Category: Machine knitting (MK)

Origami folds inspired pleats 1

I have long since wanted to experiment with a variety of folds in knits other than “simple pleats”.
I am sharing some of my earlier starts looking at some concepts beginning with the single bed.
For a diagonal pleat, I began testing the waters by bringing some needles to hold-position every other row and creating a “moving ladder” or eyelet in the center space between tucked stitch columns. The modified eyelet performed better than the simple one in creating a fold. The next question for me is always how to automate any part of the process. Tucking for 2 rows seemed more likely to create a sharper crease. Since the transfers associated with the ladder space are all in the same direction this is a fabric that will definitely bias. The swatch below shows the results, the blue arrows point to operator error in ladder placement, the red arrow at the top of the swatch points to multiple rows of knitting. Multiple rows of stocking stitches at either end are likely to flare out and “ruffle”.The fabric had an interesting twist and roll if tugged in opposite diagonal directions when first off the machine.  This is the working repeat, suitable for a punchcard machine. On the far left it is shown for use with electronics and color reverse, with the green grid highlighting black squares indicating holes that would need to be punched in a card, and lastly, as a tiled repeat looking for any errors in repeat sequences. Below the actions taken in part of the overall repeat are represented. The model year Brother machine in use may require you also flip the image vertically before knitting it.  This is what is planned for the purl side. One of the issues with self-published patterns is the adaptation of or use of symbols that are different than that in any published consensus. The transfers to the left are commonly indicated this way in lace knitting. If the needle that is emptied is left out of work, a ladder will form. If it is left in work the first pass creates a loop on that needle, the next pass to the opposite side completes the stitch, resulting eyelet on that same needle. Picking up from the row below is usually represented this way This shows my swatch in progress. ? indicates operator error, in evidence if needle count on each side of the future tuck stitch or ladder space is checkedpicking up loops from the row below to keep ladder width constant transferred stitch (blue) and 1 needle ladder (pink) marked by arrows Check that stitches have knit off properly Needles with transfers or moved stitches may be brought out to hold position (E in Brother machines) for easier knitting. If this is done, be sure not to disturb needle selection or lack of it in location for next pair of tucked rows.

If one is exploring a DIY search for creating fabrics, the journey is often one of trial, error, and an investment of time with not always yield good results, but may yield pleasant surprises and an opportunity for learning and new ideas. These were some of my trial swatches in thinking of more varied directional folds single bed I was led back to slipping or tucking every other row for creating some of those folds, and the possibility of having both actions happening on the same bed automated in some way. Often forgotten and unused in the Brother machine settings is its capability of tucking in one direction and slipping in the opposite one. These are the 2 possible settings. It does make a difference in resulting fabrics which stitch type happens first as one travels back and forth across the knitting bed. Arrows in opposite directions are chosen for each stitch type. Setting up a working repeat with blue representing tuck, purple slip (or vice versa). The distance between the vertical column, in this case, is fixed and seven stitches in width for a center folding repeat width of 16, color reverse is required 12 stitch version color reversed for actual knitting This is the purl side of the fabric with both stitch types happening on the main bed.  It pretty much flattened out with some light pressing, not much of a pleatThis is what happens once the ribber needles are brought into action. Set up the cast-on as preferred. I used plain knitting, weighted it, and began my pattern work from the right-hand side of the machine. COL my preselection row was made from right to left. White squares in the chart with black ground and green grid become non selected needles on the main bed. Transfer nonselected stitches down to the ribber. Set the ribber to slip to the right, those stitches just transferred will slip moving to the right, knit on the return pass to the left. The knit carriage is set to knit until that first row is completedCOR the ribber will knit on the next pass to the left. Set the knit carriage to tuck while the ribber is knitting
Continue in pattern to the desired length. Fabric narrows considerably, so several panels may be required for items ie. skirts. The repeat on the knitting bed should also be adjusted to allow for as close to invisible seaming as possible. The stitches on either side of the single needle in work on the ribber may be inclined to drop off. I was unable to use tuck on those same needles for any significant length for that reason. It pays to visually check for stitches knitting off properly to avoid this The start of vertical pleats, with the slip stitches folding to the purl side, the tucked stitches folding to the knit side on the machine,  just after binding off.  The two fabrics side by side
Different fibers can produce varying results in fold and drape. Setting either bed function for the wrong direction will produce an all-knit fabric (top of the red swatch). This starts to address incorporating hand techniques and manual ones from the diagonal swatch and the one with vertical folds while also developing a design repeat to aid with planning or actions to be taken.  It will be altered in future experiments The yarn choice is a poor one. The fiber is a very softly spun rayon, which could benefit also from being knit at a tighter tension, and since rayon has no “memory” it fails to have any spring back and is flattened out permanently with pressing and steam.  This swatch is knit in wool, trying to sort out what does what and by how much. I am starting to get a bubble, but not a dramatic folding effect. The bottom folds more than the top. The filled eyelet technique has a hand-tooled tuck column on the reverse side. The top is automated using tuck stitch. A different repeat: the bottom with carriage set to knit with needle selection as a cue to hand transfers, the top set to tuck automatically. Transition rows need to be considered further and altered where the twain meet.  Returning to simpler creases and folds: a first experiment in racking double bed with NOOW. The setup and racking positions were not pre-planned. I knit 4 rows without racking at unplanned intervals as well; they produce a noticeable change in texture. The fabric is reversible, I actually rephotographed it adding a marker to make certain I had not shot the same side twice. The needle set up: the resulting swatch presented sideways for the sake of space: working with single needles out of work rather than two, with even spacing between them on each bed both swatches flattened to note differences between needle arrangement folds getting more organized, with a planned repeat: the needle set upcast on with racking position on 5, rack every 2 rows, move from position 5 to 0, to 10, back to 0, to 10, end on position 5; the yarn is a 2/17 wool, definitely retains a more 3D quality than the acrylic 2/24. The fabric may benefit from 2 rows not being racked added at positions 0 and 10Here the arrangement here is with 2 needles out of work, racking every 2 rows in the same sequence. The resulting fabric has clear “spring” and foldsRRReturning to the previous needle set up, now racking every row from position 5 to 0, knit 1 more row with no racking; rack to position 10, knit one more row with no racking, reverse direction, end knitting on position # 5This last in the series is a personal favorite. I found racking from the center to 10, to 0, and back easy to track. One moves in the opposite direction when not allowed to go any further in the continuing direction by the machine. Single needles out of work appear to be enough to create the folds.
Exploring starting the pattern at 0, to 10, and back. The bottom segment is knit with no needles out of work, the middle with NOOW on the top bed only, the top with NOOW on both beds. Dotted lines separate each, and outline a second, smaller shape occurring along with the beginning of changes in the larger one. I had issues with edge stitches on the main bed. My final needle set upRacking starting position on 7:Consider playing with racking positions within the total number of needles in work on the main bed. For other possible needle arrangements and more on pleats created with needles in/out of work on both beds please see 2015/04/22/ribbed-pleated-folding-fabrics/

Ribber trims 3: one trim, four variations

I found this on a random sheet tucked away with references from some seminar or other eons ago, its origin is not known to me
I like to chart out my repeats and plans for executing fabrics, along with ideas for possibly varying them in ways other than suggested, this was my  beginning The sequence in photos, beginning with the cast on, 2/24 acrylic yarn,  zigzag  row with inserted ribber comb,  half-pitch  1 row is knit across all stitches to complete cast on,  knit one more row to return to the opposite side the setting is changed to full pitch, stitches are transferred between beds to match  diagrams the center needle in each group of 3 is brought out to hold for one row, knit one row to return to the other side center needles are pushed back to D position in order to be knit on return pass to the opposite side this tool makes that needle selection faster and easier when the 20 rows had been knit in pattern drop stitches on each side of center stitch transfer ribber stitches up to main bed I knit 3 rows rather than 2, to return to right side  for bind off here is the swatch, still on comb for “setting stitches”

I found the above results upon completion disappointingly wimpy, then tried the same steps in tightly twisted and slightly thicker cotton, achieved better results, but was still not happy. That set me thinking about an alternative way to produce a similar fabric with changes in needle arrangements. The full series of swatches is seen below. The yellow is knit in a 2/8 wool, the beige in the same weight cotton as the white on the right. All swatches were knit on the same tension, for the same number of rows.

The adjustments on the original pattern are as follows. At half-pitch begin as above with zig zag to left, 2 circular rows, knit back to right. Set pitch to P, transfer between beds

knit back to the opposite side, transfer each of the side stitches on the top bed onto the center needle in each group,

bring those needles out to hold for easier knitting on the next pass knit one row back to the right,  making sure stitches have knit off properly. When you have returned to the right side, set the carriage to tuck from right to left only (left tuck button), RC000loops will be formed on the center needles as they would have been formed over the needles as if holding was in use

when the 20 rows are completed the carriages will once again be on the right,  all stitches will have been knit on the previous row transfer all ribber stitches to top bed, knit 2 rows, bind off. None of my swatches were blocked other than by some tugging, particularly along the bottom edge. The spacing between stitches is narrower because ladders created by single needles left out of work are formed by yarn lengths that are shorter than those that happen when stitches are knit and then in turn dropped. The height of the swatch is also affected, and the half fisherman texture in the wool swatch, in particular, is more evident.

More variations to try in a multiple of 3+1: using either method or a DIY cast on, dropping (yellow) stitches marked with a * at the end, or transferring them to right or left and setting the main bed to tuck in one direction only. When the work is removed from the machine, stretch cast on outwards, then give each “scallop” a really good pull downwards. Steam lightly over the scallops to set them. Variations of the double bed trims may be worked on the single bed as well.

Ribber trims 2

This is an illustration of the #3 frill from the Ribber Techniques Book:

1. COR: knit a zigzag row to left, hang comb and weights, no circular rows2. knit second zigzag row to right3. transfer stitches as shown 4. knit to left 5. knit back to the right repeat steps 3-5 to the desired height

For another variation, knit 4 rows rather than 2 between transfers. My yarn is still a 2/24 acrylic. The trim would look quite different using a thicker yarn or even simply a tighter tension. I continued in rib. Ribber stitches could also be transferred to the top bed for continuation in stocking stitch In theory,  it is possible to knit lace transfers in Brother by dropping the ribber bed enough for the lace carriage to move across the beds while clearing the gate pegs. This remains on my “try someday” list. To my mind, hand transferring remains the best way to deal with lace/ ribber stitches combined.

Tuck patterns on the main bed (or slip stitch) designs can be used to automate and create patterns where holding is recommended in some sources ie. For a punchcard machine, the repeat must be a factor of 24 in width ie. 6 or 8, or  12 stitches wide. Electronic knitters can draw a single repeat, either the one on the left also using color reverse or the one on the right. Punchcard knitters need to punch the grey squares on the right across the card and repeat it in height. An extra all-knit row needs to be added at the top of each series of 4 rows tucked for the loops to be knit off automatically by the machine. Step 4 in the techniques book, resetting the main bed to N to knit a row after every 4 rows in a holding pattern is missing in their illustration above. The punchcard repeat: punch each grey square to match the illustration A few to try,  shown in repeat X2, as BW gridded .bmps,  and with the color reversed for knitting.  All but one are  12 stitches in width, suitable for punchcard machines as well Too much black? want to count those black squares more easily? pick your preferred grid color, it will disappear when the image is saved A screen grab from my iMac shows the original charts and the resulting single repeat .bmps after working in GIMP, ready for download with color reverse option and use on the electronic machines. Ayab knitters, in addition, would need to program the repeat in width to match the number of needles planned for use in the piece

Ribber trims/edgings 1

An example of a common ruffle/ frill is produced with variations using both beds: cast on for every needle rib, knit X rows at full fisherman rib, followed by X rows at half-fisherman, and then possibly by plain rib for X rows, EON rib or even following with transfer to the single bed for X rows, bind off. The yarn used in this swatch is a wool-rayon blend  Needle transition arrangements to produce a ruffled edge:
bring every needle into work, and cast on every needle rib.
Knit a minimum of 6 rows.
Transfer every other stitch from the ribber up to the main bed
adjust tensions on both beds, and continue in rib to the desired length. The yarn used in the swatch is a 2/8 wool on a Brother standard, which pushes the machine in every needle rib. The appearance of the ruffle will vary, as usual, depending on the yarn’s thickness, fiber content, and knitting tension adjustments on either or both beds.  Exaggerated frilled starts: no cast-on needed, working on every other needle patterning on both beds.  A few rows will produce a curly edge, and more rows a ruffle proportionate in depth to the number of rows.  Passap KM: AX/AX or AX/KX 4-10 rows, continue in plain rib N/N
AX/KX 4-10 rows, knit 1-row N/N, transfer to 1X1rib, continue to knit in plain rib
racking cast on
BX/KX 6-10 rows, continue in plain rib
Pushers in the upper work position (UWP) will make the needle knit while those in the lower nonworking position (NWP) will respond to lock patterning settings. E6000 either program the front bed for the pattern (1000) or bring every other pusher completely out of work to avoid having them return to work position after the first pass. The motif repeat for 8 stitches/rows usable on any machine

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

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

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

The latch opening plate use and installation

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

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

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

A previous post on checking ribber alignment 

Casting on, double bed

The very early machine manuals had illustrations not often shared in later ones. This is on combs whose wires had looped ends This cast-on comb is favored by many, but not by me. I find it heavy to start with on small pieces, and if long pieces of knitting are rolled up as some do rather than moving the comb up as shown here, the proportional weight changes as the knitting lengthens, which can affect the gauge. The Brother KR850 manual, pp 19-29 has clearly illustrated how-tos for this process. Old manuals often have a translation from other languages that may be found to be from amusing to confusing or even incomprehensible. Method 2 below illustrates the “broken toe” cast on. The term partial knitting has nothing to do with its more familiar application to holding techniques.
 The tubular cast-on is probably the most commonly used and published one. It tends to have an uneven edge, but steps can be taken to compensate for this. In every case, on the first row, the yarn travels from a needle on one bed to a needle on the other. Remove the single bed sinker plate. Push the ribber up to the work position, and connect both carriages with the connecting arm. Make a couple of passes with the coupled carriages to ensure the needles are aligned properly. To drop the yarn between the beds prior to threading it into the carriage threading it through a double-eyed bodkin will make it easier for it to be dropped between the beds. It is commonly advised that the cast on the zigzag row be done on the tightest tension possible. That also varies depending on the yarn, whether the cast-on is to be decorative, or if the loops that are commonly considered undesirable are in turn to be chained through to match a latch tool bind off at the top of the piece. It is often recommended that for the circular cast- ons 3 circular rows be used. That produces one side of the rib with small “floats” with an appearance that differs from the reverse side. Arrows in this illustration point to that third row.  Only two circular rows do the job and avert that problem. Conversely, 4 tubular rows may give extra firmness and strength when using very thin yarns. For the final row set both carriages to close the zigzag, increase the stitch size to rib setting, and knit one row. At that point, stitches can be rearranged on the needles if needed.
For a tighter cast-on row sometimes a thin elastic is threaded with the main yarn and used for only the first zigzag row. Do not hang ribber weights until the cast-on is completed.
Other variations: set up knitting on a single bed only with waste yarn and ravel cord and cast on comb and weights, ending with a row of ravel cord. Using both beds, begin with garment yarn, and follow instructions for tubular cast-on. When knitting is complete tug waste yarn lengthwise to set stitches before removing the ravel cord.
On the double bed, after the zigzag row, lay a piece of ravel cord right on top of the zigzags, dropping the ends between the beds and anchoring the ends with a clothespin or other small clip. It will be enclosed in the knit as you continue to work. Upon completion of the piece, pull lengthwise on both ends of the cord to set stitches before removing it.

Cast on using an e-wrap single bed: knit several rows in waste yarn, either in EON rib or single bed. If single-bed knitting is used, poke the ribber cast-on comb through the waste knit or use it to cast on a single bed, making it the future home for weights. If a rib start is used, the stitches then would need to be transferred to the main bed. A row is then knit with a ravel cord. Proceed with a single bed e-wrap cast on, dropping the ribber if needed. When the e-wrap is completed, bring the ribber bed back up if it had been lowered. Knit a row to the opposite side. Transfer stitches to your desired arrangement. Thread the yarn, and proceed in rib.
Since my trial swatch was quite narrow, I opted to skip the waste yarn or rib cast-on and transfer to the top bed prior to e-wrapping; the yarn used is a 2/8 wool before the next pass, make certain there are no needles in work on the ribber, they will pick unwanted loops,  also, give a tug at the yarn on the carriage side as you begin to knit the next row in order to avoid loops as seen on the right below. Knit to the opposite side. Transfer stitches in the desired needle setup. With waste yarn, ravel cord, and weights prior to its start this cast-on may be used for wider flat ribs ie 2X2, 3X3, etc. Here the comb is in place,  ready for 1X1 rib the results It is also possible to e-wrap on empty needles set up for rib on both beds. The first pair of diagrams show movement from the left toward the right. Loops are wound in alternating clockwise or counterclockwise directions as seen below, being careful not to make the loops too tight. working from the right to the left side The e-wraps may be made with variations of movements that are counterclockwise or clockwise. Depending on the variations there can then be two distinct sides, requiring a choice to be made as to whether the purl or knit sides of the final fabric will be facing out. With a clockwise wrap a row of purl loops (red arrow in swatches)) will show at the bottom of the “wrong”, purl side. To reverse them, wrap all stitches counterclockwise.

Here all needles are wrapped clockwise, a slip knot on the first needle on left would steady the yarn, needles are brought to hold-position on both beds for easier knitting on the next row,  which is knit carefully to the opposite side
the comb is then hung. Make certain its teeth are placed properly across the row holding stitches down. Here they are not on the right, resulting in the issue marked with black arrows at the bottom of the corresponding swatch tension adjustments may be required. Knit slowly and check that the stitches are properly knitting off.  Bringing needles to hold on both beds for a few rows prior to knitting them may help prevent random dropped stitches.

This is the setup with alternating clockwise and counterclockwise wraps on both needle beds.  This cast-on has a good deal of stretch and looks the same on both sides, its test swatch is shown on the right. 
If working in fine yarns, 2 tubular rows may be needed after the wrapped cast-on.
Another handout from eons ago follows below. The broken toe cast-on is often used whenever both the knit carriage and the ribber are used to create the fabric but stitches are dropped off one bed or the other, such as in drop stitch lace. The placement for the comb if the ribber stitches are to be dropped is illustrated below. Red and yellow show the areas held down by the comb’s wire that will remain on the main bed when the ribber stitches are dropped. Below it, the wrong placement of the comb for this purpose is shown. The reverse would be true if the main bed stitches were going to be the ones to be dropped. These illustrations for the comb setups in other rib configurations were published in a Toyota ribber manual From the Brother KR850 manual Casting-on for 2X2 rib  For more configurations see the 2022 post:  More on standard and modified 1X1 and 2X2 ribs
Casting on the double bed info shared in previous blog posts
Racked ribber cast on and tips  included racked cast for every needle rib, and samples knit on Passap,  for 2X1 and 2X2 commercial ribs
Picot cast on for every needle rib 
Transitions from EON (every other needle) to FNR (full needle rib)

Taking advantage of the “wavy” first row to produce a ruffled effect: zigzag row at rib tension or one number less than rib. Set one carriage to tuck, and the other to knit. Make one pass with both carriages to the opposite side. Reverse carriage settings, and make a second pass to the opposite side. Repeat one more pair of rows, reversing carriage settings with each pass (as in the fisherman rib setting). One may also experiment with more tucking variations or a greater number of rows in a pattern before proceeding in the rib. Before the closing row, depending on the configuration chosen, slipping on one bed and knitting on the other may make for a more pleasing transition.
The start of playing with needle/pusher arrangements, with both beds knitting in pattern. Instructions will follow in a future post on ribbed trims. Decorative cast-ons and beginnings
Ribber trims 2 
Ribber trims/edgings 1

Online resources:
Ribber e wrap cast on   video by Roberta Rose Kelly
A decorative cast-on with lots of hand transfers on the ribber bed by Emanuela Mammarella.
Studio tips and techniques #13

 

 

 

 

Shadow pleats knitting

This fabric is beginning to appear in runways again, is fairly easy to construct on any machine.
Select two yarns of different weights and textures, the heavier being approximately two to three times the thickness of the thinner one. It is possible to use multiple strands of the thinner yarn to achieve the difference in weight. The “thicker” yarn is the one you will see on the “right” side of the fabric.
Select a tension suitable for the thicker yarn, it will remain fixed throughout the piece.
The knitting sequence can be varied. To begin with, test an equal number of rows of each color/ thickness i.e. 6 and 6. Adjust as needed for the desired effect.
Rows of weaving or slip patterns can provide the “thicker” areas of knitting, with plain stocking stitch the “thin”. If plying yarns and Fair Isle patterning is preferred, it is sometimes necessary to elongate the design. One option to try is to knit the pattern in alternating sequences, with a single or double strand in the front feeder to produce the “thick” and the plain knit “thin” with yarn in the back feeder only. Other variations are possible depending on yarns and designs used.
In items such as skirts, the knit fabric is turned sideways. Caution needs to be taken so as not to use yarns that can be “killed” when blocked flattening the knit permanently.
For a while, skirts in shadow pleats were very popular. One of the tips for blocking them at the time when acrylics were very popular, was to hang completed pieces with the bottom evenly weighted inside a large trash bag “sealed” as tightly as possible at the top, with steam entering from the bottom of the bag ie from a teapot. I always had a hard time imagining the specific activity. Simply using a yarn with memory in the rows composing the outward folds seemed a more viable option to me.

Instructions below are from the Brother Techniques book, which is now available for free download online


I would classify the results as ruching, a different knit category
A double bed knit may achieve, depending upon yarn selection and tension, a similar effect. Although these folds are called tucks (those who sew may be familiar with the term pintucks in that craft) they are actually knit using a slip stitch technique. Colors may be changed at regular intervals here as well, and when combined with the use of the plating feeder the color effects can be varied even more.  Depending on which side of the fabric is the “right” side, either the ribber bed (when the knit side is the right side) or the main bed (when the side facing you on the machine is the right side), one carriage is set to slip in both directions for the height of the folds while the other is set to knit. Once the desired number of rows is reached, both carriages are set to knit. To review:
1. begin with every needle rib, at a tight tension, working at least one closed row
2. follow by setting either bed to slip, and knitting 4-10 number rows in stocking stitch on only one bed. The tension for those rows will have to be adjusted to the same used for stocking stitch for that yarn.
3. Return to every needle rib for at least one or 2 rows forming the backing and locking the knit together after reducing the tension. The “locking” stitches will be elongated.
Repeat steps 2 and 3.
Just as in rolls created single bed by hanging a previously knit row on every needle at regular intervals with stripes of stocking stitch in between, the yarn type and tension determine the quality of the roll. Too many rows in the “roll” will result in its wanting to flatten out and it will look more like a hem than a roll. This double bed fabric falls in the category usually referred to as pin tucks. This page from the Ribber Techniques Book explains the method for one version
A small sample, 6 rows knit only on the main bed, only 2 rows on every needle on both beds. Since ribber needles are skipped until knit again, the last row knit on the ribber will form elongated stitches.  
The term shadow pleat is also used in the Ribber Techniques Book when discussing accordion pleats Some samples: fishing line and wire wool and cotton thin cotton and boucle the same cotton and chenille wool and raffia wire and vinyl combined with fair isle patterning

Tuck stitch/ combination fabrics

I am presently attempting to knit my samples using a 910 with an EMS kit Ayab interface. When possible I will provide punchcard, electronic, and Ayab repeats for each.

White squares in the first chart represent tuck stitches, the dark blue row, the pass that knits every stitch, the lighter blue the pass that knits and in turn drops every stitch. The main knitting is happening on the top bed. Loops and dropped stitches are formed on the ribber. This pattern is not suitable for use with color changer since patterning for each of the 2 repeat segments occurs over an odd number of rows (7 each, for a repeat total of 14). Punchcard knitters repeat X 3 in height, electronic knitters use only one of the 2 repeats, outlined in red.
Preselect the first row of the pattern from either side on a punchcard machine or an unaltered 910, from left if using ayab.
*With the KC set to tuck <– –>, the ribber set to slip <–  –> knit 6 rows. The last row will be all knit (darker blue).  Cancel slip on the ribber carriage, setting it to knit  <– –>
knit one row on both beds to the opposite side (lighter blue, preselection will happen for the first tuck row in the next sequence). Disengage the ribber carriage still set to knit from the KC, take it across the ribber bed to release the loops. Reset the ribber carriage to slip <—->
move the carriage back to reconnect with the KC. ** Tuck sequence begins again. Repeat  * to ** ayab repeat for 30 stitch swatch, requires color invert the same repeat, not requiring color invert after loading into software tuck fabrics are usually more interesting on their purl side  Tuck stitch combined with lace transfers
large scale mesh 
 large-diagonal-eyelets

Casting on, binding off single bed

There are many ways of casting on and binding off both single and double-bed.  Ultimately, if it is important to have the top and bottom of the piece match as closely as possible in finishing, the only way to achieve that is to start with waste knitting and a long enough yarn end (wrap around all needles at least 4 times to be “sure” not to run out). After binding off, rehang the bottom and finish on the top bed, or treat the first row of the knit above the waste knitting with the same method as the cast-off at its top. Brother publications are now easily available online. The images below include some of the material that was included in my handouts as black and white copies. I am now also adding scans from both the Brother Manuals and the respective books for Techniques on both the single bed and double bed.  The advice on methods differs slightly depending on the source, and at times one explanation makes more sense when offered in one way rather than another. Some of the techniques are illustrated below more than once, offering different ways of exploring.
Any cast-on or bind-off can begin on either the right or the left side. If the yarn is to be used to manually knit off stitches, then one must begin on the side where the yarn end resides. If long stitches are chained through each other, then the yarn end needs to be opposite to the starting side, so that it can be used to seal the last bound-off stitch.

Anyone preferring video format when learning can find excellent presentations by others online. Roberta Rose Kelley is a prodigious YouTube contributor along with Diana Sullivan, and Susan Guagliumi has also expanded her online presence there as well as both on her earlier website and blog

2023 a follow up post: More on casting on and binding off, random tips

CASTING ON  as mentioned is possible in either direction. Remember that the needle head will have to pass through the chain stitch or e-wrap, so do not pull the yarn too tight as you move across the row of needles. If you are going directly into pattern knitting after casting on you will find it easier to have some waste knitting to hang weights from if needed, and to avoid problems with stitches forming properly for the first few rows after your chosen start. To do this, cast on with some waste yarn, end with a ravel cord row, and cast on once more with “garment” yarn. There will be a waste ravel cord stitch and a new e-wrapped or chained cast-on stitch on each needle. Waste yarn can be removed upon completion of the piece. I prefer to do so a little after a short distance, to make certain no errors occur. If weights are used it is best to move them up frequently. The rule for casting on is the same as for many other machine knit fabrics: no two directly adjacent needles on the same bed with loops on them will ever form a separate stitch on each needle on the following pass of the carriage. Simply making a pass with the carriage over the needles will create a series of side-by-side loops. If a cast-on comb is used, it is possible to continue knitting, but when the comb is removed the stitches will run. That said, it is an easy method to use particularly when a piece is begun with waste yarn or is intended as a quick test swatch.
This tip for anchoring an open cast-on may also be used after any cast-on row when stitch formation appears uneven or unpredictable for the first few rows knit  Single fully fashioned increase for reduced jags on the knit edge Fully fashioned single increase made with multiple transfer tool Increasing multiple stitches at the side of the knitting by e-wrapping A single increase on both sides is possible to achieve at once. Generally, the issue with the result is that the stitch formed on the carriage side may be a different length than that on the opposite one, so care needs to be taken with managing the difference ie. by adding a small weight to one side only. An open cast on either bed may be achieved single bed using the ribber cast-on comb. There are other cast-ons that will produce an edge that will not run but are not stable as permanent edges at the beginning of a finished piece.
Slip stitch cast-on: bring every other needle out to hold position, knit one row at stocking stitch tension, and knit one row. Now bring the in-between to previously selected needles out to hold, and knit a row to the other side. Do this at least once before continuing, the more rows used the firmer the edge. Weaving cast-on only works on machines with weaving brushes ie Brother. I tend to knit with weaving brushes down no matter what the fabric is unless using them results in problems ie the particular yarn being used has a tendency to get caught up in them.
Every other needle cast ons (EON) can be a quick way to make a gathered top for a hat knit from the top down or to gather the inner edge of a flower or other shape. The nylon cord cast-on shown below is an alternate for open stitch cast-ons when no combs are available. Any yarn that does not break easily is smooth, and does not shed fibers when removed may be substituted for the ravel cord. A ravel cord may also be placed over the gate pegs, in front of the needles as shown in the cast on the illustration below for a single row after troublesome cast on rows. Two or three rows of knitting then follow, and the waste yarn is removed prior to continuing to knit. 

E-wrap cast–on: the comb is not necessary. If the first row after this type of cast-on is completed has issues knitting off properly, bring all needles out to hold for a couple of rows prior to knitting each of them, and that should solve the problem. With any cast-on, any too-loose loops may catch on gate pegs, if too tight, the yarn may break or the “stitch” will not knit off the needle over the closed latch and hook.  The last needle on the side next to the carriage may be left empty and will pick up a loop when the next row is knit. Variations of this technique may be used to produce decorative edges. A variety of e-wraps and chains may be used to cast on or as hand embellishment or added within the body of the knit. EON configurations of the same wraps on the standard with the same movements allow for use of significantly thicker yarns

1-3   e-wrap loops as shown
4      e-wrap every other needle then weave over empty needles and under e wrap
5      e-wrap every needle
6      e-wrap every other needle with color 1, e-wrap every other needle with color 2
7     e-wrap every needle with color 1, chain every needle with color 2, may be done every other needle as well
8     chain every other needle with color 1, continue on alternate needles chaining in reverse, or use color 2

Chain or crocheted cast-on: the illustration is from Brother, the cast-on comb is not necessary

It is possible to produce a looser chain in a variety of ways. The easiest may be to cast on using a needle or latch hook from a bulky machine. A video of an alternate method that involves wrapping the previous needle for cast on and the previous gate peg or needle for bind-off in order to achieve matching width at the top and bottom of the piece may be found here.
Cast on problem-solving hints

Increasing stitches at the side of the knitting:
BINDING OFF
From a Brother magazine, this copy is quite dark. I no longer own the original magazines to rescan and thus make any changes in clarity, but the text is clear

For the latch-tool bind-off without using gate pegs, suitable on any machines including plastic beds and Passap see video
Single-eye tool bind-off
I have always been hesitant to sew off or bind off live stitches directly on the machine, prefer working several rows of waste yarn, and then continuing either with the work remaining on the machine or after scrapping it off.
When using this method, a stitch is made manually through the stitch on the last needle on the carriage/yarn side and is then transferred onto the next stitch.  Both are knitted through, and those two steps are repeated.  The main problem is maintaining even tension and equal stitch size. One can bring the emptied needle from out of work forward to hold-position for a more even length of yarn, bring the yarn under, around and over it, knit it through the adjacent needle with 2 stitches on it,  return the empty needle to out of work position, dropping the wrapped yarn.  Knit through the two stitches, and repeat the process.  Use a small weight and practice to keep the tension even. Continue until the last needle has 2 stitches on it, and secure yarn as usual.
As an alternative *transfer the stitch on the second needle from end #2 onto end needle #1. Then transfer the double stitches back onto the second needle from end #2. Put the now empty end needle #1 out of work*.
Repeat across the row

A crochet hook could be used in place of the latch tool.
Sewn bind-offs on the machine, and after several rows of waste yarn.

 

Using the sew off method to join open stitches to a finished  edge

Slow, less often used, figure 8 cast-off was introduced to my knowledge by Kathleen Kinder. It is slower, and supposedly has a lot of stretch. Bring out the first needle and hand-knit a new stitch. Make that new stitch a bit larger than the ones already on the needle bed.
Start on the carriage side using the transfer tool, inserting it from back to front from left to right, toward the center of the end stitch on that side. Swivel the tool clockwise, the tool will now be in front of the gate pegs.
Do not remove the first stitch from its needle. The stitch on the tool is now twisted, creating a sideways figure 8. Use the tool to hang the twisted stitch on the adjacent needle, the two needles involved now share the transferred half stitch.
The second needle now holds 2 loops.
Knit the half stitch through the one behind it prior to hand-knitting a new stitch, or (easier) bring the second needle out, and hand-knit a stitch through both loops on it.
Continue across the row with actions illustrated from right to left.

A quick swatch shows the potential amount of stretch in this bind-off. I tried dropping the stitch remaining on the right after it was shared with the needle on its left and both “stitches” were knit through by hand about halfway and just proceeding across the remaining row without dropping until the bind-off was completed. The latter was easier and faster for me. Once the knitting was completed I could see no difference between the two methods.

Potential for both top and bottom edges of knits: “Crochet” meets machine knitting techniques: working with “chains”

For mock rib executed on the single bed, for double rib as well, see post 

Video references found online:
Sinker-post-bind-offs using single eye tool and latch hook Susan Guagliumi
A variety of sinker post (gate peg) bind-offs Susan Guagliumi
Binding off around needles rather than gate pegs Susan Guagliumi
Latch Tool Bind Off around gate pegs single stitch at a time Diana Sullivan
My least favorite, loop through loop Diana Sullivan

Finishing tips
Seaming, joining, picking up stitches 3, ribbed knits 
Seaming, joining, picking up stitches 2
and seaming, joining, picking up stitches 1

 

Binding off, double bed

A DBJ discussion re Ayab use recently brought up the topic of ribber bind-offs. My plan for this post is to gather information and illustration on a variety of methods, beginning with those illustrated by Brother, then moving on to others I have come across over the years in a variety of publications. Transfer to single bed methods: transfer all the stitches onto the top bed,  then use single bed techniques to cast off. Having multiple stitches unevenly distributed can make the cast-off lumpy, and such techniques may also be too tight for the fabric. For latched-through bind-offs, one way to get extra length/size in stitches on the main bed is to bring every other needle on the ribber back into work after transfers. Set the ribber to half-pitch, knit one row with both carriages set to knit to the other side, drop off newly created ribber stitches by using the ribber carriage only to release the stitches by moving it back to the opposite side, dropping the loops just created, adjust the amount of weight, and bind off. That extra knit row may also be useful in rib configurations that leave empty needles after the transfers. Loops will fill in empty needles. Chain only through stitches, not loops. The latter will help create enough give to bridge the gaps. Technically, once the ribber stitches are moved to the top bed, any single bed bind-off may be used, whether through single or double loops. Some techniques produce more pleasing results than others. Each look is different, as is the amount of stretch. Testing on swatches in specific yarns used helps one determine the preferred method. If a latch tool is used to do a crocheted bind-off after transferring a 1X1 rib it is possible to maintain the rib. Insert the tool from the front of the stitches that were originally on the back bed, and into the front of the stitches that were on the front bed. Stitches have “legs”, inserting the latch tool back to front from behind the right leg will change the direction of the lean in the chain. As one enters the center of the stitch, the left leg is picked up by default. When latching stitches on the single bed after transferring all stitches to it, to keep bind off in the rib, on the purl stitches hook the stitch back to front (red line), on the knit stitches hook the stitch through the center (green line)Reviewing approaches to binding off with needle and yarn: working single bed is sometimes performed on the machine and is illustrated below working from left to right. It is referred to as back or stem stitch and “sew off” method, and is shared in many of the old machine knitting manuals. It is easier to achieve if after knitting the last row one knits at least 2 or 3 more rows in waste yarn to make the stitches more accessible. The knit side shows single loops in view upon completion. Dropping small groups of stitches off as one makes progress across the row may make the technique easier, helping with the placement of the other hand to hold the work. On the machine, the fixed distances between needles and gate pegs help to keep the tension even. The backstitching may be done off the machine, but maintaining even tension there may be a bit harder.

and here from right to left

Some references advocate this method for binding off the rib after transferring all stitches to the main bed. A row is knit across the transferred stitches prior to stitching through the now single thickness.

The process, whether executed on the machine or off, to my mind is easier with waste yarn knit after the transfers. Here is an illustration of single bed knitting removed from the machine.

The top of the last row of the body of the knit may then be bound off using a crochet hook or latch tool chain stitch using a continuous thread, or the needle and yarn sewing method may be used.  There is a limit as to the length of yarn used so as not to pose problems. Very wide pieces may prove to be a challenge, requiring more than a single yarn end to complete the bind-off. My own yarn end max limit for sewing up or off is about 18 inches

For folks who prefer to view videos, these are some methods on single-bed bind-offs offered by others on this topic:
latching off through looser stitches any KM, by Diana Sullivan my least favorite,
wrapping around needles, familiar to Passap owners, by Susan Guagliumi
several sinker plate bind-offs also by Susan Guabliumi. The very last method illustrated is my favorite go-to, around gatepegs whether single, double, or more, though I do it a different way.
Latch tool bind-offs without transferring both beds: 1. chaining through stitches on both beds
Knit the last row at a looser tension, and begin by setting it as high as possible in your first experiments. Knit a row to the left.
Lower the ribber slightly Begin on the side opposite the carriage and the yarn end, moving in a zig-zag fashion.
Go through the center, front to back through the stitch on one bed, moving it behind the latch, then go through the center of the stitch on the opposite bed, hold its yarn in the hook of the needle, and pull it through the previous stitch held behind the latch.
Continue latching until ass the stitches have been picked up and bound off. Break the yarn and pull through the last stitch to secure it.  adapted from Passap publications

Video: chain through each stitch on the machine by ArtOfClay.
2. transfer the stitches to the knit bed in Japanese machines, either bed on Passap, and after a plain knit row if textured patterns are in use.
Follow it with a last row of knitting, leaving all the needles on the ribber in work after the transfer.
Moving toward the carriage, using a latch tool, go through the center front to the back of the first stitch on one bed, moving it behind the latch. Then go through the center of the stitch on the opposite bed, holding its yarn in the hook of the needle, and pull it through the previous stitch held behind the latch. Continue across the bed, securing the last stitch.
In bind-offs such as these, the proper loops need to be latched through, or one may wind up with open stitches and no bind-off.
This Passap bind-off variation adapted for Brother machines is described in the post on fantasy fair isle patterning  3. Video after transferring to one bed, and taking off on waste yarn by BarbaraDeikeThis edited illustration, also from a Brother manual, expands on the one above, showing how the yarn is threaded through the stitches in numbered sequence according to the stitch configuration for the ribbed fabric 
 Using waste yarn on both beds: I prefer an alternative method for waste yarn scrap off, ending in place of circular or U knitting: knit the last row in garment yarn. Thread up waste yarn, and knit it at single-bed tension. Knit 4 rows on one bed, with a separate strand or even a second contrasting color of equal weight, and knit 4 rows on the opposite bed. Repeat alternating until there are more than 12 rows on each bed and scrap off. This will allow you to press the waste knitting only, and the flaps are opened up to reveal the tops of the stitches created on each bed. Finishing can then be executed as below.

Slip stitch marking row 1X1 rib: EON needle is transferred to the top bed.  From right to left: COR stitches that appear as knit ones on the purl ground are brought out to hold,  the knit carriage is set to slip from left to right, and purl stitches will slip.  Set the carriage to knit both ways, continue with waste knitting, drop the piece off the machine, and continue as illustrated in the circular fold-over method.

Here any waste yarn is folded over, exposing the tops of ribbed stitches. The threading and stitching sequence is numbered, illustrated for both one by one and two by two ribs. Depending on the planned seaming  choice, an extra stitch may be added on either or both sides of the knit so that half a stitch or a whole one can be absorbed into the seam, resulting in a continuous rib configuration on the outside of the garment 2X2 rib

For added information and settings, see later post: More on standard and modified 1X1 and 2X2 ribs

More on Brother DBJ, including KR 260 bulky KM options

Any repeat suitable for a 2 color 24 stitch DBJ separation published or self-drawn for a 4.5mm machine is suitable for DBJ on the bulky.
At times yarns ie 2/8 to 3/8 wools that knit stocking stitch at tension 8-10 on the main bed and are too thick for every needle rib on the standard may produce a fabric that is not too dense, and still has some drape at the lower tension settings on both beds on the bulky.
Electronic standard knitters can double the size of the repeat prior to separating the 2 colors and then work on every other needle on both beds, proceeding as usual for DBJ.
Thicker yarns begin to make too thick a fabric for wearables but may work well for other uses.
If some drape is required, the ladder-back method becomes the preferred one in bulky KM DBJ.
I no longer have available the bulky dbj samples from my teaching days, my 260 KM is not set up, so, for now, this post will not include swatch photos.
As always swatching is a necessity to determine whether the resulting knit is one that meets our expectations, preferences, and often, patience.

To review: the 260 KH carriage will be familiar to Brother punchcard 4.5 mm machine users and has the option for creating thread lace (“split” cam button in center position), which is not commonly available in Brother models.

The Brother 270 electronic knit carriage offers similar settings

There is no automatic method for eliminating end needle selection ie KCII, rather, adjustments for it are made on the underside of the carriage, as in other punchcard machines in terms of DBJ, the electronics allow for the familiar KRC 2 color separation KR 260 parts as described in the ribber manual, followed by possible settings for cam levers are illustrated below. The absence of lili buttons is immediately noticeable. There is no automatic every-other needle selection on the bulky ribber carriage shown, as opposed to that choice being available on the standard KM.

slip to right slip to left slip both directions tuck to right tuck to left tuck both directions

hand selection tools for either bed, 4.5mm on top,  sometimes interchangeable every needle selector for standard, operates similar to Jac 40, EON here for use bulky, adjustable 17.5-inch workshop cut model in plastic for 2X2 selection on bulky nowadays 3D printed custom options are also beginning to be available

The DBJ setting that requires the least intervention on either standard or bulky machines is the one produced with the separated motif being knit with the ribber set to slip all needles in one direction, and to knit every needle in the other. Reproducing the lili effect is accomplished on the KR 260 is achieved with hand needle selection. For birdseye, where every needle is in use on an even number of needles in work on the ribber, select every other needle on the ribber beginning with the second needle on the right for the preselection row, and push up to the holding position. The ribber carriage is set to slip both ways and will knit hand-selected needles as it makes its way to the opposite side. Now select every other needle on the ribber beginning with the first needle on the right, bringing those needles up to hold. Stitches on those needles will knit on the ribber as the carriage makes its way back to the left and to the color changer. Colors continue to be changed every 2 rows as in any standard 2 colors birdseye fabric. 

Ladderback or modified Jacquard is at times used on standard machines specifically for the effect created on the fabric reverse side, and most often used with bulkier yarns to be able to make a garment with more drape than it may have in regular jacquard, or to knit large designs with no long floats.
This technique on the KR 260 ribber involves hand manipulation of the ribber stitches to reduce the number of stitches formed on the ribber as well.
Ribbing is often set up to produce a band that is not hugely different in stretch and width than the body of a garment, with further transfers for the ladder back configuration when it is completed.
No more than one needle is usually in work on the main bed beyond needles in work on the ribber bed. If an additional needle on the main bed is required, it should be on the left-hand side.
The rib is knit as tightly as possible, tension is loosened as one progresses into the jacquard portion of the piece.
Common arrangements are 1X1, 1X3, 2X2, etc.
When needles are arranged in “even groups” ie 2X2, 2X4, 4X2, etc, the lili setting or manual needle selection to emulate it on the 260 may be used.
Tuck settings may be experimented with as well, but tend to create a more noticeable vertical line between ribbed repeats on the knit face.
The larger the number of needles in work on the main bed between ribber needles in work, the more the main bed tension needs to approach that used for the yarn when it is knit single bed. 

In the EON ladder back tension increases are usually necessary to accommodate the number of stitches knitting plain on either or both beds.
The hand needle selection must remain constant throughout the piece to maintain the birdseye backing or any of its variants, which are based on pairs of needles alternating functions every 2 rows. This is the illustration for the lili actions from one of the Brother ribber manuals:  The second needle on the carriage side knits with each pass, and the last needle away from the carriage knits. When hand-selecting the rule may be reversed.

Striper backing is achieved by selecting the same needle for each of the 2 colors used, slipping the opposite color needle locations. The first needle selection on the right is easier to track by marking the location of the first needle used on that side on the needle tape or needle bed as a guide for subsequent rows. 

The row counter will show double the number of rows than if the fabric were produced in Fair Isle. Four passes of the carriages complete one design row. The motif will appear elongated to a degree depending on the yarn and techniques used. Ladderback and vertical stripe backings may produce vertical separation lines in the fabric that may be quite noticeable depending on color, tension, and yarn used. Watch closely for dropped stitches or split ones. Splices and knots in yarn may tend to break due to the use of added weights and tension. Plan on adding new yarn at the sides and using the yarn ends to seam up, or use Russian join before the point at which a new yarn end is required, and continue knitting. The latter has become my favorite even in lace knitting on the standard machine. A recent tutorial on the technique may be found here https://www.mybluprint.com/article/this-method-of-joining-yarn-ends-is-pure-magic

Check the alignment and oiling requirements of machines frequently. 

Other backings: one color backing. The main bed is set as normal for DBJ, but the ribber is set to knit for 2 rows of one color and to slip for 2 rows with the other color. This means on any machine (unless using 2 electronic carriages as described in another post) the operator has to change ribber settings every 2 rows. It will now take 4 carriage passes to complete 2 rows of knitting. Floats will be formed in the non-backing color and may be caught on the ribber on slip rows, so check frequently, begin with small repeats, and always test new yarns, or even a different color or dye lot in the same yarn on swatches before committing to larger pieces. 

Patterned backing: selection of ribber needles in blocks of alternate colors, or selecting ribber needles in between those selected on the main bed applies here as well. Yarn thickness and end product serve as guides as to whether the fabric serves one’s purpose or preference.

In large areas of solid color on the garment face, if bleed-through is noticeable, a pattern of 2 black rows alternating 2 white ones may need to be programmed, with color changes continuing as in pattern areas. If the goal is simply to match density or drape, then continue in settings used for the design area without color changing. Most punchcard double jacquard separations and “rules” apply to both standard and bulky machines.

Later posts: ribber bind-offs at first, and casting on. I was never quite content with ribbed edgings on my bulky knits. There are always several options for achieving a look that pleases us more, or a technique that will alter the unwanted results. In this instance, one is to knit a row on the main bed after several rows of waste yarn, continue with the body of the garment piece, rehang that first knit row, knit the rib upside down, and bind off. The latter can happen on the machine, by hand, off on waste yarn with a “sewing” needle, or removing the work onto hand knitting needles and going that route. The 260 ribber manual recommends the following method. 

Having the waste yarn U style with an opening on the right with the bind-off beginning on that side, or finding a way to mark the first needle on the ribber in the sequence may make finding that needle position easier when the knit is off the machine.

This illustration, also from a Brother manual, slightly edited, shows the sequence for how the yarn is threaded through the stitches in numbered sequence according to stitch configuration for the ribbed fabric