Mixed stitch types – alessandrina.com

More DBJ variations: tubular FI, quilting, backings

Recent FB MK posts shared Toyota Simulknit samples.
The company offered attachments for pile knitting and for Simulknit. The latter produced a FI pattern on one side, with a solid color backing on the reverse.
A Brother imitation, DBJ with a solid color backing, is a method that will knit each color in each design row twice, resulting in expected elongation of the design, not a factor in single-bed FI.
Each two-row sequence must be identical, unlike the double jacquard fabric, where each row in a sequence may be different. This remains true even if the KRC-style separations are programmed to start with preselection from the right.
The Knitmaster SRP 60N ribber changes the cam settings automatically from slip to knit and back to knit, saving some time. The ribber carriage must be taken to the extreme left of the needle bed for the autocam lever to trip the driving cam.
From the manual

The original file was chosen randomly based on the number of side-by-side squares in either color, since the color not chosen for the backing will form floats between stitches knit on the top bed.
End needle selection is on.
The backing color is worked with the ribber set to knit in both directions, the alternate color is knit with the ribber set to slip in both directions for two rows, and setting changes are made manually.
Since each repeat is 8 stitches wide, it is usable in punch card models.
The separation is 32 rows in height, enough to squeeze by in terms of punched areas. The usual recommended height for smooth, continuous rotation of cards in the drum is 36 rows; a second 32-row card could be punched and joined if needed.
The visual summary of the process.
The starting 8X8 PNG, doubled in height to 8X16, color separated, inverting every other row, then rendering the result double height so that each color in each design row will knit twice, 8X32, 4 times the height of the original 8X8, test knit on 40 stitches, but programmed for 48. The work on the machine, illustrating the pairs of floats formed by the light color after it has completed its two passes only on the top bed.

A sinker plate hack for knitting on the top bed only with the ribber in work. More ideas for working in one or more colors to produce knits with pockets in them, listed in historical order from latest to first
Blistered stitches DBJ single color
References for double bed single color fabrics with pockets
Quilting using Ayab software
Revisiting machine knit “quilting” includes Passap info
Quilting on the Brother KM 2, solid color back DBJ
includes a method for producing a single color background with the same color outlining/ joining the planned quilted shapes in the second color; the repeat is not separated, is a design where the original is rendered double height, is not color separated, and additional ribber cam lever settings changes are required. Quilting on the knitting machine 1 single bed
Tubular fair isle is possible, the problem is that the backing fabric is often loose when compared to the slip stitch FI patterning.
The blog post includes Passap info.
The color separation used in the swatch for solid color backing can be altered to produce a tubular fair isle. The preselection row is from right to left. End needle selection is on, and the first and last needles in use are on the ribber to produce the beaded, sealed edging.
Each color will form a single float behind the needles/stitches that are skipped and do not knit.
The carriage settings for each bed and work in progress. The first test was knit using matching tensions on the main bed and ribber, 4/4, with poor gauge balance between the sides of the tube. The difference is due to the slip stitch in the patterning bed, making for a narrow and short knit. A much improved result, with the tension changed to 7 on the knit bed.

Birdseye backing meets a different color separation to result in each color in each row knitting only once: the 8X8 design did not knit properly when separated with that goal in mind, using manual separation, the Gimp script, and finally, the KRC function in the 930.
All needles were selected every few rows, spaced in different numbers for each method, with no indication of software download or machine issues, leading to this exploration using the same color separation as above. The concept should apply when working with more than 2 colors as well.
To avoid extra rows being knit on the ribber, slip/ lili/ birdseye backing is used. A side-by-side comparison of the change in the aspect ratio of the design using the single color DBJ backing on the left, as opposed to the birdseye version on the right, although both were knit at the same carriage tensions.

Seeking blisters using a new design with a change in ground to contrast ratios, beginning with testing whether the design, simply doubled in height, and using tubular settings, can provide an alternative to color separations:
18X1818X36knit repeat, 40X36 with added borders. The carriage settings, making certain the tuck lever is not “accidentally” placed in the up position, both colors form floats. The resulting pattern is very different from the programmed repeat, forming a maze-like design; there are interesting bumps on the purl side, with alternating color single-row stripes.
The dropped stitches are from my having to cut yarns that got tangled around gate pegs just below the waste ribbing. Is more less? The repeat is now color separated, so each color in each design row knits twice, bringing the total of rows to 4X the original, 18X72. Visualized in 2 colors, the 18X72 separation was expanded with the intent of having the contrast knit for 4 rows only on the top bed, and the background for 2 on both beds.
The ribber settings change from A when knitting with the background color, to B when knitting with the contrast on only the top bed. As the ribber set to A and moving from left to right knits the pre-selected needles on the top bed, the floats in those areas will be encased.
The swatch includes 3 errors in switching the ribber slip lever on the right from knit to slip, and are identifiable by the rows with every stitch in the same color.
The result does not immediately evoke the original design. Programming the 18X72 row color separation produced successful blisters with the identifiable design. The light color yarn is a tightly twisted rayon. To explore further the blister dimensions formed by blocks and lines, this repeat is drawn from one referencing Truchet tilings, which explored varied techniques and pattern management, including DBJ pockets in single color knitting with repeats drawn on dotted grounds such as this, 36X36.
The starting repeat, 21×18, doubled in height to 21×36, and color separated so each color in each design row is knit twice,
21X72, 4X the height of the original, test knit on 42 stitches. There are large areas of non-selected needles when only the contrast knits on the top bed, forming long floats, which did not appear to be problematic.

In ArahPaint in knit design 5, some fonts were tested and produced clean BW text for knitting.
Here, several rows in only the ground color are included in the repeat.
44X37 doubled in height, 44X74, color separated, 44X148.In this method, as the ribber is set to knit and the carriages move to the right, they knit every stitch on the ribber bed and any preselected stitches on the top bed; those areas seal some floats in. As the carriages return to the left, floats are formed behind the alternate color. The end needle selection is needed to seal the sides.
As in fair isle knitting, in areas patterning with several non-selected needles on the top bed at the side edges, before any carriage movements, end needles should be moved forward to D or E positions manually.
Conversely, when knitting only on the top bed and the whole row is not selected except for the end needles, push them back to A manually to avoid a float forming from one side to the other; the result is seen at the bottom of the purl view on the right. A birdseye version from Truchet tiling design inspiration 1 .
used to explore wide floats on the top bed as only the contrast color knits, the starting repeat 48X112,

doubled in height to 48X224,

color-separated, 48X448; img2 track on the 930 broke the design into multiple tracks, the first track, 180 rows, was test-knit.
With the ribber knitting the contrast with the levers set to slip from left and knit to right, there were consistent issues with dropped stitches when these areas were reached. As a compromise, the ribber was then set to knit in both directions when knitting the ground color, and issues with dropped stitches were eliminated. Pockets/blisters still formed, and the floats in the contrast were trapped between the background knitting on both beds, with visible horizontal lines bleeding through. Blistered stitches dbj single-colorwork pockets formed over whole rows
Pintucks 1 vs shadow pleats, fair isle pintucks Pintucks 2, ripples in knits using the ribber some published designs, racked variations, more links

Pinterest inspirations vs implementation, tuck and lace combos 2

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

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

Pinterest inspirations vs implementation, tuck and lace combos 1

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

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

Cable crossings meet eyelets and ladders

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

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

More on combining lace patterning with knit weaving

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

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

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

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

More on combining lace patterning with added stitch types

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

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

Revisiting patterns inspired by waffle weaves

Waffle weaves have a structure that is not duplicable on home knitting machines.
Interlock explorations 2; adding needles out of work
introduced efforts using circular slip settings got Milano waffle knitting in asingle color
4 passes are made with every needle knitting on both beds, followed by 4 passes tubular slip stitch. The main bed is programmed, set to slip both ways after the first preselection row.
After 2 rows are knit on both beds, the ribber is then switched to slip in one direction, knit in the other in response to needle selection on the top bed.
Main bed needles out ribber slips, main bed needles in B, ribber knits.
After 4 circular passes, the ribber is again set to knit for 2 rows.
The appearance during knit rows,followed by float formation when only the top bed knits The number of needles in work on the main bed remains fixed.
The resulting grid may be used as a guide for hand techniques off the machine in isolated areas or all over. Repeating the experiment with 2 knit vertical stitch columns on each edge, this time disengaging the ribber and knitting 2 rows only on the top bed rather than knitting circular rows and changing ribber settings.
The floats are brought closer together, and the fabric is far quicker to knit. Needle arrangements may be varied to accommodate thicker yarns or alter the texture by varying both the number of knit rows and circular ones. The new, added variation:
The main bed is programmed for every needle, allowing spacing variations for vertical knit columns to number preferred
The knit carriage is set to knit while also selecting needles,
end needle selection is canceled.
Every needle remains in work on the ribber throughout.
When needles are selected on the top bed the ribber is set to knit in both directions, while when there are no needles selected on the top bed, it is manually set to slip in both directions.
While the ribber does not knit, ladders are formed on the top bed between the needles in work for as many rows as planned until needle selection returns and the ribber is set to knit again.
Automating the function: a 16X16 PNG that can be programmed across the bed using the electronic built in selection has a 6 double bed to 2 single bed rows ratio, the full repeat chart usable on punch card machines,the needle set up used in the swatch:

A review of brioche patterning

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

The term brioche in knitting is used loosely at times in any references to tuck stitches. Designs may be worked in single colors, or with more complicated planning, they may be executed in 2 colors.
Some patterns are fully automated, with the knit carriage set to tuck in both directions, the ribber set to knit in both, others are worked as a tubular tuck, and lastly, some require frequent changes in cam settings in either or both beds.
My explorations for the use of tuck stitch settings in double bed every needle rib fabrics began with attempting to create a solid color shape on a vertically striped ground in Geometric shapes on ribber fabrics with tuck stitches 1.
The arrow marks the spot where both colors used were picked up from the changer. C1 and 2 show indicate cam setting changes used in the last part of the swatch.
Here, a simple shape was programmed, and varied carriage settings on either or both beds were explored Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages. Geometric shapes on ribber fabrics with tuck stitches 3 explores self-drawn repeats in multiple colors. Added samples and files in the subsequent post New double bed swatches based on published sources of inspiration 2
Lace transfers meet fisherman rib in 2 colors on Brother KM 1 Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2 These are advanced, complex fabrics. The repeats for 2 colors can grow exponentially in length.
Returning to designing suitable repeats, beginning in a spreadsheet: grey vertical lines represent stitches on the ribber, which will force apart stitches created on the top bed, creating the more familiar tuck rib surface.
Mac Numbers offers the opportunity to hide both columns and rows. In this instance, with the 10 grey columns hidden, one begins to get the sense of shapes and movements needed on the top bed Working toward a repeat for knitting the shapes in a single color, imagining the location of eyelets resulting from stitch transfers, I used two repeats, adjusting the first repeat to vary the resulting shape slightly A 11X30 repeat mirrored horizontally for use on my 930, tiled twice horizontally before programming and downloading, used as a 23X30 single motif to obtain a matching border on each side, A 9X28 repeat, my second try, programmed as a 20X28 single motif, When knitting using only one color, the machine is set with the main bed tucking on every needle in one direction, followed by knitting on every needle as it returns to the starting side, the ribber does the same but in the opposite direction. It is a circular tuck, also referred to as fisherman’s rib.
A slight shift in patterning may change the outline of the desired shape, introducing or removing stray lines or secondary shapes.
The possible cam setting options: In two-color brioche combined with hand-transferred stitches, the main bed is set to tuck in both directions, white cells tuck, black cells knit.
Brother machines preselect needles for the next row with each pass of the carriage, so on even-numbered design rows, as the carriage moves to the opposite side, all needles will form tuck loops on the main bed. The next row will be preselected, with some needles now back in B rather than D position.
With an appropriate transfer tool, move the stitches on the non-selected needles to the adjacent selected needle to their right after pushing it back to the B position. After each transfer, push all worked needles and their stitches, as well as the now-empty needle, to the E position.
As the carriage returns to the opposite side, an all-knit row will be completed. Several tension adjustments may be needed to ensure loops do not get hung up on gate pegs as stitches move across the bed, while still being loose enough to knit off properly.

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

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

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

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

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

Swatches > seasonal knits 2025

Some repeats are immediately identifiable as not suitable for fair isle knitting due to the length of some of the floats.
Any of the PNGs in the blog can be enlarged to check on any areas with more than 5 black or white pixels side by side, the guideline for the suggested maximum.
The original width and height of design are not clues by default, issues may not be evident until after the motifs are drawn in repeat.
In wearables, a compromise can be reached by taking any of a number of measures, or even by adding lining or iron on facing (woven or stretch), depending on end use.
This 30X30 repeat plays with rotating a half shape around the full first design, forms suitably short floats, while this 18X24 design has several areas that merit attention. This design plays with paired color reversals to create secondary patterns, identifiable here as would-be six sided snowflakes, and is a clear candidate for knitting as DBJ.
Each row of double jacquard consists of two rows of slip stitch patterning, one with ground yarn, the other with contrast.
It is not only newbies that encounter problems with any technique.
There are some days that offer the opportunity for testing patience, persistence, and expletive vocabulary.
The first knitting attempt was with the ribber set to knit every stitch on every row for striper backing, using 2/10 wools. The carriages were hard to push and with some lovely holes including these, even after tension and weight adjustments. Troubleshooting included:
with weather changes especially, think about static, a culprit often named in situations otherwise not explainable
checked needles, they looked fine, had some sticky latches, oiled them
checked alignment, OK
discovered the ribber had dropped slightly on one side, raised that side to match the space between the beds on the other, and on the first next carriage pass there was this.That safety pin was not placed for special effect or aspect ratio, it probably entered through the slots that allow the belt to rotate, but where it came from remains a mystery.
With the yarn selection changed to thinner, similar color 2/20 wools, there were no dropped stitches> holes.
The first test, with striper backing, measured 9.35X10 inches, and with birdseye backing, 7.75 X 6.75 inches

Tuck and garter stitch: from hand knit to machine knit 2

I don’t usually write posts narrating in the first person, but here I am making an exception.
At the end of 2015, I attempted to reproduce a free hand-knit pattern shared and published on the Purl SOHO website and on Ravelry on the machine, and the related test swatch was a whopping 9 stitches wide.
At the time, I used the hold setting in the knit carriage to form alternating loops.
With my bulky now set up again, I wondered about a different approach.
The necessary loops can form with the use the tuck <-> setting.
The carriage needs to be on the side where the yarn is available on every pattern row before following carriage passes.
Using the hold button to bring the carriage to the opposite side after turning the work over would require all needles to be in the E position, making consideration for needle manual preselection for 2 positions necessary.
For this swatch, I chose to take the carriage off the bed and move it to the appropriate side as needed.
The knit carriage can perform tuck or slip functions without the addition of automatic patterning.
Needles hand-selected to the D or E position will knit; any remaining in the B position will tuck.
In this instance, colored cells in the chart represent D or E position needles, and white cells represent needles in B.
The repeat is an odd number of needles in width, 6 rows in height. The work is turned over after selecting and knitting rows 1 and 2, 4 and 5, but not after rows 3 and 6. The only row that knits with the carriage starting from the left is row 6.
Tools that can increase speed: any flat, hard-edged one to push groups of needles forward or back, in this case, my single bed cast-on comb, one to facilitate every other needle selection, and a bulky garter bar. The bulky machine was equipped with a single bed cast on comb. I do not find it pleasingly useful, and resort to the single bed one if needed.
The yarns I initially chose were painfully prone to splitting, helping to expand my use of expletives.
Once I found a more manageable yarn pairing, the actions became rhythmic as the piece grew in length.
My hack for evenly distributed weight and stitch management was to use the standard cast-on comb poked through some waste yarn, with the addition of a small ribber weight placed in the center hole. Both were left on throughout the process. When it was time to use the garter bar to turn the work over, with all the needles pushed out to the E position, it was easy to tug down on the comb and pull the knitting forward on the bed after checking that all the latches were closed and that the grooved side of the garter bar was facing up.
If some of the stitches are not moved properly and the work needs to be pushed back for another attempt, some eyelets of the garter bar may be stuck behind any closed needle latches and cannot come past them. Push the bar further back, make certain all latches are open, and it will then be able to move past them.
With the yarn removed from the carriage, the work can then be turned over.
With all needles in the E position, check that all latches are open, and replace stitches in the needle hooks.
After checking visually that the yarn is transferred properly and present in all needle hooks, the bar is shifted forward, free and away from both. It is possible at that point to use the straight edge to push the needle butts back to move all the needles/ stitches back to the B position, and then to pull down on the bar to remove it.
The carriage is brought to the opposite side, yarn is returned to the feeder, needle selection is made, and knitting continues.
The proof of concept: