Category: Machine knitting (MK)

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

Ribber fabrics with main bed tuck patterning 1/ pick rib

I have often wondered where the pick rib name originated. The stitch has also been referred to as punch-tuck-rib by Studio, and simply tucking pattern by KR by Brother. FB shares by others in the MK group may explain the origin of the pick rib name in part. The manual for the SK 101 mentions the single bed pick stitch and explains the difference between tuck and pick.
It appears as though pick knitting, in this case, is what we know as knitting using the hold position combined with hand selection of needles. Since the illustration is for a Studio machine, Russel levers are mentioned. They allow for holding stitches in one or both directions.
In Brother, holding works in both directions by default. The D needle position in Studio is the same as the E position in Brother, where the letter C was skipped when alphabetizing needle position markings on the metal bed in machines I have been familiar with. That said, models dating back to the 50s, such as the Brother 550, did use 5 A-D positions rather than the later standard 4. C was intended for use with the “picker  Position C: multi-pattern. To obtain needle position C, raise the needles to E and then return them to C by having the picker shift from left to right so that the stitch rides on top of the closed latch. This position is used for shaping polo, round, square, and V neck sweaters, for berets, doilies, and in certain patterning. It appears as pickers were removed from knit carriages, so was the needle position C marking on the needle bed.
The identical pattern in later model machines may be produced by using the tuck setting. The image below shows the punchcard partial repeat and the isolated electronic repeat for use with the tuck setting. An early needle selector to help speed up the process  The Knitmaster 302 was an early pushbutton model The knit carriage appears to use “pick” as the name for what is now more commonly knows as the tuck setting. A downloadable punchcard set
Tuck stitches on either bed will force apart the space between vertical rows of stitches in every needle rib, whether the tucking is executed on either or both beds, in one or 2 color knitting. The fabric lies flat, and depending on the fiber and thickness of yarn used, the effect can be lacey and have a lovely drape. In published repeats, often tucking does not happen for more than 2 rows, making knitting fairly “safe”. When using thinner yarns elongation may be used to force the fabric even further apart for a more “open” look. Patterning in suggestions below occurs automatically, and usually on only the main bed.
Needles out of work may be planned within repeats to produce a fabric with knit textures on both knit and purl surfaces. There are designs in pattern books that are promoted as being specific for this purpose, but nearly any tuck pattern may be used once limitations are recognized.
If knitting with very fine yarn, the close-knit bar is recommended.  With the ribber knitting every row, using an end needle on each side of the ribber allows one to cancel end needle selection on the top bed and maintain patterning and clean side edges.
In Brother knitting, the card lock position is on the dot to the right of the card, the small triangle is used to advance the card every row, and the longer triangle advances the card every other row. For explorations, for a start, set the card lock lever to advance normally Note that the Brother reader is working 7 rows below our line of sight on the exterior of the KM. Most punchcard books and some machine manuals list the suitability of patterns for use with tuck patterning. If using a repeat published for a different brand it is good to be aware of any marking for starting rows being different. For example, in Studio KMs, the starting row for the pattern is 5 rows below the exterior of the machine bed, so if using the repeat in Brother, begin on row 3. Any pattern where single-row tucking is the overall composition may be elongated. Keep good notes for unusual arrangements. The starting side does not matter unless the plan is to change color every even number of rows; then one must perform the first preselection row toward the color changer.
The advice from the Brother Ribber Techniques Book and the KR850 ribber manual, respectively is shown below.
Another alternating 3-row tuck pattern, this one followed by 2 knit rows after each tuck sequence, the appearance varies depending upon yarn thickness choice and color. Knit in thin yarn, stitches got away from me the more successful swatch, using thicker yarn An often forgotten accessory: (I admit I have never used them)

The fine knit bar for using thin yarns

Typical patterns for the fabric from punchcard volumes, some with side-by-side tuck formations.

In electronic patterning, a single isolated repeat will suffice. The punchcards illustrated above show the minimum required length for each.
In matching needles out of work on electronics, it matters whether the default setting produces what is seen on the card on the purl or the knit side. Flipping the repeat horizontally may be required.  “Air knitting” with needle selection can help plan the exact location on the needle bed, as well as repeat width and in choosing the location and type of side edges. Having every needle ribbed with vertical stripes on each side will help the finished knit edges lie flatter.
Using a card in as many variations as possible is a good way to explore maximizing the work entailed in punching all those holes. Testing stitches does not necessarily require the use of the best yarn or favorite colors until and when a gauge swatch is needed or one commits to a particular variation. One card may be used in many ways: ER represents every row rotation, EOR every other row or twice as long. The full punchcard: The electronic repeat, 12X60, is also tiled to check its alignment.  Settings for both beds: notice the decrease in width with the introduction of the slip stitch setting.
The repeat tucks for two rows throughout, so that color changes can be attempted every 2 rows. One side of the fabric may be more interesting than the other, the added color may result in a muddy look, on the purl side as in this case Changing colors, adding plaiting, varying yarn thickness, can alter the look considerably  Because, in most instances, the ribber is set to knit there are stitches on the ribber holding down tuck loops on the main bed, and typical tuck configuration rules may be broken. One such pattern to try: the punchcard repeat and the electronic one are identical The differences in appearance: using a 2/8 wool the knit is fairly packed together while using a 2/18 silk wool, knit at tension 3 both beds, the fabric appears far more open, shrinks considerably in length when off the machine, and is very stretchy in width. Here, the swatch is knitted on 40 stitches by 64 rows, relaxed, with no blocking, and it measures 12 inches in width and 3 inches in height. Again, loose cast-ons and bind-offs are required and should be tested on swatches for stretch and appearance. Adding color striping A closer view of the stitch structure:  Using the stitch type to create edgings or ruffles See “tuck lace” fabrics for some variations with top bed patterning also using sporadic needle transfers to ribber.

 

Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages

When switching between N/N and tuck/ tuck on the ribber it is not necessary to switch the tucking lever from its up position to the lower one. The ribber will knit every row when used in either of these settings It is possible to knit this type of fabric using color separations such as those seen for one type of DBJ where color one for each design row knits 2 rows, followed by color 2 for corresponding design row also knitting for 2 rows. Each color may be drawn and programmed once, followed in turn with elongation X2 on both punchcard and electronic machines. I prefer to work with the elongated images, believing it makes it easier for me to correct errors or knitting problems, should they occur. This color separation is the default on Passap. In Brother electronics, it would need to be hand done and programmed. It is best to start with simple shapes. This triangle series has been used in several of my previous posts. The chart shows the transitions in the process

Brother DBJ settings using tuck on either bed, not addressing hand needle selection on the ribber for the production of reversible fabrics. The yellow color highlights cam settings that require changing by hand for every other pair of knit rows and making the changes with each color change. With the exception of the bottom 2, the same settings were used in some of my brioche variation experiments. The resulting fabric, knit in reverse order from the chart (top setting down to first). The dropped stitches happened when I did not notice the ribber weight was resting on the floor, with no resulting weight on the fabric. There are single repeats of each motif. Two more possible DBJ variations

A full range of DBJ variations of the same repeat, including ones using slip stitch and shared in a previous post, executed in both one and 2 colors Passap knitters have the option of arrow keys and stitch type on the back bed that makes fabrics possible with ease that is daunting to reproduce on Brother machines. There is a category search on my blog that will lead to a collection of posts on the topic of knitting with 2 carriages selecting patterns.

I have often considered the possibility of using 2 coupled knit and rib carriages for some of my patterns but found it limited knit width because of carriage stops on the ribber bed, the unwillingness to have my ribber carriages fly off the bed, and the added limitation imposed when both carriages are selecting needles. Now that setting changes were required every 2 rows on the ribber I found a solution of sorts. It is one of those try at your own risk tips, but for me, it made several of the last swatches in brioche achievable far more quickly and accurately.
Brother ribbers have a stopper pin on each end that will not allow for the ribber carriage to move beyond a fixed point or to be removed easily, requiring tilting the carriage forward to do so I have long ago removed both of mine.  As in any knitting with pairs of carriages, when needle selection is happening from opposing sides, the turn marks need to be cleared on each side of the machine as the opposing carriage begins to move across the needle bed to avoid breaking the belt. I happen to be knitting present swatches on my orphaned 930, which still knits producing interesting sounds. It came with no carriages. I am actually using a knit carriage from a 910 and one from my 892E punchcard machine, with a magnet glued to the proper location facing the rear rail. I removed the stopper pins from either side of the ribber bed, placed lace extension rails on both sides as well as the color changer with all change buttons released as seen in this illustration. On the left, as the carriages move beyond the end of the needle bed, the return signal lever is tripped, making a characteristic noise. At that point, the turn mark on the left has been cleared, and it is safe to operate the carriages from the right toward the left
The right side of the machine is more problematic. The extension rail will store the knit carriage safely, but the ribber carriage has to move out enough so without its stop it would fall to the floor. My solution was to jerry-rig an extension at the appropriate height so the ribber carriage could slide out as much as needed while being supported. I was able to knit the hundreds of rows required for many swatches with no problem other than operator errors. Here the pair of carriages on the right are seen resting far enough off the machine to clear the belt, at an adequate height for them to slide off and on easily. At first, I secured the connecting arm to the connecting pin with an elastic “just in case”, but that proved unnecessary. 

I have been asked lately about the lili setting used in all my ribber carriage illustrations (center position). I tend to use that as a default to prevent errors and for consistent quality in my ribbed fabrics, especially if matching gauge ie in garment pieces or bands are needed. That said, for the carriage to travel far enough on the right in this setup, the slide lever had to be used on I. The plastic tray helped reach the appropriate height and made for easy slide off and on. There are a few minutes of maneuvering when setting up the first selected row. As always it is good to begin with familiar yarn and previous experience with double bed fabrics.

Some of my own operator errors are due to the fact that I still am not used to the fact that the 930 appears to revert to factory defaults with each new design entered, that I have to remember to switch from isolation to all over, that the image is reversed on the knit side like on punchcard machines unless the reverse key is used. I spent decades using the 910, where once the selections were made and once the pattern variation buttons were set, that became the default until buttons were changed for specific applications.

Double jacquard motifs in multiple styles, shapes, and sizes may be knit with variations in tuck settings. My post on a-return-to-brother-ribber-and-dbj-settings/   reviewed many of the possible cam configurations as well as working with multiple and even altered carriages. Passap machines have the added benefit of far more patterning than Brother on their back bed, the equivalent of the Japanese ribber. I am still obsessing over 3D folding effects, racked herringbone is back on my mind, as well as tuck ribber settings on Brother if one is willing to hand manipulate needle selection. I have been browsing through some of the directions in Susanna’s book again. For anyone unfamiliar with it, it was published first in 1986 and is the ultimate textbook on knitting fabrics on punchcard machines. It predated most electronics. Susanna continued to write for magazines and later addressed electronics in those articles and in her teaching lectures and workshops. This shows the cover of the paperback version. Over the years as many folks have written on DBJ, the separations have been named with some variations. In Susanna’s book, the original design is referred to as punchcard type A, the KRC separation built into Japanese machines is classified as Type B. This image shows the now-familiar series of triangles used in many of my blog posts on DBJ including at the start of this one. It is illustrated as the original repeat, then the separation is shown with either color represented by black squares. One of the peculiarities of this separation is the single-row color start. One may choose whether black squares or white squares knit first based on the pattern itself rather than simply on the convention in their specific machine brand. Color reverse in electronics is easy, but the function cannot be combined with KRC. It can easily happen if the separation is completed in software, prior to downloading the final repeat and knitting it. If a punchcard is used, simply exchange positions for each of the 2 colors in the color changer and follow the usual sequence. Designs must have an even number of rows. Susanna classifies the subsequent separations as C1 and C2.  Because each color in each row knits twice, there may be an odd number of rows in the initial design repeat. I am often asked as to why a type C1 or 2 separations would be a boon to fabrics made on Japanese machines. The options for new settings and resulting variations in the knit surfaces on both sides is increased many times over. These are some of Susanna’s suggestions for using the tuck setting in DBJ and begin to illustrate the point.

Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2

Over the years I have avoided ribber fabrics that involve hand manipulation of stitches in addition to patterning. Runaway stitches are hard to see and repair.

In these fabrics, transfers are made by hand with multiple transfer tools. As stitches are moved, the last of the stitches transferred on the purl side (in this illustration 4 stitches), one will lie directly behind one of the stitches on the main bed (marked in red), sharing the same needle hook space. As the next row is knit, the needle emptied by the transfers picks up a loop. The following knit carriage pass will complete the stitch on the needle holding the loop, and the eyelet.

There is often confusion about the terminology, English, or half fisherman rib has only one bed tucking every needle, in a single direction, with all stitches knitting in the opposite. Here that bed is the ribber, the knit carriage is set to knit throughout. Illustrations from the Brother Ribber Techniques Fisherman, aka full fisherman rib, is a tubular tuck with each bed tucking in one direction, knitting in the other My recent posts reminded me of a repeat from an older Brother punchcard pattern book that combined lace transfers and fisherman’s rib. The original repeat is shown on the left, designed for use on punchcard machines.  In this instance, the main bed knits in one direction and tucks in the other while the ribber knits every row.  Stitch and tuck loop combination transfers are made every 4 rows, prior to knitting that row in the opposite direction. The machine is set for half fisherman’s rib. Tucking happens on the top bed on all needles in one direction only, the ribber remains set to knit both ways throughout. If all transfers originate on the same spot, a vertical line of eyelets is produced

Can plaiting give me 2 colors the “easy” way? If transfers move to the right or the left, an arc will be createdAiming for the punchcard pattern book inspiration I began at first by marking up the needle tape with a water-soluble pen to help track repeat segments After a short trial swatch I sought to automate needle selection to serve as a guide for moving stitches across the needle bedThe main bed is set to tuck in both directions. White cells tuck, black cells knit. Rows in Brother preselect for the next row with each pass of the carriage, so on even number design rows as the carriage moves to the opposite side, all needles will form tuck loops on the main bed. The next row will be preselected, with some needles now back in B rather than D position. With an appropriate transfer tool, move the stitches on the nonselected needles to the adjacent selected needle to their right after pushing it back to the B position. After each transfer, push all worked needles and their stitches as well as the now empty needle to the E position. As the carriage returns to the opposite side an all knit row will be completed. Several tension adjustments may be needed to ensure loops do not get hung up on gate pegs as stitches move across the bed, while still being loose enough to knit off properly.

The charts below reveal planning for a more complex fabric, a 2 color repeat with mirroring of the original above, colors are changed every 2 rows with setting changes on the ribber. For more detailed instructions see 2 color ribbed brioche stitch on Brother knitting machine 1.
Seeking new geometry, the repeat “inspiration” is mirrored horizontally. The final repeat is on the far right. The knit carriage is set to tuck in both directions throughout. On white cell design rows the main bed tucks, and the ribber is set to knit. For added directions see 2 color ribbed brioche stitch on Brother knitting machine 1. On most or all-black cell rows, the main bed will be knitting, the ribber is set to tuck. In this fabric, the transfers are made on knit stitches created on the previous row prior to moving the carriage back to the opposite side. All transferred stitches and the empty needle are brought out to the E position prior to moving the carriage to the opposite side, which will be creating the second all knit main bed row. Transfers are made every 8 rows, with pairs of transfers being made toward each other, no longer all in the same direction as in the single color sample The central repeat is color reversed to achieve the final repeat on the above right in order to produce those transfers on knit rows. The final row count needs to be a multiple of 4 rows in height. Here is a 2 widths 36 stitch X 32-row repeat chart The extra line seen occurs when one forgets to reset the ribber to tuck, and stitches are all knit on a “wrong row”. It is by coincidence that they seem to occur in the same spot in the repeat more accurate knitting  On the bottom half of the swatch below the difference is the result from when one carriage knits every row on both beds, requiring a change on the knit carriage as well, canceling its tuck setting with every other color change The last repeat may be flipped vertically as well. It then needs to be edited so those white squares land on the row after an all knit row, not below it. The final repeat on the right is 36 stitches wide by 64 high. There are still 8 rows between transfers. On the left is the first resulting chart, on the right the amended chart places selection for transfers on the proper row. the germ of one last idea, the repeat 14 stitches wide by 96 high, max transfer seven stitches (odd #)playing with ideas a bit more, max transfer six stitches (even#)

This was my attempt to shoot for a recurring shape and planning on having transfers land on like color, the repeat is 8 stitches in width, 112 rows height. Six stitches are the max number transferred. More would give a wider curve, the final repeat would be exponentially longer its reverse side :
When the main bed tucks in both directions with one color, knits in both directions with the other: I did try to eliminate those lace holes. On the right of the swatch as shown below I threaded a needle and attempted to close the eyelets with stitches, getting closer to the line one might get in a hand knit. On the left, I hooked up loops to fill the empty needles. The latter changes the intersecting lines completely
picking up only the white yarn from the tuck loop below the transfer bringing filled in needle back to E position prior to knitting next row the difference in intersecting lines at the outer edge of my intended shape. This is what happens when a new design is being tested, and the lili buttons “accidentally” happen to be engaged on the ribber

Tuck stitch meets thread lace repeats and vice versa

A recent share in the Facebook machine knitting group led to this blog post by its author <https://www.knittingmachinemuseum.com/single-post/Knitmaster-580-Electronic>

The inspiration fabric led to ideas for recreating it on a punchcard machine, and my own trip down that rabbit hole led me to think about the relationship between tuck stitch designs and thread lace ones.

Not all Brother knitting machine models were equipped with the capacity for thread lace. The 260 bulky happened to be one of those models, which were manufactured with 2 MC buttons seen in this illustration

Studio manuals refer to the fabric as punch lace. Early pattern books including ones for electronic machines provide a large range of pattern repeats for such fabrics and can be design sources for other knit stitches if one understands the structure being created. A quick “hack” to help keep the B position yarn from jumping out during knitting, taken during a different experiment In tuck stitch, the unpunched areas, white squares, or pixels represent loops created on non-selected needles, punched holes / black squares, or pixels represent knit stitches. In punch/ thread lace those white areas knit both thick and thin yarns together, while in punched holes/black square or pixel areas the thin yarn knits on the stocking stitch side of the fabric, with the thicker yarn floating behind it. Depending on fiber content, gauge, etc. the illusion of eyelets can be created. This is half of a Brother punchcard repeat, suitable for thread lace, reworked for knitting the design in tuck stitch. That is, in turn, doubled in length to allow for color or yarn value changes occurring every 2 rows. The resulting swatch is tested first in 2 colors to prove the repeat, then using clear serger thread as one of the 2 “colors” for a very different effect than blends that of both fabrics.

Looking at design sources for possible redesigns for the alternate knit fabric: published punch lace cards

published tuck stitch cards DIY a place to start is with simple color reverse punch lace to tuck test. Not suitable are any areas with lots of side by side white squares. In the bow solid lines those could be modified, most of the repeats in the colored swatch segments of the published charts are unsuitable.

Once the chosen repeat is isolated, the punchcard can be further edited for electronic knitting. Tuck to punch lace: any of these would be worth a test, some results may be very subtle.From punchcard repeat to electronic: strong black and white images that have punched holes represented as dots may be the hardest to process quickly in Gimp. It is best to isolate the single repeat. Some clean up of the gridded image may be required. Test the latter by tiling it. Color reverse the single it if that is the original goal, using the built-in function in electronics or punching black squares in cards.

Not to be forgotten: the easy variations for visualizing results with a few clicks of a mouse,

and an added source for both stitch types are slip stitch patterns in suitable configurations

A previous post on editing repeats such as the above using Gimp, and one on superimposing shapes onto a mesh ground that may be the springboard for superimposing self-drawn shapes on tuck or thread lace suitable backgrounds 2023: using StitchWorld # 545, 56X40 pixels
Knit as thread lace Color inverted for working in tuck stitch used single height purl side on left double height  Lastly, review of  thread lace on Brother machines
and for a completely different knit fabric, using the double height initial design, 56X80 pixels   thread lace repeats to produce transfer lace designs  

Revisiting use of lace patterns Studio vs Brother machines

2011: There are several brand KMs still around and in use, most are no longer being manufactured. Questions often come up on how to use one KM brand pattern card on another. Card readers inside the machine are below eye level, so exterior number/other markings on cards or mylars reflect that, providing the knitter with a visual cue as to where they are in the repeat. If machines pre-select, the needle selection may not bear any relationship to the actual design row on the punched card or mylar as opposed to what one sees. In addition to this variable in lace one often has 2 carriages in use. It is possible to develop cards etc. from lace hand knitting graphs, but there is enough going on so a good place where to start experimenting is with pre-drawn ones. Lace preselection on any single row may have no obvious relationship to where the lace hole will ultimately end up.
Here are some random facts gathered from both sources and experience, they are applicable only if the knit carriage is set for plain knitting and no other function ie. slip or tuck is involved; plain knit rows do not advance the card reading mechanisms. In mixed structure fabrics, the rules change.
The Brother and Toyota lace cards can be used on studio punchcard machines as long as they are patterns which have 2 blank rows after each transfer sequence
Brother and Toyota have u shaped arrows to identify when to knit with the knit carriage, both brands read cards 7 rows down
The first row on Brother is transferred from right to left, while on Toyota it is transferred from left to right; Brother and Toyota cards are interchangeable provided the card is mirrored vertically (or a simple cheat: use carriages on opposite sides of usual)
For Studio knitting find the row number of the U shaped arrow and circle the 2nd and 3d row below that row that number to identify rows in which carriage is changed/set to knit
Brother knitting ends with 2 blank rows
Studio starts with 2 blank rows
on Studio begin brother card by locking card 4 rows before row 1, on row 3
Brother/Knitking lace carriage does not carry yarn, does not knit or trip the row counter; the stitches get transferred in the direction that the lace carriage is being pushed
Studio/Singer has a lace carriage available that transfers as it knits; on more complex laces one is sometimes instructed to set the carriage not to knit for a specified number of rows, the yarn may be removed, other adjustments are often required
though Studio and Brother lace cards are not directly interchangeable; aside from the numbering issue the transfer method is different, so a studio lace card working on a Brother or vice versa is a happy accident and likely to result in different fabric
Brother information is applicable to its new clone, Taitexma
A few references :
Machine Knitting: the Technique of Lace by Kathleen Kinder
Knitting Lace and A Machine Knitter’s guide to Creating Fabrics by Susanna Lewis
Machine Knitting: the Technique of Pattern Card Design by Denise Musk
John Allen’s Treasury of Machine Knitting Stitches
The Harmony Guide to Machine Knitting Stitches (their Colorful Guide to Machine Knitting Stitches does not include lace)
322 Machine Knitting Stitches (Sterling Publishing,1988)

2013 In this instance I am exploring the use of punchcards that are designed for transferring and knitting at the same time as seen in Studio simple lace in machines such as Brother, where the operation is the result of using 2 different carriages.

The studio card used the resulting fabric The method: both carriages are used to select needles, use lace extension rails on both sides of the machine. Cancel end needle selection on knit carriage underside if possible, or push end needles back manually if needed to avoid their corresponding stitches being transferred throughout the piece. Set up for knitting the pattern as usual, punchcard row 3 (marked in pencil) becomes row 1 of the design when the above card is used in the Brother machine. The arrows always indicate the direction the lace carriage will move across the knit to make transfers in the direction of that same arrow.

  1. 1. begin pattern knitting with COR, card locked, change knob on KC, no cam buttons in use. This will result in needle selection, but the fabric produced is in stocking stitch. The lace carriage is engaged on the opposite side, and moves toward the knit carriage to make the transfers, as it travels across the bed the now empty needles will once again be in the B position.
    2. (lace carriage) travels back to the right and is released off the machine (same needle selection appears, but those needles are now emptied of yarn)
    3. COL: KC moves left to right, knitting the single row, all needle hooks are now full, and new needle selection occurs
    4. LCOL: makes transfers toward the knit carriage, and then makes a second pass to return to the opposite side and is released.
    These 4 steps are repeated throughout the knitting, with the knit carriage knitting and selecting, the lace carriage following its selection to make the required transfers. Not every transfer row will match the direction of the arrows as marked on the studio punchcard.
    If there is no pattern needle selection with the KC pass on any row(s), continue to knit until there is needle selection, and begin the process using lace carriage to transfer toward the knit carriage from the opposite side and once again releasing it after its second pass.
    A caution: hesitation and reversal in the movement of carriages in Brother machines advances the card in the reader, and results in mistakes in patterning; if errors are to be corrected or such movements need to be made for any reason, it is worth locking the card, checking row numbers, remembering to release the card before continuing, and visually checking pattern after the next knit row.

2013: While working out yet another HK to MK lace pattern, I sorted out the following method for using Studio simple lace on the electronic KM. It is a method that does not work on the Brother punchcard to produce the same fabric, however; on punchcard machines, as either carriage is moved to select from the opposite side of the bed, the card will not advance on the first pass, interrupting selection. I tried a swatch and got a very different lace design; depending on the starting pattern the results may be interesting (do not use elongation), but not the ones intended to match any original.
The knitting samples shown below were knit on a Brother 910. On electronic machines, as seen in previous posts on knitting with 2 carriages, the mylar (or otherwise programmed) repeat advances a row with each pass of the carriage, no matter on which side of the bed the pass originates. Dropped stitches are harder to repair in these fabrics than in patterns for multiple transfer lace (there knitting can be unraveled to the start of a sequence where 2 or more knit rows usually occur), so checking transfers, gate pegs, and adjusting stitch size and weights matter even more. There is no need to mirror the image horizontally if using a mylar; draw repeat as it is on punchcard, all variation buttons down
start knitting with KC (knit carriage) on left, Lace Carriage (LC) on Right program pattern double length on the first row the LC selects, the next row it will transfer; LC always makes 2 passes first toward the KC, then away from it, even if those 2 rows in repeat have no needle selection. It is then removed from the bed to be returned to the bed on the opposite side after the knit row with KC that follows. In summary:
KC knits a single row to the opposite side
*LC is placed back onto machine opposite the KC to make 2 passes, is removed.
KC follows with a single knit row to the opposite side*.  * to* steps are repeated
3 total carriage passes complete one row of knitting.
The preselection is repeated on the empty needles where stitches were just transferred.
The chart below shows actions and placement of carriages  This sample was knit beginning with lace carriage on left, as can be seen in marked areas, the alternating repeats have a different quality in the sets of transfers marked red vs green 
The successful swatch knit beginning with KC on the left, and LC on the right in the method described above April 2019 I attempted the same repeat on the 930 with img2track. I mirrored the repeat horizontally and elongated it X 2 prior to knitting it. The arrows in the chart indicate the movement of the lace carriage, beginning with the first preselection row from the left I had issues with the proper needles being selected (proofed also in fair isle), but with random stitches not being transferred. A switch in lace carriages, needle retainer bar, yarn, did not eliminate the problem. I finally had to perform some of the transfers by hand. This swatch also shows the joy of missed dropped stitches in lace knitting, the yarn used is a thin acrylic.    Different year (2023), even thinner yarn, with the image mirrored horizontally on the 930 using the method described above, the new knit proof of concept:  

An interesting method using 2  electronic lace carriages found on youtube. The repeat used in the video is a variation of the one used in my sample above, programmed using img2track. The repeat is mirrored prior to knitting, there are extra knit rows to allow LCs to continue the pattern from alternate sides. The machine being used appears to be a 930. The requirement for mirroring of any pattern may depend on the model of electronic KM used to knit the lace and whether the download appears as drawn on the purl or the knit side of the piece  A comparison of my repeat using a single LC and the Knitlabo pattern expansion  including memo options for use with 2 lace carriages

Studio transfer lace on Brother bulky and standard machines
Studio multi transfer lace punchcard use on Brother punchcard machines
112, 113  113 has single rows between repeat segments, requiring added manipulation of the knit carriage
the 24X48 png
On a 930 with img2track use the # 1 variation key with the pattern repeat as shown, or flip horizontally before downloading.
Ayab knitters before the latest software release: mirror repeat, tile repeat width across the number of stitches to match the number of needles to be used in your final piece. There will be no needle selection at the end of each sequence, signaling the need to release the LC, knit one row, and continue with LC brought to the opposite side. This is a very fussy knit. At several points, it is loops formed on previously empty needles that get transferred rather than full stitches. They love to get hung up on gate pegs. It took a significant amount of time to produce a proof of concept swatch. It is a lovely lace. Knitting it on a punchcard would give one the luxury of frequent pauses and markings to make for additional clues
LCOL  9 passes, release
KCOR knit one row to the left
LCOR 7 passes, release
KCOL knit one row to the right
LCOL 5 passes, release
KCOR one row to left
LCOR 3 passes, release
KCOL knit one row to the right
In # 112 there are the standard pairs of rows between transfer segments. The punchcard pattern is composed of two 12-stitch matching vertical repeats, here 1 of the two halves is shown rotated counterclockwise. The additional extra knit rows in the Studio design have been eliminated. If knit as given this overall appearance will be different than that in the swatch pictured in the source. Brother machine knitters would need to track the midpoint location in the design, after the first 50 carriage passes, to place those extra knit rows, making six passes with the knit carriage rather than the standard 2. The 12X104 png, on a 930 with img2track remember to use the # 1 variation key  If one makes a choice or is required to repeat the width of the design to the number of needles used on the needle bed, it is easy to accidentally use the pencil in a paint program when working between windows. This test swatch clearly shows selection errors on a side edge only.   One way to check the repeat, handy when repeats are much larger or visually confusing: open the faulty one in Gimp, working in RGB mode, select by color and change black pixels to red, and make the white background color transparent by using Layer/Transparency/Color to Alpha. Open a new image, and carefully draw the design in repeat once more in the same location as in the first work window. Copy and paste the red pixels onto the black, revealing the missing pixels and the associated transfers on that edge.  Fill red pixels with black, return the image to BW indexed mode, and save the new PNG to knit the piece.  Redesigned for use on Brother machines with the LC operating from the left and the standard 2 knit rows between each design segment the 24X56 png knit mirrored horizontally on the 930, using a 2/18 wool comparing both versions a cousin version executed as a bulky knit

Yet another method, illustrated in Swatches based on adapting random online published repeats
Mesh experiments using thread lace punchcards. This image also illustrates the yarn lines created in the eyelet spaces: a single thread when single rows are knit between repeats and twisted double threads when 2 rows are knit between transfers.  A later experiment Using StitchWorld #545    

Geometric shapes on ribber fabrics with tuck stitches 1

The previous post elicited a Facebook query as to whether it might be possible to create solid shapes within the field of brioche vertical stripes. The inspiration for the query was a hand-knit pattern published in Ravelry 

https://www.ravelry.com/patterns/library/pariss-brioche-scarf

Many terms are used in instruction manuals and published directions. In my notes I will refer to fabric with tucking on both beds as full fisherman rib, tucking on one bed only as half fisherman. These were my first attempts at exploring the inspiration idea, the fabric has inherent differences as it requires both slip and tuck stitch settings, so technically it is neither fisherman. Knitting happened on a random drop stitch day, which explains the patterning interruption errors.When attempting to knit isolated geometric areas on a field of frequently tucking stitches, automating the task when possible makes the process easier and faster. This was my first “diamond” pattern repeat, suitable for a punchcard machine as well. The design is illustrated on the left, converted to punched holes/black squares/pixels on the right  The knit carriage is set to tuck throughout. The programmed repeat will alternate the knit/ tuck functions across the bed based on black squares, punched holes, or pixels.  For full fisherman rib (top swatch) the ribber needs to tuck in one direction only, opposite to the action taking place on the main bed. A choice needs to be made on either of these 2 setting directions based on needle selection on the main bed and stays fixed throughout knitting. The ribber is set to knit on even-numbered design rows on the card, to tuck on odd. Row count numbers may be different than design row ones depending on row counter settings by the operator or built KM ones. Below are tuck settings for to the right on top, to the left on the bottom.

For half fisherman rib (middle swatch), the ribber is set to knit with every pass.

Note the half fisherman fabric is narrower than the full. Also, I am not used to my 930, overlooked that the machine was set for isolation, so its bottom diamond-shaped repeats are incomplete.

In the bottom swatch, I tried to produce a more distinct shape on tubular tuck created with only knit stitches on both sides of the fabric. Hand selection on the alternate beds on all tuck rows produced knit stitches in the desired area. A needle out of work made it easy for me to find a proper location on the needle bed.

Getting back to automating at least part of the process for such shapes: the repeat needs to be altered main bed will be knitting the black squares in the chart on the right on every row, tucking the white ones. When the ribber carriage is on the side appropriate for it to tuck the following row and no needles are selected in design segments on the top bed (odd-numbered design rows, ones with the majority of black squares, tuck may not be used in those locations because then the resulting stitches would be tucking on both beds with nothing holding the tuck loops down.

bring all needles between selected main bed needles up to hold on the ribber so that they will knit while the remaining needles tuck on the next pass of the carriages.

In my sampling, the ribber was set to tuck when moving from right to left. Below is the resulting swatch, shown on both sides. Part of one diamond shape is missing due to the fact I was concentrating on moving needles around and missed the change in selection on one side of the machine. Back to the original method used in the previous post where ribber settings are changed from knit to tuck <– –> every 2 rows along with color changes. I chose a design that would make it easy to identify the location of non-selected needles on the main bed in rows where the ribber will be set to tuck in both directions. The result is interesting, but the solid areas, narrower than the remaining knit, are in the opposite color to the dominant one on each side, the reverse of the inspiration fabric.
When needles are not selected on the main bed, interrupting the every needle selection.  Bring all needles on the ribber between selected needles up to hold on each of the 2 passes from left to right, and right to left. Stitches on those needles will knit rather than tuck resulting in this fabric The first swatch at the top of this post was achieved going a very different route. Two knit carriages were used to select and knit from opposite sides of the machine. Each carried one of the two colors. When working with the first color and coupled carriages the main bed is set to tuck <– –>, the ribber to knit <– –>. The second color is knit using the main bed knit carriage only, set to slip <– –>. A knit sinker plate may be altered and used so as to knit on the main bed only rows, adjustments to it are shown in the post: 2018/04/15/ribber-fabrics-produced-with-2-knit-carriages-selecting-needles/. The chart for my working repeat with a multiple of 4 rows in each pattern segment, color changes every 2 rows indicated on right trying to produce a diamond shape using this technique, my first repeat had arbitrarily placed pixels: the cam settings on the right of the swatch images correspond to those used in each swatch segment. Colors were changed every 2 rows throughout. The first 2 rows in the pattern were knit in a tuck setting, followed by 2 rows knit in slip. In segment B when no needles were selected on the top bed, all those needles were brought out to hold before knitting to the opposite side. Because every row is now knitting in the corresponding color changes the result is a striped pattern. Segment C is knit with both carriages set for 2 rows as in C1 alternating with knit carriage only set as in C2. At that point the color being carried knits only on the ribber, skipping non selected needles on the top bed, avoiding the striped result. A float is created between the beds in areas where no needles are selected that will be “hidden” as one returns to knitting in rib with 2 carriages. The arrow in the chart points to an area where two colors were picked up with the color swap rather than one. The resulting swatch samples

Analyzing the result in section C: the diamond is the same color on both sides, whereas the initial rectangular shape experiment reverses the colors. Reworking the diamond repeat in segments that are each a multiple of 4 rows:  Other considerations in DIY designs. The background repeat for this pattern is actually composed of units 2 wide by 4 rows high. If the pattern is intended to be repeated across a larger number of stitches on the machine bed than that in the chart, it is always worth tiling the image to pick up any errors (sometimes happy design features). Tiling in width readily shows an error tiling in height as well proofs row intersections as well tiling the corrected width repeat, now 42 stitches wide by 72 rows high sometimes tend not to keep immediate notes when I test ideas, which often comes with a price. I knit my first swatch using this repeat beginning the pattern with 2 rows of tuck, resulting in this fabric (and some randomly dropped stitches once more) with the same color diamond on both sides:  Beginning the pattern with 2 rows of slip stitch on the main bed only mirrors the swatch at the start of this post. Where no needles are selected on the main bed, with passes of the combined carriages, two rows of tuck will now be produced, resulting in the wider geometric shapes and the increased bleed through  The tuck loops created by the white in this instance have the elongated slip stitches in the alternate color (blue) partially covering them, creating the darker geometric shape in the top detail photo. The blue is thinner than the white, the effect will vary depending on yarn weight and tension used for the main bed yarn. One can begin to observe the change in width in areas with more stitches tucking.

If the aim is to have a tighter, more clearly defined diamond, after the swatches rested, the swatch that began in slip stitch setting appeared to “work” better to my eye, even with the single color geometric shape on both sides taken into account. Ultimately the choice is a personal one. The wider vertical stripes created in the white yarn in the slip combination fabric happen because of the 2- stitch wide repeat on the top bed as opposed to a single needle one in a true fisherman knit. Because of the slip setting the results will be narrower in width from it as well.

Ayab knitters will need to program any repeat across the width of the intended number of stitches, and use the single setting. Electronic knitters can enlarge the background pattern field easily, or create brickwork, extended repeats.

Arah-paint offers a free program that allows drawing repeats in different orientations with a few mouse clicks. Shifting this pattern must also be in pairs of pixels/black squares in this instance because of the 2X4 stitch background unit. The 21 (half) pixel shift shows an error in its continuity 22 stitch shift results in a “correct” all over repeat

Quite some time ago I experimented with shadow knits including in posts

2013: DIY design2017 crochet

It occurred to me the same design might work in a tuck rib version. The original repeat was 24 stitches wide, 28 rows high scaled to double length, 24 stitches wide by 56 rows high a tile test of the new pattern The ribber remains set for knitting in both directions throughout, with the main bed set to tuck in both directions.
Knit tests: the red yarn was very strong cotton, hard to knit smoothly, the blue encountered some stitches not being picked up on the main bed as well, but the concept may be worth exploring further. The main bed is set to tuck in both directions, the ribber to knit throughout. The red and white fabric is considerably wider because of the tension required to get the red cotton to knit.

Better stitch formation results with the different yarn used for the second color

And lastly, a first quick adaptation of a design previously used for drop stitch lace, which requires some further clean up the yellow squares indicate loops tucking on both beds at the same time, the repeat on the far right is the one tested after eliminating those areas. It is 14 stitches wide by 80 rows high an “improved” version, the choice remaining as to whether to make all the blue shapes pointed at top and bottom or “flat” this is my repeat, tiled. It is 14 stitches by 84 rows The single 14X84 png

2 color ribbed brioche stitch on Brother knitting machine 1

I have always found 2 or more color patterned brioche stitches executed in hand knitting as inspiring and complex challenges to admire, but have not been tempted to actually attempt to execute them in any way.
I have not knit on a Studio KM in more than a decade, have been asked whether this fabric is possible to produce on Studio/Knitmaster. The crucial difference between the 2 brands (Passap has its own universe) is the fact that Studio selects and knits with each pass. Needle pre-selection for clues as described here is not an option. Some Studio information from manuals on tuck knitting including settings for “English rib and Double English rib”:  tuck on Studio km.

This was my first Brother machine knit swatch result: Each of the 2 colors tucks for 2 rows and in turn, knits for 2 rows alternately. Settings are changed manually as shown below after every 2 rows knit, following each color change on the left. Making things a little easier: the top bed may be programmed on any machine, including punchcard models to avoid cam button changes in the knit carriage every 2 rows. With the main bed set to tuck <– —> throughout, black squares will knit for 2 rows, white squares will tuck, also for 2 rows. The first preselection row is toward the color changer. When no needles are selected on the top bed (white squares) the top bed will tuck every needle, the ribber is set to knit. When needles are selected on the top bed (black squares), the ribber is set to tuck in both directions. The ribber will tuck on every needle. Proof of concept: blue yarn is used on rows where main bed needles are selected (black squares). The crossed stitches at the top right begin to represent an effort to create surface shapes or designs on the fabric. They are created by crossing stitches 1X1, making certain the stitch creating the “shape” is carried to the front side of the fabric, the opposite stitch crossed so it is facing the knitter. I used KCI in this instance, the first needle on left in work on the ribber bed, last needle on right in work on the top bed. A border is created on the knit’s edges on the far right and left. The reverse side of the fabric:  Using a blank square on a knit row to help track 1X1 crossing patterns  Working the 24 stitch repeat using KCI; both first and last needles in work on the ribber bed. Due to operator error and forgetting to change ribber settings after a transfer row, I chose to stop knitting rather than attempt a pattern correction  Another attempt at cabling, 1X1 and 2X2. That white line in the bottom image on the right was caused by the color changer picking up and knitting both colors for part of the row before I noticed it. I got rid of the “wrong” color from the feeder and continued on. The wider 2X2 cables require “special handling” and eyelets are formed on columns aside from them after transfers are made. In 2022 I wrote a series of posts on visualizing cables including using the charts to anticipate ribber work and using custom printed needle tapes to facilitate the process. This chart illustrates cable crossings, which can be made in either direction. My own cables were made with the #4 stitch moving in front and over the #2 stitch. Keep in mind when direction matters, crosses will be mirrored on the knit side.
This particular repeat when used in 2 color brioche will move the cable stitches across a center vertical line in the same color as the stitches being crossed
For knitting using only one color, the machine is set with the main bed tucking on every needle in one direction, followed by knitting on every needle as it returns to the starting side, the ribber does the same but in the opposite direction. It is a circular tuck, also referred to as fisherman’s rib. The possible cam setting options: The cable crossings are made on an all knit row, following tape markings and always on needles marked in the chart.
Knitting the pattern in 2 colors requires ribber setting changes as described at the top of the post, and the first preselection row is made toward the color changer.
Knit rows are created after every needle is preselected, which happens for 2 consecutive rows. After the first row is knit, push back to B needles with stitches involved in the cable pattern, cross the specific ones, push any/ all needles B position needles out to E, and the second all knit row will be completed with the return of the carriages to the left.
Tension adjustments will likely be needed with every needle tucking on each bed for 2 rows. I had a loop hung up on a gate peg that was not noticed, which can be seen as a snag toward the bottom of the colored swatch segment. After the fact repairs in these stitches can be hard if even possible.
The concept swatch has varied test spacing between crossings.
Again, note that with this method crossings occur over a center column in the same color, not the contrast as in previous swatches. Plaiting is sometimes suggested as a way to imitate color changes in fisherman-rib. In this particular fabric, the result was quite muddy on both sides. The situation is different when working on single bed vertically striped fair isle designs. One of my ancient machine-knit demo FI swatches: On any knitting machine with every other punched hole, or electronic with black squares, or pixels locked on a single row, if the pattern is knit in FI, continuous columns of vertical color are created. If the goal is creating the continuous and unbroken vertical stripe 2 color pattern single bed, one must place like color on like color.
Because FI is essentially a slip stitch the fabric, it will have less stretch and is narrower and shorter than when knitting either yarn in stocking stitch.
Cables on the machine need to be transferred across fixed widths between needles, so there are distinct limits as to how far stitches will allow their movement in groups in either direction. Loosening the tension can often help. Sometimes it is possible to create extra slack by a variety of means, making moving the stitches easier.
I have found my own limit for this fabric was working with a 2X2 cross (it is possible to work moving single needles as well).
Adding to the complexity of single bed: proper needle selection for the next row knit needs to be restored prior to knitting it when using the FI setting, movement of stitches is mirrored on the knit side in the opposite direction of that viewed on the purl. Visualizing some possibilities as worked on the purl side to consider the knit side appearance mirroring is not enough the direction and appearance of the crossed stitches on the knit surface are reversed from that on the purl as well When working every needle rib it will take 4 rows of knitting with 2 color changes to produce the striping on a single row. R represents stitches on the ribber, K the stitches on the knit bedThis shows an instance where crossing the numbered stitches on the main bed with color changes every 2 rows, by default, lines up the same color on the same color. Stitches in the same color are formed in the in-between needles on the opposite bed.
Another way of looking at the 1X1 crossings on the top bed behind a single central fixed stitch on the ribber. The fabrics may be tested and knit in single colors as well. When working on the 2 color brioche crossings are made on a row where all stitches are the same color; 1X1 cables when made in this case, are forced apart by the tucked stitches between them on the opposite bed, in the alternate color, implied here by the white line Tuck stitches widen the fabric. As a result, the tucked knitting in this chart on the ribber (represented by the color yellow), forces the space between the knit stitches produced on the main bed (represented by the color green) apart, while stitches tucked on the ribber will create the gap between the stitches knit on the ribber, appearing on the reverse side of the fabric. The combinations create the appearance of single stitch vertical stripes.
This is an illustration of one possibility for programming reminders for tracking the location of cable crossings  Every needle ribs are generally knit at tighter tensions than when the same yarn is knit single bed. Too loose a tension in any tuck fabric causes problems with loops forming or knitting off properly, too tight will produce stitches that do not knit off properly. One limitation of crossing stitches here is the actual stitch size, which needs to be constrained to produce the fabric. Tiny stitches need to travel across fixed space. One by one crossing is manageable, 2 by 2 requires extra slack to make the transfers possible.

Adding some “give” to crossed stitches
1: the carriage has moved from left to right after the color change. All needles except for the four white squares in my design were preselected prior to the next row of knitting. The carriage now stays on the right
2: take note of the white tuck loops formed on the ribber on the previous pass from left to right
3: white tuck loops ( I chose center 3) are lifted up and off their respective needles and allowed to drop between the beds. This will allow the 4 white cable crossing stitches to have more slack. 
4: cross your cable in the intended direction
5: push cable stitch needles out to E
Knit from right to left, change color, continue in pattern
With some planning on longer pattern repeats it is possible to plan added clues to tracking rows on which the cables occur and their location on the needle bed. Repeats with very few marked areas merit testing in tile as any other repeat.
The charted repeat on the left below when tiled shows the area of a patterning error, on the right with the missing blank rows added the problem is shown to be resolved, the repeat is now 24 X 84. A proof of concept swatch: Planning for all over the brick layout of corrected repeat: The tiled repeat .png, 96 X 336, the single 24 X 168. More detailed charts of the 2 repeats, suitable for punchcard machines. Ayab knitters need to repeat the final motif across the width of the download in order to match the number of pixels to the number of stitches in use across the needle bed, using the single setting.

Adding complexity, there is the possibility of lace transfers meeting fisherman rib 
and a plaited swatch attempting to avoid color changes every 2 rows, the technique is not a personal favorite Other related fabrics may be found in posts:
Geometric shapes on ribber fabrics with tuck stitches 1
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
Geometric shapes on ribber fabrics with tuck stitches 3