder. I began my swatch using the light color yarn, failed to switch its position to the B with color 2 for the shape in A, accounting for the dark stripe at the swatch bottom
If KCI is used, end needle selection will be made prior to the lace carriage passes. Those preselected needles will have to be pushed back to B position by hand prior to using the LC or they will transfer on one side and drop on the other.
In this pattern, the LC operates for 8 passes, followed by 2 rows of FI throughout the piece. The first preselection row is made with the KC from the left as it moves toward its home on the right.

What of DIY? From working on the repeats for transfer lace combined with weaving, I understand patterns beginning with transfers to the right rather than the familiar to the left, are shortened considerably and carriage changes may be made as often as every 2 rows, saving many carriage passes. In order to understand the choices that need to be made, I began with a lace transfer pattern, thinking I could add contrasting color shapes in FI. I expected something like this however, the swatch had issues. The eyelets were not occurring in the same spot in both directions, the color transition at the repeat intersections was clumsy Regrouping: the easiest place to insert eyelets is in the dominant, background-color The 930 .pngA quick test: rows with no needle pre-selection will knit in only one color, end needle selection must be canceled before knitting to the other side Can the exchange of the color positions in the yarn feeder create colored shapes with eyelets on the white ground? not only does it not do so in a way I liked, but my machine was having none of it as well  Coming up with a better plan resulted in the following repeat. The transfers are made in the wanted direction on the purl side of the fabric, so their location becomes easy to check and identify during knitting. In this exercise, they will be placed in the center or the previously knit fair isle rows. Magenta cells marking the doubled stitch after transfers to the right, the cyan one the doubled stitch after transfers to the left. The two blank rows at the top of the design will knit in the background only. Building the repeat in Numbers: the eyelets within the shapes in the contrast color need to begin and end with a pair of FI rows. They are placed taking into consideration the black cell blocks immediately below them, not the ones directly above It’s good to start with a small repeat.
A: one may begin with a planned repeat, in this case, 20 rows in height
B: create a table at least twice the planned height or start with a long template that in turn will have half its rows hidden. Holding the command key select every other pair of rows beginning with 2 blank ones at the top of the table, and hide them. The location for the options to hide and unhide rows and columns:  C: Once the rows are hidden, the black cells are filled in
D: the repeat is tiled to check its alignment
E: the hidden rows are unhidden,  I like to add colored cells as shown to ensure proper placement of eyelets
F: place black cells for stitches to be transferred where desired
Previous posts describe the steps to isolate the repeat as a screengrab and importing it into GIMP. The grab is cropped to content, image mode to indexed, scale to the proper size, mirror for use on the electronic if needed, save, and use the final image to download to the knitting machine for testing.
The first pair of rows are knit in FI, so the preselection for design row 1 is from left to right.  The KCI setting will bring end needles out to D prior to lace rows, those needles need to be pushed back to B position prior to moving the LC from left to right. Continue with switching carriages every 2 rows. This repeat is 20 rows high. When knitting the last 2 rows, no needles will have been preselected, except for first and last. Push them back to B for those two rows, so only the color in the A feeder knits, and the preselected needles do not drop off the bed. The second color does not need to be removed from its location, but in executing a wide piece of knitting, the extra yarn pulled down from the tension mast as the knit carriage makes its passes may cause issues. If the yarn is removed and held aside, be sure to place it back after the 2 passes with the ground color so as to avoid forgetting to do so prior to resuming patterning using 2 colors per row. Taking it to continuous shapes and checking them in repeat: red cells represent transfers to the right, cyan ones the transfers to the left. The empty cells adjoining each of both colors represent the location of the doubled-up stitch after the transfer is made I like to check tiling for the repats along the whole process
Though the repeat is 24 stitches wide, it is not suitable for use on the punchcard machines in this format, its tiled test and .pngThe one area where the white got picked up with the contrast is not due to programming, but likely to operator error in “correcting” a dropped stitch Adding another contrast color stitch to shapes will make the number of stitches on either side of the eyelets consistent  Adding lace shapes in the ground can follow the same concept The repeat does was not planned as a continuing pattern, but here it is knit and repeated in height X 2 and with the addition of two blank rows at the top of each segment.
The possibilities are endless, with some patience, they can be manipulated to meet personal preferences and taste.

Lace meets tuck on Brother Machines

Some DIY variations in combining both stitch types:
Combining tuck stitches with lace 2 (automating them) 3/15
Combining tuck stitches with lace 1 3/15
Large diagonal eyelet lace, (a similar card and fabric, not tuck setting) 6/12
Large scale mesh, breaking rules 4/11 explains the use of punch card below
Tuck stitch combination fabrics 5/19
To execute this knit fabric, the lace carriage is set for normal lace, the knit carriage selects a pattern (KCI) and both tuck buttons are depressed. Each carriage works in sequences of 4 passes/rows throughout. The self-drawn card does not include familiar arrows on the left-hand side familiar to users of factory published lace cards Working out an electronic repeat: the punchcard repeat is on the bottom, the expanded electronic one on top, yellow cells highlight rows with tuck stitches In electronic machines, the first preselection row may be done with the knit carriage moving from left to right or the lace carriage moving from right to left, with either carriage moving toward its usual starting position. The knit carriage is set to KCI for end needle selection. Before the LC begins to move from the left the first and last needle will have been preselected, push them back to the B position. Continue to do the same if any end needles are selected just prior to a transfer row as you continue to knit. Each carriage makes 4 passes throughout the piece. The bottom row of eyelets shows the “standard” size eyelets that follow single transfers, illustrating the change in size with this technique.  With the proper tension, transferring is not a problem. I sampled on a random number of stitches. For cleaner edges, a border where no transfers occur for 2-3 stitches can be planned in programming the final piece.
Returning to Volume 4, here is a combination of lace and tuck repeat that appealed to me. I am repeating a process akin to that used in programming the woven lace samples. In this card, lace transfers are first to the left, then to the right, that sequence needs to be preserved. Colored pixels need to be used everywhere a punched hole is represented. The lace portion of the card will not tolerate color reversal. The published full repeat is for a brick configuration, I sampled the top half.  The actions of the 2 carriages on the electronic, the repeat prior to mirroring mirrored for use on the 930  The texture is more apparent on the purl side, the top and bottom edges could be coaxed into a wavy shape due to the gathering up of the knit by the tuck diamond shapes The chart for the brick configuration: 

Lace meets weaving on Brother Machines 2

Early Brother punchcard volumes showed symbol charts alongside punchcard repeats. The translations at times were not the best. Here is some of the advice offered for woven lace patterns:  

This was one of the first such punchcard volumes published by Brother after the pushbutton earlier models were replaced by ones with card readers It has the added data on how each of the fabrics might look visualized in a chart prior to its expansion as a card in full repeat. This is the top half repeat of a card for pull up weaving combined with lace along with the directions for execiting the knit My experience with trying to knit CARD # 589, led me to notice immediately that all carriage passes, if the arrows are followed, are made from the same side. That avoids the repeated selections when carriages first start operating from the opposite sides. My interpretation of what the card is achieving: Taking carriages on and off the same side of the machine is nothing I would be inclined to do for any length on any machine. In theory, the identical repeat above could be used on an electronic KM in that way, but I did not get very far with that method before giving up.
The expanded the repeat for use on my 930, with programmed all-black pixel rows for any pairs of all knit rows, made for smooth, easy knitting The weaving yarn used in patterns such as these will be held in the hooks of the needles, combined with the knit stitch already there. In this instance that adds up to 5 loops that need to knit off smoothly on the next knit row, so yarn thickness choice meets with limitations.
The first preselection row is made from left to right with the knit carriage, it resumes patterning on the right, beginning the weaving pattern. End needle selection is on, KC I.
When the knit carriage is on the right and all but those single needles are selected on design rows 5 and 23, pick up the floats from the weaving yarn with a single eye tool and lift them onto the non selected needles, then bring the same needle out to E position before moving the carriage to the left to create the first all knit row.
Before transfer rows using the lace carriage, if any end needles have been selected in pattern push them back to B before traveling with it to the opposite side. The electronic repeat, followed by its .png

Later punchcard volumes ie 4 and 5 took into account the repetition issues when carriages select needles for patterns from opposite sides, and that may be the best place for card designs that may be knit following arrows as shown, in the traditional manner. This design has fewer woven rows, a larger lace motif Volume 4 offers only this advice: “the empty needles are selected at the second lace pattern, but this is not a trouble, and you may pass the L carriage to the side which is indicated on the punchcard”. I take that to mean that after a transfer if the same needle is selected again, don’t be concerned, keep moving the carriage in the direction of the arrows. Because the weaving is for only 2 rows, the use of laid in, thicker yarn is well tolerated. The punchcard repeat amended for use on electronic, shown prior to mirroring its .pngE wrapping or other weaving techniques may be used on “weaving” row preselected needles, needles can also be hand-selected in knit areas in any other programmed lace repeat to add details on the chosen row(s) without engaging the card reader. Knit 2 plain rows, select weaving needles, wrap the yarn over or around them in the desired configuration, knit 2 plain rows again, resume lace patterning. Varieties of wraps for use on every needle with yarn similar in weight to the ground, or every other needle with thicker yarn. Once the desired effect is achieved, a repeat could in turn be configured and punched or programmed to make the process easier to track.

Lace meets weaving on Brother Machines 1

Several years ago, this punchcard was shared on Ravelry as one that was problematic in execution on an electronic model using Ayabthe supposed related swatch pictured in the publication
At the time, I made a long, convoluted effort to produce the fabric. I am returning to the topic and comparing 2 cards in this post, the original 589, and a new-found cousin, 259. Looking to the published cards for clues, remember that markings for carriage movements related to the first design row at the bottom of the card begin on the left of the card, above the Brother line numbered 1 on the right. The start of both cards: Lace patterning is unique in punchcard use. The card does not begin with the reader locked. As the carriage moves to the right, the card will advance a row. The lace carriage will begin to move in the direction of the arrows, making transfers on preselected needles in the direction of those same arrows as it moves away from and returns to the opposite side.
A typical pattern for mixing weaving and lace, seen in 259, usually starts with a blank row, followed by 2 rows with lace transfer markings, and a single every other needle arrangement row intended for the weaving pattern, repeating in varied sequences for the height of the card. The source for the repeat is  Brother punchcard pattern book volume 5. Due to the added experience I have acquired in working with spreadsheets and converting lace punchcard repeats, it took literally minutes as opposed to hours to produce a working repeat for use on my now 930 and the desired proof of concept. It is interesting how our perspective and skill can evolve over time. This is the new, “quick” version,  beginning with flipping the card segment over horizontally, a requirement with Ayab or img2track on my 930. 259 shows the traditional approach combining the two techniques that take into account the fact that when the second selecting carriage starts to move from the opposite side, the punchcard does not advance, repeating the same preselection. Added discussion of the differences in repeats for both machine types may be found in the post: Doilies: Lace meets hold and goes round In this instance expanding the punchcard repeat with extra blank rows to allow for extra LC passes to maintain proper transfer direction is not necessary, but the repeated punchcard selections need to be taken into account. There are 2 options for starts: if beginning with lace rows, the first preselection row is from right to left with the LC, if beginning with weaving, the first preselection pass from left to right. End needle selection is in the KC is canceled. As knitting progresses, if an end needle is selected in the pattern push it back to B prior to making transfers in that row. The movements when working with two selecting carriages on the electronic are standard, the repeat advances a row in the design with each pass of the carriage. Here each carriage operates for 2 passes, to and from its original side after the first preselection row. I began my proof of concept with woven rows. The punchcard repeat has been reversed  The top swatch tests the repeat as given above, beginning with the weaving pattern. Mirroring the repeat also produced an interesting variation, as seen in the bottom test A review of 589, showed that it could be knit using each carriage for 2 passes as done above.  The same repeat as the one in the original punchcard, mirrored, produces the same fabric on the 930 as with using the more complicated separation methods described further below. The chart depicts the desired actions. My first row was knit with the KC set on KCII, preselecting while knitting a plain knit row from left to right, followed with the first lace transfer pass also from left to right the electronic repeat and its .png Analyzing the card, sorting out possible repeats follows since mylars or bitmaps for download often only require a single repeat of the pattern. If you are not used to doing this, sometimes beginning with recognizable vertical ones first is a bit easier. The first problem: matching the arrow markings beginning just above row 1 mark on the right, it appears the first set of transfers should be to the left, The pattern is simply not workable as given using both carriages selecting needles from opposite sides of a punchcard machine, each moving for 2 rows.
Reworking the repeat for use on the electronic in order to use the LC for four passes, beginning and returning to the left-hand side of the machine: the movements of the respective carriages on both models are plotted out, beginning with the theoretical punchcard one, mirrored horizontally, on the left, expanded in the center for the electronic, with the final repeat on the right. I now use different color cells to represent the direction of the transfers, here red for ones for those to the left, green for those to the right. The grey rows indicate blank ones that are required for the lace carriage to perform the necessary selections, transfers, and then to complete its return to the left side of the needle bed the smallest, single repeated in width X 2 for use on my 930its .png Extension rails must be used as both carriages engage the belt. The LC operates from the left-hand side for four passes throughout. The KC from the right for 2 passes each time. It advances the design by one row for each pass, preselecting needles or blank rows depending on the presence or absence of pixels as it would in any other fabric type. End needle selection is canceled. The weaving yarn is laid over the groups of every other needle in D position. A quick proof of concept swatch, the ground yarn may need tension adjustments for the best result an interesting variation with the above repeat flipped horizontally the mirrored repeat is used in the top swatch, any dropped stitches will result in floats. The repeat prior to mirroring was used to knit the bottom swatch. Dropped lace transfers may be missed behind the laid in thicker yarn. Transfers may need to be made manually if they continue to be a problem, especially if the ground yarn tension needs tightening in order to achieve the desired effect.  Starting the piece with 2 woven rows, rather than lace transfers: charting for working with the LC operating from the left for 4 passes, the KC from the right for 2 passes (worked on my 910, using mylar):
comparing the sequences for both starts, weaving on left, lace on the right Patterning issues are not always due to needle selection problems. Weaving and lace pattern combinations may be tested in lace first to establish eyelet selection accuracy. Here the weaving test failures were due to a problem with the sinker plate. The weaving lever was working properly in one direction only. Check that both brushes are turning freely. If they are not, remove the screw and any fluff caught under them before replacing them and continuing to knit. Occasionally the lever that moves the brushes up and down fails and a new part is called for. Here, the hand technique success followed a change of the sinker plate a sample using 2 different weight yarns; irregular weaving may require changing the yarn, or adjusting the tension used for the background yarn I like to test these repeats first in transfer lace, to sort out the best tension and yarn to use, errors in programming, Taking another look at the original punchcard and those arrows on the left-hand side, a detail I had originally missed, they all start from and return to the right, the line thickness changing marking the alternate carriage Both carriages operate from the right side, for 2 rows each, switching their place on the machine bed. Arrows for design row 1 begin above the red line. Transfers are all first to the left, then to the right. The card advances a single row for each carriage pass. With carriages operating from the same side, the punchcard advances one row for each carriage pass As I was trying to understand what was happening, I was also able to produce a swatch using the original #589 card, using a method that, however, produced all lace transfers to the right, and differed from the desired effect:
KC passes are indicated with green text, LC passes in blue
Pass 1: COL, KCII, N for a knit row which preselects the first weaving pattern row, knit to the right
Pass 2COR, KC, EON preselected, set the card to advance normally, lay in weaving yarn, KC moving  to the left will weave the first row, preselect the second weaving row
Pass 3: COL, KC weaves second-row EON, preselects the first row of lace on its way to the right
Pass 4: COL, LC transfers to right, repeats previous row’s selection, as it moves to the right 
Pass 5COR, LC no transfer happens on empty needle selected for the second time by the previous row, selects for the next row of transfers, moves to the left
Pass 6: COL, LC transfers pre-selected row to right, preselects first EON row for weaving, moves to the right, release it, return it to left
Pass 7COR, KC, EON, lay in weaving yarn, KC will move to the left and will weave the first row, preselect  second weaving row
Pass 8: COL, KC weaves the second row EON, preselects the first row of lace on its way to the right
Pass 9: COL, LC transfers to right, repeats previous row’s selection as it moves to the right
Pass 10COR, LC no transfer happens on empty needle selected for the second time by the previous row, selects for the next row of transfers, moves to the left
Pass 11: COL, LC transfers preselected row to right, preselects first EON row for weaving, moves to the right, release it, return it to left.  This row matches design row 1 and is starting the repeat sequence again
Passes 2-11: each group complete 10 rows of knitting the knit, produced at the time on both my punchcard machine and with my 910 also requiring an LC release on its third pass, reflect all the transfers occurring in a single direction

Ribber trims/edgings 1

An example of a common ruffle/ frill is produced with variations using both beds: cast on for every needle rib, knit X rows at full fisherman rib, followed by X rows at half fisherman, and then possibly by plain rib for X rows, EON rib or even following with transfer to single bed for X rows, bind off. The yarn used in this swatch is a wool-rayonExaggerated frilled starts: no cast on needed, working on every other needle patterning on both beds.  A few rows will produce a curly edge, more rows a ruffle proportionate in depth to the number of rows.  

Passap KM: AX/AX or AX/KX 4-10 rows, continue in plain rib N/N
AX/KX 4-10 rows, knit 1 row N/N, transfer to 1X1rib, continue to knit in plain rib
racking cast on
BX/KX 6-10 rows, continue in plain rib
Pushers in upper work position (UWP) will make the needle knit while those in the lower nonworking position (NWP) will respond to lock patterning settings. E6000 either program front bed for the pattern (1000), or bring every other pusher completely out of work to avoid having them return to work position after the first pass. The motif repeat for 8 stitches/rows usable on any machine

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

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

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

The latch opening plate use and installation

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

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

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

A previous post on checking ribber alignment