ArahPaint and Gimp in knit design 3

Previously published:
ArahPaint and Gimp in knit design 2
ArahPaint meets Gimp in knit design 1

Gimp allows one to work on multiple images with only a single window open, left mouse clicking on any one of the images will bring it into view for editing. In the dark theme, it is hard to see the difference, but a lighter border actually surrounds the active image distinguishing it from the others, outlined here in yellow In Arah, multiple windows may be opened at any one time, and left-clicking on any one of them will bring it to the front for editing.   When working using the same file in more than one window, the degree of magnification needs to match in each.
Spreadsheets and paint programs may be used to achieve color separations for designs intended for specialty fabrics, many worked on the double bed.
Two places to begin exploring them here are for knitting single bed mosaics and double bed jacquard in its form where each color in each design row knits twice.
It is unlikely to happen often in knitting that more than 6 colors are used in any one fabric except perhaps in an elaborate color-changing fair isle.
The palette that appears in Arah when opening a new file is random, as seen here when two new files of the same size are loaded  If one’s preference is to reduce the number of colors, the specific number may be set by choosing from the colors menu, editing the number identified as that for the working palette, changing it to the new value, in this case, 6, and the palette reduction occurs as seen in A. For most knit repeats a black color is handy, any one of the 6 colors or more may be adjusted as described in the previous post, seen in B, where black has been added, replacing the color in position 1. More Gimp information: https://docs.gimp.org/2.10/en/gimp-palette-dialog.html
Some of the related content in brief: the former versions of GIMP had a “Save palette” command. Palettes were stored in a specific folder via the preferences pane. Easy to do and manage. It no longer exists.
To save the palette of an image, indexed or not, you must now import it from the image.
The “Palettes” dialog is dockable: from the Image menu, select Window, Dockable Dialogues, Palettes.
A few dozen more or less randomly chosen palettes are supplied with GIMP.“Import Palette” allows you to create a new palette from the colors in a gradient, image, or palette file.
Right-click in the space to the right of the illustrated palettes to call up the import option, or for palette editing. It is not necessary to index the image, this image was used in RGB mode. A palette name can be assigned, and if previously used, a number will be appended by the program.
The number of colors: the default is 256, you can set the number to any you choose. Gimp will try to create a palette by spacing the number of colors evenly across the range of the gradient or image. Each screengrab in the top row shows the initial selections for gradient or image, and the second row of screengrabs notes other changes made when choices were available and the results. White dots mark selections as seen while using the program.   Using the same image, indexed to 5 colors, the custom palette is rendered in a one-step process. The gradient seen in the first position on the top left was randomly assigned by the program and does not influence the results. The Columns selection number settings only influence the way the palette is displayed and have no effect on the way the palette is used. The lower the number, the larger the display size of each color unit.
Double-clicking on any palette color will magnify the palette view on the theme color background. Left-clicking on any color makes it available for drawing, the selection will have a dotted bounding line and the selected color will be assigned to the foreground position,  Right-clicking on a color results in these options.  The imported palette will be added to the Palettes dialog and is automatically saved in your personal palettes folder when you quit GIMP so that it will be available in future sessions.
In Arah, the color palette will always display the colors of the active layer. The working image contains colors intended for use in my designs.  In addition, please see the note from the developer in the comment at the end of the post.  The palette tools: A: if you press this icon the program will underline the colors actually used in the image, since all colors are used in this case, each color is underlined in either white or black in this instance  D: adds color(s) to the palette  B: removes unused colors in the above palette, it would restore the original colors
C: removes duplicate colors, not applicable in this instance
E: removes the last unused color, will not work if all colors are used.
Changing color positions in the palette: to switch the position of two colors in the palette, click the chosen color in the palette, move the cursor to the color you want to switch the position with, and press the left mouse button while holding the Ctrl key on the keyboard. In this instance, the color was duplicated in the new position.  Knitters designing for dbj are likely to work with a limited range of colors, often 3 or 4 max, in specific palette ranges to ready images for download.
If color separations for 3 or more colors are done in shades of grey in terms of technical details, you need a pattern image that is 8-bit greyscale, with each color in a range of the 8bit values. So for 4 colors, it would be 0-63 color 1; 64-127 color 2; 128-195 color 3; 196-255 color 4.
Binary images have only 2 possible intensity values, normally displayed as black and white with values of either 1 or 255 for white, and often 0 for black.
That convention may have led to the selection of white as color 1 in automatic separations such as the KRC Japanese one, where white is selected first. In a greyscale or color image, a pixel can take on any value between 0 and 255. Designing for fair isle, or when attempting to visualize and illustrate slip and tuck fabrics with frequent color changes, more colors may be required even though the final download will be in black and white. There is a quick way to add random colors assigned by the program and based on the initial palette: The magic wand tool allows you to work on consistently colored areas without having to select and outline each.
To alter a single color using the bucket tool, click on the wand, then on the color single color area you wish to change, it will become outlined by bounding lines.
Click on one of the colors in the expanded palette, and it will automatically appear in the foreground color position, and it may then be used to bucket fill the chosen area. Flatten the image using the merge down tool.
If the foreground color, in this case, white/0, needs to be changed, in order 
to choose all pixels in the foreground color, click on the wand, and use Tools > Select by color or Shift+W. This function works only on 8-bits per pixel images. Click on the color you wish to use to replace the ground, and bucket fill with the newly selected color. Flatten the image using the merge down tool.
Changing multiple color blocks in the same color could be selected by the tool, but filling each of them one at a time was required.  In Gimp a similar tool is the fuzzy select, which also allows for changing the color in a selected area or for selecting and changing all pixels in that color. Selected areas will also be outlined in dashed bounding lines. Bucket fill may then be used to replace color(s). The option is offered to choose either foreground or background for the fill.  Click on the rectangle select tool and then on any spot in the work area or on the image to set the image. The dashed lines will disappear.
In terms of saving the palette in Arah for future use, I saw no specific directions in the manual.
The color palette displayed is always the one used in the active layer. As a workaround: open the image, and the associated palette will be displayed. The repeat begins drawn 24 pixels in width, by 24 in height.
Select clear from the edit menu, or bucket fill area with white
If the size of your intended drawing area is different, choose the option Resize Image from the Image menu. With the chain link intact, the new canvases are created keeping the aspect ratio. Enter a new value for width/height, hit return, or move the cursor to the alternate value, and its number will automatically change to a matching one. Click OK to use the new canvas, or reset if you wish to return to the original 24 by 24 pixel one for a different edit.
With a broken chain link as one of the two values is altered, a preview is available. If both values are to be changed, break the chain link, enter the two values in turn, and a preview appears for each step. Ok is used again prior to saving, or choose reset to return to the previously used setting. Color separations can make specialty fabrics possible to knit which are outside the possibility of doing so simply by changing cam settings. Two instances are mosaics and DBJ where each color in each design row knits twice. Separating each may be done in two ways. The first method, convenient for longer repeats, requires that the result be elongated X 2, whether in the repeat design software or after download to the machine or using the elongation X2 function in the punchcard models. For illustration purposes here I will be working to create files that do not require elongation.
Mosaics and Mazes are constructed in similar ways and are sometimes referred to as floatless fair-isle even though technically speaking usually 2 stitch floats do appear on the purl side in the alternate color used with each color change.
Many such repeats may be knit using both the slip and tuck settings, the latter is the more interesting of the two on the purl side.
When learning structures it may be worth beginning with a published design.
Kathleen Kinder decades ago published two books, one with 24 stitch repeats, the other with 40 stitch repeats, with the separations included as well This, by Barbra Walker and intended for hand knitting, offers a huge library of designs for inspiration and conversion Following specific rules it is also possible to develop DIY repeats from scratch. That said, the repeat used in this blog post happens to have a known value of 12 pixels by 12Magnification in Gimp is achieved by selecting or typing in new percentages at the bottom of the window.
Entering and exiting the full screen may be controlled via the view menu To exit, it right-click at the very top of the window to expose menu options and select deselect full screen.  In Arah, if you press any number from 0-9 on the keyboard, you will change the zoom directly to that level (1 means 100%, 6 means 600%, 0 means 1000%). The plus + and minus keys- as well as the magnifying lens icons, will zoom in and out To use the entire space available in the window, choose Fit to Window from the view menu or select Ctrl+zero.
If working in more than one window this option makes repeats the most visible, scaling back can be done by counting the number of selections, helping to match the new picture magnification to the first.
Press the escape key on the keyboard to return to the original 100% view.
To work using the full screen, select the option from the view menu. To exit, right-click at the very top of the window to expose menu options, and select exit full screen Separating the design: ultimately the planned final graphic repeat would be a BW png used for electronic download, programmed as a fair isle one, but knit using tuck or slip settings, it may be drawn initially using only in those 2 colors. Black may need to be added to the palette selections.
One may always draw on a large canvas and then crop as needed, but as a starting point, it may be easier to simply match canvas size to the published repeat being used.
It is handy to have an extra column to help track image processing during the separation, the repeat above is identified as being composed of 12X12 pixels, one could begin with a 13X12 canvas.
A second way to provide the 13th column is to work using 2 windows, matching magnification,  and the second with a different, larger pixel measurement than the first. Copy the contents of the original work area and paste them into the larger canvas in the other window. Crop to new size if necessary.
To illustrate the two window process, here the original BW repeat has already been drawn and elongated X2
A. Use the rectangle-select tool to capture the whole image in the first window, bounding lines in the colors of the palette in use will outline the selected area
B. Use the edit menu or command C to copy the selection, edit paste, or command V in the new window to place it.
When pasting on a different size ground, the bounding lines will also appear in the new image, the contents remain moveable,
C. Place the selection where desired on the new canvas,  when satisfied use the X, merge down tool to flatten it.
The quicker method begins with a canvas one pixel wider than the repeat, 13X12.
Adjust magnification, for comfortable viewing in the editing process.
View: show grid 2
Colors: set the number of colors to 6, and adjust the #1 color to black, white is in position 0 in the palette by default
Activate the pencil tool, and draw a vertical line on the far right in an easy-to-see color choice other than white or black
Using black, fill in pixels for your first draft of the pattern repeat
Image multiply YX2, resulting in 13X24
Using the pencil tool fill in the first 2 design rows followed by every other pair with white. Magnify image A to a comfortable work viewing size.
B and C: using the rectangle select tool, with the left mouse button, place the pointer on the purple pixel, drag the mouse across each pair of marked rows, release the mouse, and use Command I to color invert, and merge down to eliminate the bounding box.
The purple pixels will change color as well, making it easier to track what rows have been altered already.
D: crop the image, removing the row with colored cells for the final repeat
If for some reason you are processing an image that is color reversed, the steps are identical, but tuck or slip stitch fabrics, black pixels or punched holes knit, white pixels or unpunched squares tuck or slip. For this reason, the cropped final result would need to be color inverted prior to knitting or punching holes. This separation for 2-color DBJ results in its potential use in many fabrics other than DBJ and may be performed by some programs used to download multiple color patterns to the machines prior to knitting the fabric. One such fabric is drop-stitch lace.
Punchcard machine users would need to separate the colors manually, or if Dak is available, the separation may be done using the program and a corresponding template may be printed as a guide to punching holes.
This method is the automatic default one for any 2 color DBJ knit on the Passap.
Each color in each design row will be knit with each pair of consecutive color passes. Completing one design row containing 3 colors will require 6 carriage passes, 4 colors 8, and so on.
The built-in color separation in electronic machines wherein each of only 2 colors in each design row knits only once does not apply when using more than two colors,  though it is possible using Dak or by downloading a special card reader technique to program separately from the design when using the Passap E6000 in addition to the pattern repeat.
This separation of a 2 color pattern results in an elongated version of the design regardless of any dbj backing used.
Begin with a 2 color image,  an extra column of pixels is added here as well:
A: multiply YX4 to 13X48
B: mark alternating pairs of rows in the extra column with a contrasting color
C: following the color cues on the far right column, on rows with no added color use the pencil tool to replace black pixels with white, leaving only the orange cells
D: on rows marked with the third color replace the orange pixels with white, leaving only the black pixels
E: crop the image eliminating the extra column
adjust the remaining orange color to black
index the result to B/W, and the image is ready to save and use The difference between single repeats for each type of fabric, no further elongation is required. A: mosaic, B: DBJUsing layers in Gimp opens up the possibility of several color separations for fabrics using only 2 colors.

Both img2track and Ayab are capable of opening 2 color images.
In img2track this is what would appear, after the download the KRC function needs to be activated in the knitting machine.  Ayab: the repeat should be programmed in width equal to the number of needles planned to be in use. The color change happens as the file is loaded into the program, the ribber classic option is used rendering results that would match the KRC knitting machine selection after an img2track download. Here the repeat is also tiled in height.  My personal preference is to work with images designed in black and white. With the 910 presently stored, my blog swatches are knit on a 930 using img2track.

A note for Mac users like myself using desktops with the M1 chip and Mac OS Monterey. Img2 track requires an FTDI driver for its download cable, on June 6 finally released a beta version of a more recent driver, I do not plan to install it at this moment, function in the upcoming Ventura OS would be unknown.   Ayab does not launch automatically. These are the steps necessary to run the program, following suggestions by Adrienne Hunter via the Ayab FB group:
open a Terminal window (Applications/Utilities/Terminal) and type these two lines:
cd /Applications/AYAB.app
./Contents/MacOS/AYAB
The app may also be found and then opened via using Spotlight search if you prefer  Once the program is quit unless you choose to keep the terminal icon
in your dock, it will disappear and the above process will need to be repeated. Once the text has been entered, and Ayab has been launched, a message similar to this will appear, showing your last login. To launch Ayab again, simply use the up arrow key and hit return to repeat the command  Creating an AYAB desktop shortcut for Mac that will work without opening the terminal each time
Using Finder, open Applications and find AYAB. Right-click on AYAB and select “Show Package Contents”.

Locate “AYAB” under MacOS. While holding down the command and option buttons, click and drag that icon to the desktop. This will create an ayab shortcut that does the terminal stuff for you you can change the icon by copying and pasting the icon image in “get info” but it works fine without. These icons will appear in your dock after double clicking on the icon   The ayab window opens with only the load image option highlighted Click on the load image file to open an image, and the remaining features of the program will now be available If you quit ayab, the terminal window remains active Quitting terminal called up this window for me only the first time I did so.

Visualizing maze or mosaic potential from tuck or slip stitch repeats

I have written extensively on mosaics and mazes, color separations required for drawing their motifs, and visualizing the resulting patterns while planning slip stitch or tuck repeats. A recent exchange with a knitting friend, Tanya Cunningham, brought up her idea of using Gimp to investigate the potential of self-drawn tuck patterns becoming pleasing mazes or mosaic designs in color. Tanya has worked extensively with img2track, can be found in the FB group and Ravelry. It had not occurred to me to reverse engineer designs for this purpose. Tanya uses Gimp in a different way than I do, I am hoping she will share her process for this purpose when documented.
I have grown comfortable and fast with the combined use of Numbers and Gimp to achieve what I desire in terms of color separations. At the moment, on the assumption that estimating the overall shape is the goal, a black and white processed rendering may be a sufficient representation of the result.

Punchcard books are a great source of “safe” tuck designs. The best are those that have columns one stitch wide by 2 rows high. They are also more interesting if there are areas of solid black. Patterns from publications intended for use on electronics are often color reversed to start with in order to minimize drawing pixels or to make the design easier to read and will have lots of blank areas. Punchcard users would need to punch the ground as opposed to the design, electronic users can achieve the goal by the flick of a switch or a quick software command. For my first series of steps and methods, I am using the repeat that appeared as a knit using different settings in the post on mazes and mosaics from universal patterns.
Presented on the left, the repeat would be suitable only for thread lace or FI with very long floats. Color reverse allows one to use it for tuck and slip stitch, whether in one color or with color changes every 2 rows. The color separation to approximate the result with color changes begins with the same process as that used for designing mosaics. Once the image is rendered as a correct B/W png with no apparent errors, it is copied and pasted on a larger canvas, the mode converted back to RGB. The red cells make it easier to keep track of rows that need to be color inverted. Using the shift key and rectangle tool, multiple pairs of rows can be selected sequentially and color inverted. Beginning the selection with the very edge of the black squares on the left does not interfere with changing the color of the extra columns on the left side of the design. If pixels are added accidentally drawn in any of the 4 extra columns on the left, they can easily be removed when the completed conversion is cropped to selection for the final repeat. The completed color separation can then be bucket filled to match imagined colorsTiling the repeats to imagine the final knit presents the problem that results from working on a square grid and comparing the results to a knit, which usually produces a rectangular one. The representation for the linear patterns produced on the knit side of the piece cannot factor in some of the added distortions created by the stitch type used. I process my images in Pages or Numbers, depending on which document contains my most recent work and happens to be open. It is also possible to perform the final rescale in Gimp. Most knits approach a 4:3 ratio, with gauge variants in highly textured fabrics.  To preserve a clean design, tile and save the original, screengrab the resulting image, load it in Gimp, and rescale.   Repeat the motif for the same number in both height and width when tiling it. The colored versions before and after scaling, compared with the slip stitch swatch. It is possible to produce a rectangular grid to start with on which to draw in Gimp, but the larger canvas size occupies a significantly larger space on the screen, complicating the process. For small designs, however, that may be an option to give one the sense of aspect ratio for the design in the final knit ie in representational FI. To resize the grid in uneven proportions, the chain-link below the spacing values needs to be broken This repeat is designed for an electronic, requires color-reverse. Since it is 24 stitches wide and it may also be modified and used on a card. In this instance, the original marks for rows and stitches are single height. The image is processed, matching the original, rendered double-height, color reversed, and then alternate pairs of rows were color inverted to render the repeat used in the test swatch Once again, the possible change in scale is estimated. The repeat though only 24 stitches wide, is 92 rows high. On the left the repeat is shown as it appears on a square grid, to its right is the scaled 4:3 version, in a pixel count approximating the size of the swatch. It takes a bit of squinting to see the pattern more recognizable in the longer repeat in the larger tile The swatch was pressed, becoming wider than when first off the machine. It was knit using the slip stitch setting, could also be executed in tuck stitch, which would both widen and shorten the fabric and make the purl side more interesting.  The software can provide a preview of the result far more quickly than knitting samples, but again, the previews are only approximations of the scale, and cannot show distortions to lines as one adds more texture.
Repeating the process starting with a diamond shape that as given is only suitable for thread lace or FI with problematic floats,  and with a check tuck pattern that may change in aspect ratio considerably when knitted The proof of concept swatch, knit in tuck stitch, begins to show the distortion by the stitch formations, textures vs plain knit, easily seen at the top edge. The bind-off is around 2 gate pegs in order to allow enough stretch.  Anyone familiar with either or both programs may find this a very quick way to visualize the scaling and moving of motifs within DIY designs and their possible outcomes prior to test knitting

Mosaics and mazes charting meet Numbers, GIMP 3

If working in Numbers, the solution to doubling the height of the final repeat for mazes or mosaics may be achieved by simply doubling the height of each cell prior to screen grabbing the table and processing the resulting image in Gimp. Here the cells for a single repeat in the table on the left are copied, pasted, and altered from 20X20 pixels to 20X40Working in 1800 magnification, using rectangle select, every other pair of rows is chosen and then color inverted. B: the process continues for the height of the repeat. Until each new pair of rows is selected fully, the last color inverted pair is bordered in a dotted outline C, useful in tracking the last worked location. As the subsequent pair of rows is selected fully, the dotted border will disappear. The processed repeat  Its tiled visual check  Proof of concept: the bottom half is knit using the slip stitch setting, the top half in the tuck setting. The added texture on the tuck stitch purl side makes the fabric a more interesting, reversible one, and wider than its companion.  For a different way of working with two-color initial images using only Gimp, see tips in Gimp update for Mac2.The process used on the beginning repeat, redrawn in 2 colors and then, in turn, elongated X2 or drawn double long to start with, tiled to check alignment. There are 2 options for altering colors in 2-row segments to achieve the separation, the first is color invert, the second is value invert, found in the colors menu. Both require color filling in of cells so as to obtain the final BW image, the value invert option, in this case, would require only filling in the green to white, but in managing larger images I believe having the additional colors make the process easier to track accurately. The color invert option will substitute a third color and white on every other pair of rows. Flood fill the original color 2 on rows containing black pixels with white, then fill color 3 pixels with black on rows containing white pixels: The mazes that are often seen in game-playing, puzzles, historical sources ie in Chinese design references, may not work out for knitting with this method, the result can be quite muddied.  I recently found a new to me online maze generator http://www.ludiculus.com/maker/mazes.html.  Changing the pixel width by default also doubles the image in height, making smaller designs for knitting problematic  This was a quickly drawn maze using it, shown with its cropped repeat on the right, then tiled. Numbers processing to ready the repeat for final gimp editing: The repeat when tiled predicts muddied results which are noticeable in the knit swatch. Because of the side-by-side areas with multiple white cells, the slip setting is used, not tuck. The single slipped lengthened stitches do not produce an easily recognized secondary design on the knit side Getting back to clearer pattern results: when using electronics, it is possible to create far wider and taller repeats for download. The technique to achieve them uses the same process. A new working repeat: its tiled appearance  My starting table in numbers with hidden rows, beginning to isolate a smaller repeat the isolated repeat, double-length the color separation in progress
When knit, that white cell pair of rows break up the overall shapes and shifts the pattern in the top and bottom half When I tiled my next draft, I decided I preferred a cleaner join at the center The final adjusted repeat knit using the tuck stitch setting in both directions, KCI, first row left to right, leading with the dark color and here with the lighter color In progress, on the km  the relaxed, 3D-ish view on the reverse why projects can take longer than planned The finished, relaxed scarf with pressed edges only, retaining the conical striped formsThe repeat knit double length, changing colors every 2 rows, becomes something quite different, with a sharp curl to the purl side

Mosaic and maze inspiration from additional sources

Reviewing properties of both: maze patterns have long vertical and horizontal lines broken by regular gaps and the pattern lines change course from the vertical to horizontal, and vice versa. Maze cards can be identified by completely punched row segments, some alternating with every other square marked for two rows, usually geometrically shaped. Areas of stocking stitch produce horizontal colored stripes, and alternating pattern stitches that slip or tuck cause the vertical stripes, which are sometimes pulled nearly diagonal by the influence of tuck or slip. The fabric will be unbalanced because the number of needles slipping or tucking will not be the same on every row. Odd rows usually form 2 color horizontal stripes, even rows vertical stripes, with color changes occurring every 2 rows.
Mosaics have a brick arrangement (tessellae), with clear perimeters and cores, and stepped diagonals (frets) that are partially formed bricks, their positive and negative spaces are created by the use of contrasting colors. The stripe sequence is not as obvious. The punchcard does not resemble the original design.
In single bed work, the reverse of the fabric will show the original design in the texture of its slip or tuck stitches. There usually will be no floats longer than one or two stitches.
The knit side may look like a fair isle but the back lacks any long floats, hence the name “float-less fair isle”
The row gauge is compressed. Tuck fabrics are short and wide, slip ones tend to be short and thin. Some patterns elongate in washing. The tension used is usually one number higher or more than that used for stocking stitch for slip patterns to reduce their narrowing. Tuck knitting may need adjustments to lower tensions. Smooth yarns in contrasting colors are the easiest to establish an easily recognized test pattern, the choices that follow may then be far more personal.

After a while repeat units begin to become familiar. Pondering possibilities: Here the design knit as a fair-isle pattern would produce long floats, going through the steps of converting it for “floatless fair isle” proves of no benefit.

I previously wrote about the use of weaving
drafts as inspiration for other textile techniques, ie. knitting.
Endless published drafts may be found online or in books that might be interpreted for use with mosaic/maze single bed knitting. Having electronic machines available lifts restrictions in pattern width, while repeats too large for narrow items such as scarves may become useful for shawls or blankets. One such repeat,  with .pngs shown for both single and double-height:

This repeat is 36X36 before being lenthened X2 

A different sort of challenge was posed by this 18X18 image with a row shift in areas with a large number of both filled-in or blank squares. As one moves up its magnified version in Gimp it becomes apparent that a row will have a very long float in one of the two colors. One option is to skip that row, resulting in the green gridded repeats for the converted motif both shown both for single and double length. The result in the knitting test swatch produces an unplanned color shift which could be declared to be a design feature, or one can continue with editing the inspiration source. Repeating the separation process with a new graph produces a workable cousin to the original Generally when creating these patterns on Brother machines, patterning selection varies for each pairs of rows. I got distracted while making the above swatch by a phone call, got to the point where there is a very obvious solid black all knit row in the repeat, but “forgot” its presence. I assumed I was having a selection or a carriage issue and scrapped the knitting off. Note to self: “remember to always check the programmed design before you do that again in the future”.

 

 

Mosaics, mazes, and DBJ charting meet Numbers, GIMP 2

I shared some working methods to achieve these color separations in 2019/06/29/mosaics-and-maze…numbers-and-gimp/. Mosaics and Mazes came on my radar once more recently, Numbers and Gimp have both been updated, and a few more ideas have occurred to me for managing the necessary color separations. The process as described here assumes that there already is some understanding of Gimp’s and a spreadsheet’s basic functions. These are 2 more samples from Barbara Walker’s book on mosaics, offering the repeats in both a 16 stitch wide and a 24 stitch versions. It is always a good idea after isolating the repeat to tile it in order to get a sense of how multiples line upI was lazy about doing that with the first version of the colored repeat in Numbers and got the result in this swatch  due to a missing black cellThe second try
Beginning with the long method to create the design repeat in the color separation suitable for elongated dbj: the built-in color separation in most Japanese machines for DBJ (179 and color reverse in Passap) will knit each color in each design row only once, as happens on the single bed in knitting fair isle, which in turn is far quicker to knit in that setting than by using slip stitch with color changes every 2 rows. The first preselection row is from the left to the right, the first color knits once before colors are changed every 2 rows.
The dbj color separation that knits in each color for each design row twice begins with preselection from the right and continues with color-changing every 2 rows. The produced image will be twice as long as the original design, not desirable for keeping the aspect ratio as close to the original as possible, but a necessity in creating some alternative types of fabrics.
To start, create a table, making certain that cells are square, equal in size in height, and width. I prefer 20 X20 or more when working with small repeats. The zoom factor can be adjusted, increased for more visibility, and reduced prior to screen grabs that are planned to be further processed in Gimp. At less than 75% while creating charts, adding numbers or text, and sometimes changing the qualities of individual cells is harder to achieve. Large-size images may be scrolled through during the formatting process The working design repeat is 16X16. Create a new table that is 16 cells wide, twice its height, 32.  While holding down the command key, select all the odd-numbered rows planned for the final chart repeat, any errors can be corrected by clicking again on the same spot, still holding the key down. The process may be done in steps, releasing the key in between selecting groups  Choose the hide rows option, hiding 16 rows, Fill in cells the chosen 2 colors Add a column to the table. It will be colored, select the column and choose the no color fill option for it, then resize far wider by clicking and dragging the symbol 
at the upper table right to allow for copying and pasting the full repeat more than once.
Select the chosen repeat in 2 colors, copy and paste it to its right. The rows are re-numbered in the new “chart” thus providing a new set of even/odd-numbered rows. On the new odd-numbered rows, select by holding the command key, choose black squares on each now odd-numbered row, and used no color cell fill option to render them white. Release the key at any point to work on gradually selected groups of cells.  If there is an error, while still holding the command key click on the individual cell or cell group again to erase the action, continue the process. Again, holding the command key selectively, on even-numbered rows add colored cells immediately above any empty cells in the row below.  It could be done all in black, but for me, that becomes difficult to keep accurate when separating large repeats. With some familiarity with spreadsheet creation, this can be fairly quick work. Copy and paste the table content once more. In the new table holding down the command key, on even-numbered rows change colored squares to black resulting in the repeat on the far right. The latter in turn will need to be doubled in height once more prior to knitting the final fabric, whether in the software or by the machine in the downloaded design To produce the .bmp file: copy and paste only the BW portion of the above table once more. Using the cell format option, remove all interior borders,  and if you prefer an outside guide, add an exterior border try zoom at 75% zoom, screengrab the table content, with an added blank border surrounding it, import the result into Gimp. Choose crop to content, that will eliminate the extra white space around the image The final image needs to be double-height, so using the scale option choose image scale to 16 by 64 using the broken chain link prior to entering your numbers. These were my steps in scaling, I always check one more time for image size prior to saving. That is reflected in the last pair of numbers, with the now intact chain link symbol

When I first used Gimp I devised and explained this method for mosaic color separations in prior posts.  The expectation in working with such repeats is that on any rows there will be no more than 2 white squares marked side by side. On odd-numbered rows in the separation, the contrasting color squares slip, while on even-numbered rows the black squares slip. On odd-numbered rows, the main color (black squares) knits, on even-numbered rows the contrast color knits.
I think of row one/ odd rows as needing to knit black squares, row 2, and even rows having to knit white squares rather than marking in the traditional manner for slipped stitches on each row. I now have found a far quicker alternative to color separate for mosaic knitting using only GimpWorking on the black and white indexed repeat, use a magnification of at least 1800X. Using the rectangle select tool choose every other row beginning with the second one in the chart. That row will be highlighted by a white dotted line. Choosing will swap black and white cells in that row. Continue the process on every other row. It is not necessary to select the tool each time, as you advance and select the next row, the one just left remains briefly outlined in white dashes, making it easier to advance correctly in the design.
Import the black and white table, process as described, scaling for my final image to 16X32: This repeat posed by a quandary. The file may be used as-is and doubled in length after download. For doubling the height in Numbers, prior to importing the final screengrab into gimp, please see post:  2021/01/27/mosaics-and-mazes-charting-meet-numbers-gimp-3/
Because of my personal preference for not using elongation when knitting pieces in these techniques, I tested doubling height in Gimp with no success at all. However, I was successful in doing so using 2 paint programs, both available for free download for Mac. The first has an amazing range of features, including the illustrated resizing options https://www.arahne.si/products/arahpaint/

and https://paintbrush.sourceforge.io/downloads/, which allows for scaling by percentages or pixels Comparing the results for the elongated repeat, errors in the first are obvious, there should be no white squares anywhere repeating for more than 2 rows Proof of concept A review of a design from 2012/10/15/mosaics-and-mazes-from-design-to-pattern/, separated this new way the repeat charted in Numbers tiled for repeat alignment check, revealed errors that will result in missing colored squares in the final fabric, which may not be noticed until after eyeballs have had a rest. The amended repeat was color separated working in indexed black and white and shown compared with the punchcard  Here the final .bmp  repeat is also compared with the color image in the previous post. It will need to be doubled in length for use with the color changer, the first preselection row is from right to left. End needle selection will ensure that each color knits the first and last needle on each side of the piece. Another very quickly separated repeat copied from 2015/10/03/working-with-generated-mazes-charting-1/

adapted for maze knitting, eliminating long floats, to be lengthened to double-height drawn double-height via a paint program Because there are no more than 2 white squares on top of each other, and no two side by side, I tested the pattern in tuck stitch, which produced some added texture. I had a major aargh moment with yarn where dropped stitches are seen at the top of the swatch Using the maze generator by Laura Kogler, the larger BMP newly created with the program was imported into Gimp, explored in two renditions, eliminating double lines in the one on the right The proof of concept swatch for the version on the right, knit in tuck stitch the double-length BMP ready for knitting,  14X68

Designing your own motifs in expanded graphs: start with a template for either of the 2 grids shown below,  and fill cells in or remove them. Remember these charts, unless knitted as machine or software separated dbj, will require a careful color separation.  Beginning ideas for motifs, borders, and alphabets

A collection of previous posts on this topic in reverse chronological order
2019/06/29/mosaics-and-maze…numbers-and-gimp/
2015/10/21/working-with-gen…-gimp-charting-2/
2015/10/03/working-with-gen…mazes-charting-1/
2012/10/15/mosaics-and-maze…design-to-pattern/
2013/05/06/mosaics-and-mazes-drawing-motifs/
2012/10/15/mosaics-and-maze…design-to-pattern/
2012/09/22/mosaic-and-maze-…-on-the-machines/

Mosaics and mazes charting meet Numbers, GIMP, and DBJ

A category search for machine knitting/mosaics and mazes design will lead to my blog posts on the topic. Among later posts, one method for color separations for this fabric using Gimp alone may be found in 2021/07/18/gimp-update-for-mac-2/.
Previous posts on working with Mc Numbers include: knit charting using Numbers 2  which covers basics, keyboard shortcuts, and more,
Numbers to GIMP for creating images for electronic download, charting knits color separations 2, charting knits, color separations 1, lace mesh motif charting, charting knit repeats using numbers 1, visualizing knit cables, knit graph paper 

Rules for and appearance of designsMosaics and mazes: machine knits_ from design to pattern

To knit these fabrics use one light color and one dark for major contrast is recommended. Matching the dark yarn to dark squares and reversing their positions may produce interesting optical variations. The resulting knit has reduced floats and is not as bulky as traditional Fair Isle. Many patterns published in punchcard machine pattern books will produce such patterns when knitting on a single bed, changing color every 2 rows. White squares need to be 2 rows high, no more than one square wide. A page from one such reference: What appears as a maze designs in the swatch photos below would actually be unsuitable for use in the mosaic separation discussed in this post. The cards are designed for tuck (or slip) with color changes every 2 rows. The approach for planning and charting out such fabrics would be a very different one

There are a few rules in designing your own: in mosaics, the odd grid rows should contain single or dark-colored squares plus any cells used to create horizontal lines. The even grid rows usually have single or adjacent light squares but only single dark squares. As with any other fabric access to electronics allows for use of small repeats that can be color reversed or lengthened X2, whereas punchcard knitters need to meet the usual constraints in motif size in width and height. Tile features in software can often give clues to errors such as skipped cells or edges at top and sides of repeat that do not line up, avoiding having to actually test the repeat in knitting to evaluate the same.

Pre-drawn motifs that require color separation are available in a variety of sources. Kathleen Kinder published 2 books with repeats one for 24, the other for 20 and 40 stitch punchcards, including isolated electronic repeats as well.

The original “swatch” inspiration for this post and its repeat were pictured in Mosaic Knitting page 110the numbering system reflects every other row worked alternating sides of the work it is shown here with a superimposed table grid with its cells outlined in a thick border and positioned in front of a scaled screen grab of the original motif (arrange/ aspect ratio turned off)use command key to select a series of cells to be filled in with color, I chose to use black the cell borders can be edited as wished. Here borders were removed by selecting none, then, in turn, the outer border was highlighted in an easy to identify a thicker red line

Below are more variations on borders and numbering for the start of the machine knitting repeat. Adding digits to the Numbers original repeat serves as a guide to appropriate size scaling in GIMP. One way to obtain the repeat size is to type digits in at least 2 cells at the desired location in any row or column. Select both cells, click on the yellow dot, and drag it to the last cell in the series here I went into autopilot: the repeat is isolated. The lengthen X 2 requirement can be achieved later in GIMP or as here via the table/ arrange/ size option in Numbers (wrong step for mosaic/ mazes)
I change the outer border to one point dotted to have a guide for a screengrab The captured image may then be imported into GIMP, image mode is changed to color indexed, B/W bitmap, and it is scaled to the appropriate size. The view grid, snap to grid options are in use.
I worked in 1800 magnification, created a new canvas 2 pixels wider than the original on the left, copied and pasted that image onto the new canvas. In the center illustration, RGB mode is once again in use. The added green pixels serve as guides for using rectangle select to capture each of the rows containing them in turn and then using invert value from the colors menu to reverse background and foreground within each of those rows.  The completed color separation is shown on the far right, with those 2 extra rows on its left side the last image needs to be once again converted to BW mode. The 2 extra rows of pixels on left are cropped off, the image is scaled to twice as long for use with the color changer, and the original 12X14 repeat is now 12X56
the actual BMPthis is the charted and tiled original repeat. There are classic differences from what is typically thought of as “floatless fair isle” in it. The very last row ie is in one color only.  When those 2 passes are made with the “no knit” color with the change knob set to KC I, the first and last needle will be selected. Push them back to B position prior to knitting the next row to avoid side to side floats.  Because of the maze component floats of as many as 7 stitches are created on the purl side in one of the 2 colors. A quick proof of concept swatch: this is a slip stitch fabric, note the difference in width between the patterned area vs the plain knit. If one has a ribber and the appeal lies simply in the lines created by both mazes and mosaics, those features can be retained with DBJ, and the fabric will lie flat. There will be limitations as to the thickness of the yarn used. a “pretend” longer repeat
The question has come up in forums as to whether the DBJ separation can be used for mosaics and mazes. The “Japanese” one, which prevents elongation by knitting each color for each row only once does not since these shapes rely on knitting the same needle selection twice in each color. The default separation in the Passap or the designer self-drawn one that will knit each identical spot in the motif separation twice. The design is elongated. Susanna wrote a technique for use on the E6000 for having the console perform the color conversion for true mosaic knitting. The repeat shown earlier in this post separated for DBJis compared here with the earlier wrong separation for “mosaic knitting” and found to appear identical. The process was a quicker way than that of dealing with different colors for ground and design
different pairs of colors, same results Back to the drawing board: row height is as in the original repeat being extra careful, not necessary, the process can be inverted once more to check the repeat color separation the actual knitting repeat, double-length before downloading to machine the corresponding proof of concept swatch,  with shorter floats than when the DBJ separation is used single bed tiling of the original repeat and its color reversed image illustrate the optical difference between switching dark and light color starts This repeat is from Kathleen Kinder’s (24-stitch) Floatless Fair-Isle book, p.86the repeat of the design separation on the right is intended for use in electronics with color reverse and double length chart separated using GIMP for mosaic knitting matches her repeat Recently on Facebook mazes turned up as a topic in machine knitting once more. Most maze generators online that I have found are designed for printing out game solving images ie here is one from http://hereandabove.com/maze/mazeorig.form.htmlfor knitting purposes unikatissima and Laura Kogler offer alternatives. Years have gone by since I first wrote on mazes and mosaics. The repeat worked with below was used in my post. 

Here I am revisiting the same image. To begin with, a repeat is isolated and processed in numbers (top row), and then in turn in Gimp. Always tile repeat to check for any errors and to see if the final image represents what was planned.
The repeat (8X16) is then doubled in length for knitting after that single all-white row was edited out (middle images). The repeat is now 8 rows wide by 32 rows in height
One of the yarns is chenille, the other a wool. The chenille is slightly thicker and fuzzy, so some of the yellow rows are almost hidden but the pattern is definitely there. Here the design is knit using both slip (bottom) and tuck (top) settings. Again, there is a noticeable difference in width produced by each stitch type. Observations: make certain that after the image is isolated in Numbers cell size is converted to square/ equal measurements in width and height before importing and scaling its screen grab in GIMP if not already so. It will likely load in RGB mode, convert to Indexed before scaling. Added colored squares are only possible if you return to RGB mode. After rows with colored squares are cut, return the image to indexed before saving as BMP for knitting. If any pairs of rows do not have 2 consecutive rows of cells in either color check your pattern. In DBJ the final repeat should be 4 times in numbers of rows in height to the original one, and thus divisible by four.  The separation first doubles height for each row for 2 colors. Then height is doubled once more to allow for color changes every 2 rows. In Mosaics and Mazes, the color reversal happens on every other row in the original design. When that is completed, the height will be doubled for actual knitting to allow for color changes every 2 rows, with the final row count double that of the original motif. Rules for tuck knitting apply here as in any other technique. If white squares in the final chart have black ones on either side of them, the appearance is that tuck would be possible. Examining needle preselection is an easy way to assess that possibility.  Reversing the colors used in actual knitting may yield interesting changes in the appearance of the fabric. 

Julie Haveland Beer shared a file on how to Convert Mosaic Knitting Chart to KM Skip Stitch Diagram (shared with her permission), as mentioned in my post on numbers-to-gimp-to-create-images-for-electronic-download/

Knitting in pattern with 2 carriages vs color changer, Brother punchcard KMs 2

After my recent attempt to resurrect my single bed color changer and frustration with my 910 behaving “flaky” when reading mylar sheets drawn using template marking pencils (perhaps, because over time of some of the marks flaking off the surface of the mylar, with changes their density as a result), I went back to the idea of using my punchcard machine. I pulled out an old friend, illustrated in my post 2012/10/15/mosaics-and-mazes-from-design-to-pattern/ , had forgotten about my other post 2016/08/25/knitting-in-pattern-with-2-carriages-brother-punchcard-kms/ and actually came up with a second alternative for starting to knit with 2 carriages. Here is a bit more description: I began with a card punched with repeats that are single rows in height, and would normally have to be elongated for use with a color changer. Since 2 carriages are used, the starting side does not necessarily matter. With COR, color 1, carriage set to KC, card set on row 1 but not locked, but rather, set to advance normally. The first carriage then is moved to the opposite side of the bed (in this case the left). The second carriage is now placed on the extension rail on the right, cam settings set for the choice stitch to be worked (in this first case tuck or slip). It is threaded with the second color, is used to knit 2 rows of col 2, returns to right. The carriage on the left now comes off the rail on that side and onto the needle bed, with cam buttons set for appropriate stitch type, it travels to the right,  and then back to its starting point. Yarn weight alters the appearance of any fabric considerably. As always, slip is short and thin, tuck short and wide.

The same method may be used with any punchcard requiring color changes every X even number of rows. FI can be knit with 2 separate sets of colors in each carriage, or with one carriage set to select but with no cam buttons engaged for solid color stripes between motif repeats (it will plain knit, with color in A feeder, the card keeps advancing). Cam settings may be combined for different or opposing textures or stitch types without any manual changes to cam buttons. Of course, also helps if your punchcard is punched correctly to start with ;-). Problems in the slip stitch red and white segment were due to tension adjustments being needed for stitches to knit off properly. 

Lastly, there has never been a single bed 2 color changer for the 260 bulky. Extension rails for the bulky machine were manufactured at one point. If a second carriage for the bulky is available as well as the rails, working this way opens up a range of complex fabrics for execution more easily.

And then, buyer beware! I am still experimenting with a patterned ruffle. So I tried the card first with 2 carriages, but the design was different than one of my aged swatches using the same card.

I went back to the color changer, assuming this yarn pair might work in it, and it did, but here is the resulting fabric, so it would appear the above is technically twice as long. Frankly, when the color changer works, when only one carriage cam setting is used or very few changes are needed, and if you don’t do things like pushing the wrong button, have your yarns happily mating or causing loops in all your brushes as they travel from the yarn changer side, it may even be quicker than using 2 carriages. What is possible may not produce what you originally intended, but sometimes the surprise can be a very pleasant one. If not, then it’s back to the drawing board to accommodate the techniques and yarns involved. Pictured below is part of the working repeat, whited out areas are not punched for these swatches, they are covered with cellophane. Denise Musk’s book on the technique of slipstitch provided the source/ inspiration for the experiments. For the second swatch, the card was flipped over vertically. 

Areas of the knit placement on THE needle bed may be changed to suit. I like working within the 24 stitch marking on the needle tape for this sort of work. Flipping the card vertically when using the color changer in this instance will allow that, and begins each row with knit stitches (every hole punched on right in the image above), and patterned knitting and needle selection stops shy of the “slipped” stitches (unpunched areas on left). In using the slipstitch setting this may not make a significant difference since the yarn threads stay in front of the gate pegs. This repeat is also suitable for the tuck setting. The yarn gets laid in hooks as the non punched area of the repeat is cleared. While not knitting or necessarily affecting the pattern, this can cause added issues with loops and yarn tangles on that side (one may be noted in photo of purl side of swatch below). Seam-as-you-knit can also now occur on the opposite side, away from yarn ends and color changer.

Purl side showing loop at non-knitting (or punched) side and edge curl on the left may actually be used as a “design feature”. The density of the tuck stitch helps keep it in place.

the knit side 

an “oldie” of mine, using the technique in a single color 

4/6/17 I am getting along better with the color changer by making different yarn choices, so I now have a WIP, and am going about a shawl design backward: ruffle first, body later. Reasoning: seam-as-you-knit should be easier if not taking place during ruffle knitting. If the latter is not bound off it may be continued with body knitting taken off on scrap yarn if needed to facilitate doing so. BTW, as with all knitting that uses patterning on only part of the knitting on the machine, end needle selection must be canceled on the knitting undercarriage. Any reverse movement of the carriage will advance the card for a pattern row, so that is an added possibility for errors as the knit grows in length. The pattern has 18-row segments, 36 for the full repeat. For 36 passes of the carriage, only 8 full rows of knitting take place. Every individual has their own design process. I tend not to sketch, but rather to make decisions as each piece grows. As for some math? 800 rows would actually take 3600 passes of the carriage, the shawl requirements TBD. (3276 on completion).

A previous post with notes on color changers: https://alessandrina.com/2014/01/26/some-notes-on-machine-knitting-color-changers/

Older model machines had no provision for a second yarn mast, and an accessory was available for mounting on their left side. Having the yarn in that position brings it closer to the changer and seems to help with undesired looping and sliding within the changer’s wheels. This shows the carriage traveling toward the extension rail, with the auxiliary mast in place

If the ribber setting plate needs to be moved forward in order to balance your ribber when in use, setting it as close to the needle bed as possible or even removing it may be needed if it starts to catch and hold the yarn

 the “finished” ruffle; HK markers every 20 repeats to help track rows knit and being joined on with “seam as you knit” technique
the finished shawl after a successful truce with  my color changer 

going green the series grows 

Knitting in pattern with 2 carriages, Brother punchcard KMs 1

I touched on knitting with 2 carriages in some previous posts:
2011/03/30/knitting-with-2-carriages/
2011/03/29/lace-meets-hold-and-goes-round/
2015/03/31/combining-tuck-stitches-with-lace-2-automating-them/

If 2 carriages are in use for patterning extension rails are a must. For this discussion we are excluding the lace carriage as the #2, the intent is to use 2 knit carriages with each set to desired cam functions. As one carriage is put to rest and the other one is set to move from the opposite side, the card does not advance, so the last row selected is repeated one more time. In one of those lightbulb moments today (any excuse not to do laundry) it occurred to me that starting out with an odd number repeat pre-punched card, coming from the opposite direction at the end of each odd row repeat, an even-numbered repeat would actually be knit. The card below is a Brother issue with all standard knitting machines. Card number (2 in this instance) may vary, depending on the year of purchase. Color changes here as well would have to be planned for every even number of rows, so respective carriages can travel to and from each side.

punchcard

The swatch below begins with locked selection row on punchcard row marked #1 (standard location); tuck setting is used in first 2 segments, FI on third; pattern produced is “OK”, but not actually tucking for 4 consecutive rows; note how much narrower FI is than tuck. Tuck tends to be short and fat, slip and fair isle short and skinny when compared to plain knit in same yarns 500_326

500_327

Since Brother preselects for the next row of knitting, setting the first selection row one locked below the usual spot on in this case #48 got me what I wanted, each color now tucking for 4 rows

500_325

500_324

Then something a bit more exciting occurred to me; one is an odd number, so any card where single rows are punched could be executed in theory, changing color every 2 rows (remembering to start with first selection row one row below # 1-row mark on the card). This sample was knit with 2 carriages, using a maze card, illustrated in a previous post, in which each row had been punched only one time, requiring for the repeat to be elongated X2 500_319500_320

the image from the previous postgrey_slip

Using 2 carriages allows for combining yarns using different tensions, cam settings, fiber content, or sometimes using materials that the single bed color changer is not “friendly” with. Also, there is no pushing the wrong button, causing errors in sequence, or dropped knitting if no yarn is picked up.

A punchcard carriage may be used on electronic machines. I work on a KH892, and a 910. The 910 is from a much earlier model year than the punchcard machine. The back rail for the KH to travel on, is a different shape, with slits as opposed to smooth, and a bit more raised. The electronic carriage set on KC locks on the belt and advances the card appropriately, but the fit is quite snug, making it hard to push, while the 892 behaved well on the 910. If borrowing carriages and sinker plates from different model years or one type of machine to use on another, proceed with caution and listen to your machine. Sometimes the span of time between model issues is irrelevant, even if model years are only a year apart, and the swap is not the best for successful knitting, may “work” in one direction, but not as well in the other.

sample back rails: 910 910892rail2

 Dec 7, 2018 Knitting studio simple lace with 2 lace carriages transferring stitches 

 

Working with generated mazes: GIMP charting 2

My previous posts on using gimp to generate charts and images suitable for knitting: 1, 2, 3, 4. I am working in Mac OS 10.10 now, so there may be some variations in results from earlier OS or for Windows versions users.

the edited repeat from the previous postcropped

It is possible to knit this design in DBJ with the same separation as for knitting it as a maze, both are 2 color slip stitch patterns, the maze separation is less laborious. To process for use in DBJ, the image needs initially to be doubled in length. The easiest way to achieve this is to create a new gimp document, several times the size of the repeat, select and copy the corrected repeat, in turn pasting it in the new, larger canvas. I used 40 by 60; color 1 is red, color 2, white, most of my charting is done at 1,000 times magnification

copy and paste

drawing a vertical line in nonpertinent color to border areas having several rows with no second color present, as seen below, may help define end or start of selections when attempting to invert colors. Color invert may be achieved in RGB mode, not indexed. Below the inversion occurs on “even-numbered” every other row. The program in my OS now showed the previously red squares in blue, the alternate squares in black.

screenshot_16
After using color invert, nonpertinent color (blue) may be erased (using the pencil tool, each square on the grid is a single-pixel) as well as those yellow “border” squares. In the image below the black squares on the left represent all holes that will be punched out in the card. One drawback of this program, because of the scale using single pixels, is that no text to include row numbers etc. is possible. The final repeat is 10S X 44 R.
screenshot_24_DBJ

If one wants to avoid using double length in the automated machine settings, the image of holes to be punched may be doubled in length. To do so color mode needs to be changed to indexed (4 colors) to retain image clarity.screenshot_19

screenshot_20X2

 fabric knit in DBJ, long stitch on left, bird’s eye backing on right 500_2355

Maze and mosaic knitting, my previous posts: drawing motifs, from design to pattern (Excel), from pre-punched cards,  and references and pubs. The repeat worked out for slip stitch and edited down to 2 colors. Again, the black squares on the left represent all holes that will be punched out in the card.

screenshot_21-mazeTo further mark the repeats in blocks, making charts easier to follow in absence of numbers, the subject of drawing straight lines comes up. Most of the online tutorials for using gimp are for its Windows version. The pencil tool may be used. Normally, tool options are displayed in a window attached under the Toolbox as soon as you activate a tool. If they are not (Mac), you can access them from the image menu bar through Windows → Dockable Windows → Tool Options, which opens the option window of the selected tool. In theory “Ctrl: this key changes the pencil to a Color PickerShift: This key places the pencil tool into straight line mode. Holding Shift while clicking Button 1 will generate a straight line. Consecutive clicks will continue drawing straight lines that originate from the end of the last line.” On my Mac, I worked out this method: first select color and pencil tool. Place a pencil dot where you want the line to start. If you press the shift key, a crosshair will appear, press the command key in turn as well for straight-line mode, click where you want the line to end. Consecutive clicks will continue drawing straight lines that originate from the end of the last line. Pressing both the shift and the command one at once after the initial pencil mark will call up the color picker and require a color selection and an OK.

windows: dockable itemswindows_dockable dialogues

gimp lines

separation for maze knitting 10S X 22R, elongate X2
maze_needsX2 borderknit as a single bed slip stitch, changing colors every 2 rows screenshot_01as dbj 500_2361

The dropped stitches were a problem when using the ribber on one of my two 910s, that adventure can be the topic for another post.

Working with generated mazes: GIMP charting 1

Laura Kroegler shares an online generator for “mosaics”unikatissima offers them for mazes and cellular automata. Representations of such patterns have cropped up in relation to hacked knitting machines and electronic downloads such as those seen in the Claire Williams blog, and in published information by Fabienne, who of late also has a Kickstarter project. Such patterns may be charted for hand knitting or for use on punch card machines once the size of the repeat is taken into consideration. Mirroring either vertically or horizontally can make the image far more interesting, but that has to be a consideration in planning if the stitch repeat has a constraint of a 24 stitch limit. A beginning unit 6 stitches wide will allow for the horizontal mirror to be repeated twice on the punchcard. The minimum punchcard length is 36 rows. The maximum scroll down to height in the Kroegler generator is 20, so for the least punching, an 18-row max would “fit”. The caveat here is that if the generated pattern is to be knit as DBJ or as a single bed slip stitch, those 18 rows need to be color separated accordingly. For the design to be charted out easily, it may be saved, and then in turn gridded in Photoshop or Gimp with the grid matching stitch size in the generated pattern preview (ie below note X and Y values are 5 X 5, so grid used would be 5 X 5 pixels as well).
After reviewing the tiled generated pattern, the image may be carefully captured from the screen and saved. I worked with an 8-stitch repeat for my tests. Below are screen grabs of the resulting patterns after some of the various options offered were tried. Mirroring this repeat horizontally makes it too wide for a punch card (16 X 2=32).

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40_400

42_400

46_400

44_400

using a 5X5 grid after capturing a portion of another generated image, using a simple 8X8 repeat, outlining single repeats, thinking punchcard machinescreenshot_34

checking the result tiled to predict possible knit “look”screenshot_28

If working with a 6 stitch repeat, horizontal mirroring becomes possible for punchcard machines, perhaps making things more interesting; the program can generate a single repeat as a png, and punching holes is a drag so maybe length remains on the short side in anticipation of the punching holes and color separating for knitting the motif as either DBJ or single bed slip stitch, so here goes: having the generated image produced so each stitch and row is represented by a single pixel allows one to work within any program preset to superimpose a 1X1 grid:screenshot_07

screenshot_08my saved png, supposedly for an 8X12 repeat newgridded in gimp, revealed as  11W X 23 Hscreenshot_09

testing tiling: oops!screenshot_10

the trimmed repeat, eliminating double lines, 10 St W X 22 Rows Hcropped

tiled, looking closer to original, cropped_tiledand then there is the knitting of it if one chooses to do so as single bed  “floatless fair isle” as opposed to double bed dbj

For the latest version of gimp for Mac OS, version history may be found at the gimp website, for Mac Yosemite and Mavericks’ latest information on version 2.8.14.

2020: latest Gimp update for Mac, my Mac OS: Mojave 10.14.6, now swatch testing on a 930 with image2track cable and software, which allows for easy use of larger repeats. Newer thoughts and observations: the maze can be generated using only black and white. If all boxes for options are checked as seen below, there will be shifts in the overall design. A small, working BMP may be saved for download, but only part of the overall repeat will be selected by the generator. Quitting the generator, and opening it once more entering the same options will generate a new image, so saving and naming each is a good habit to form the BMP in Gimp, explored in two renditions, eliminating double lines The proof of concept swatch for the version on the right and knit in tuck stitch the double-length BMP ready for knitting,  14X68

One more, using different option selections the BMP in Gimp, explored in two renditions, eliminating double lines My latest process for the required color separation