Category: Machine knitting (MK)

Revisiting lace leaf design repeats 1

Just about a decade ago, I began one of my many temporary technique obsessions by finally attempting transfer lace knitting, and it continued for a few years during which I produced scarves and shawls for gifts and sale in galleries and craft shows.
Leaf shapes held a particular attraction for me.
That long ago I was not sharing the pattern repeats used in my production items, and my note-keeping was not what could be defined as consistent or compulsive, so in looking at yet another pin sharing a lace leaf pattern in the present time,  I went looking for some of my early repeats and let us say I did not immediately locate them.
My lace production pieces were worked on a 910 with mylar or a Brother 892 punchcard model, long before I entered the world of spreadsheet tables, downloads from Mac with Ayab to the 910, and later owning and favoring to a 930 with img2track.
A review of  previous shares:
Beginnings, 2/11, adapted from a design published by Susanna Lewis
In progress, 2/11  On the blocking board 2/11Back to lace/ 2/12, hand knit More on those slanting lace leaves 2/12 hand knit, pattern graph available for download Back to leaf lace, add rib, and take it to the Passap, hand transfer, E6000 with console assist 3/12, added punchcard unrelated design 
The post punchcard,  reconstructed in 2024 using Mac Numbers, Gimp, and ArahPaint, with similarities to the design that evolved in later explorations producing the more successful 24X64 repeat reproduced on the right.  Comparing the knitted results:  Getting there  hand transfer tech with card assist 3/12 The joys of lace on the KM  3/12, dropped knitting, or too many dropped stitches can happen. Getting there leaf motifs, adding borders 3/12, goal: find the related punchcard 
2024 the punchcard was located.
A punch card roll was used. When purchased, it was advertised for Brother but factory number markings on the right are for Studio machines, with row 1 on row 5 from the bottom all punched rows as opposed to row 7 for Brother. Keeping the use of the roll continuous, the factory markings become irrelevant in such DIY long repeats.
In this instance, the card is 104 rows in length.   Using Mac Numbers, Gimp, and ArahPaint, for easier reproduction, here it is shown with 6X6 grid block markings typical of Brother factory cards  The card begins with a blank row, and the first transfers will be made to the right rather than to the typical left
In the swatch, only two knit rows were knit after each series of transfers occurring after 19, 22, 36, 52, 62,74, 88, 104.
Needles were taken out of work beginning with needle 1 on the right of 0, and 13 on the left, continuing every 12 stitches on wider knits.
The earlier swatch has extra rows knit between shapes A quick test on 24 stitches with 4 rows knit after 52 and 104 passes of the LC respectively Yes, a punchcard is possible leaf motifs 3/12, card, find repeat the card, also finally found exploring detail options ie adding knit rows, where to place the repeat for side edge variations, using ladders between motifs, latching the ladder to reproduce single row tuck stitches, applying the choices to a long-ago final shawl.  The repeat shortened for swatching 2024: 24X52 needles out of work help define the leaf shapes the png proof of concept with 4 rows knit after the 52 LC passes that complete one pair of leaves.  With so many transfers between knit rows on a long piece like a shawl or scarf, knitting 4, 6, or more rows upon completion of each full repeat is an option. Six appears to have been my choice in that work on the machine
This repeat is composed of 24X64 cells, there are 16 rows of LC transfers followed by 2 rows of knit stitches throughout, after 64 LC passes only 8 rows of actual knitting have taken place.
Remember to oil the LC as well as the KC, and look out for dropped stitches, like the one in the swatch followed by a lazy “repair” that is particularly noticeable on the purl side.   The evolution of a simpler and easier-to-execute pattern with similar movement can be found at the bottom of this post.
Ladders with lace, (leaf) “making things work” 1 3/15
Ladders with lace, (leaf) “making things work” 2  3/15
300_92_2 A new “leaf” lace 4/17, chart provided  The start of a new series aiming for DIY: this repeat is 24 stitches wide, suitable for punchcard models, but tested on a 930 where it was necessary to mirror it horizontally, and is knit using 2/18 wool.
Plotted on a spreadsheet with LC passes and direction of movement marked on the left side, knit rows after LC passes 2, 8, 12, 20, 26, 36, 40, 48, 54, 64, 72, 84 the 24X84 png  Playing with more variations does not always lead to results worth pursuing, but they provide learning experiences that inform future choices. Anyone familiar with lace knitting, particularly where so many transfer rows occur between knit rows, has experienced a lot of this from time to time.   Lace can only be described as temperamental.
I am perennially in awe of videos where some knitters appear able to knit lace yardage with a motor with no dropped stitches to be seen anywhere.  That has not been my experience, though for a while I did manage to produce a line of one-off scarves and shawls knit in a variety of lace patterns. I got good at unraveling down to knit rows and rehanging.
Avoiding dropped stitches, and managing dropped ones have avid advocates for different methods, a topic for a different discussion.
It helps to have a needle retainer bar that is in really good condition, needles with latches that operate properly, tension and suitable weight of yarn based on the number of needles used, and begin testing with yarn colors that make it easy to identify transfer issues as they are happening as opposed to after the fact when large holes seem to magically appear.
Unless the goal is to create a large mesh, if side-by-side needles are preselected in most designs including these, the causes may be punching or drawing errors, or simply that in the specific machine model, or software used, the pattern needs to be mirrored horizontally, as in my 930.
New to me now: the assumption is made that the LC will be slipped off the belt when the other carriage is in use. That is not necessary if the knit carriage does not also select needles, locking onto the belt.
Generally, the patterns are advanced by any carriage set to select needles as it moves past the center of the needle bed.
If the lace carriage does not clear the set mark on the left side of the machine, the pattern may not advance sporadically, which is evocative of needle selection fails, but it will resume doing so when the LC is moved far enough to the left before making its next pass to the right.
In this repeat, the knit rows are easy to track. They happen after there is no needle preselection as the LC moves from right to left, ie. after 4, 8, 6, 10 carriage passes, etc.
The blank number of rows between black pixels is not always even and can be odd when a reversal of the direction of transfers is required with a Lace Carriage that operates only from the left.
If needles out of work are used, care should be taken not to accidentally bring them back into work during knitting. If several rows have been knit, the stitch is dropped, and the needle is brought out of work again, the resulting ladder will be wider than the one in the space below it.
Maintaining the goal of producing a design suitable for punchcard models as well, this new repeat is composed of 24X72 cells   the png. adding needles out of work helps define the shapes which can also change appearance depending on yarn and color choices.  A more successful swatch, knit in wool rayon:   Modifying the design for use on electronic models only, an 18X48 repeat, knit in a 2/8 wool that really wanted to split upon being transferred, adding a ladder between repeats as above, and 4 knit rows rather than 2 upon the completion of each design segment  Three would-be runaway stitch spots are visible.   Wanting to shift eyelets, changing the repeat:  The first try, 20X48 pixels repeat proved to be quicker and easier to knit, with only single transfers at any one time, two rows were knit after every 12 LC passes.  A shift to a 19X48 row repeat, planning to add ladders between each of the repeats I like to program repeats taking into consideration the number of stitches required for the project, which offers the opportunity of adding extra blank columns for knit borders on either side and avoids any confusion with positioning when returning to the design at some future time.
The swatch on the machine, beginning with needle one on the right side of 0 taken out of work, followed by every 19th in either direction, 4 rows were knit after every 12 LC passes. Widening the repeat to 24 cells wide makes it suitable for use on punchcard models The extra columns of knit stitches allow for placements of twisted stitches upon completion of each row of shapes:  In the final swatch 2 rows were knit after every 12 LC passes. Upon completion of a full row of shapes, 48 LC passes, 2 rows were knit again, the 2X2 cable crossings were made, followed by 2 more knit rows before returning to the use of the LC.
Having a ladder on each side and vertical columns of 3 stitches aside them will form a roll to the purl side that may in many instances be a satisfactory side edge.  

An untested converted design from pattern 201 the locations of knit rows marked with black cells on the far left of the mylar the 60X150 png

Some to try: from Stitchworld  12 stitch repeats are also suitable for punchcard models
144, 12X36159, 12X52 170, 12X60  158, 12X80 145, 10X56 168, 20X56

Seasonal knits inspired by published repeats 2_hearts

Charts are included for repeats suitable for punchcards, where the designs must repeat in height to a minimum of 36 rows.
Some reminders: the BW pngs here are intended for import into a paint program or image processor where they can be magnified to suit, with a grid view for counting cells to consider the width of floats if used in single bed fair isle, adjust the design in DIY variations, or import into download programs as provided.
The tiled repeats help to visualize how the final appearance on the knit side.
While the pngs are shared in BW indexed mode, when dragged to desktops or otherwise copied and are opened in image processors, they may change to RGB mode by default and will need to be converted back to BW indexed mode prior to use for import and download to knitting machines.
Some machine models will automatically mirror the image horizontally, depending on brand and model year as does Ayab software.
When direction matters, ie in representational designs or transfer lace, the mirroring may be performed on the image provided before using it, or by using the appropriate button or command after downloading to electronic machines.
Punchcard users can mirror after the fact by simply turning the card over before inserting it, after marking and numbering at least the starting row on its reverse.
To retain symmetry in developing half-drop or brick repeats, having an even number of stitches and rows in the original design is useful. Some designs are broken up in ways that are subject to use based on personal visual preferences.
If used for blankets, the repeats can be tiled to dimensions leaving room for coordinated borders.
12X10 12X10 to 12X20 brick

12X10 to 24X10 half drop

24X24 24X28 10X8
32X32 34X34 43X43 adjusted to 44X44, an all symmetrical suitable as a single motif or in larger formats brick 44X88 brick tile half drop tile 84X44

3 color 14X3, requires a different color separation than KRC, each color in each row needs to be knit twice the 2-color version   From weaving drafts: a mosaic-like design the 68X58 png cropped to 67X58 to avoid double stitches
its half drop repeat 134X68  the source for a much smaller repeat the 14X20 png When all you need is a border, repeats that may be used vertically or horizontally, presented in punchcard configuration, 24X21: 24X20, rotated for horizontal use would become usable on electronic models only  
From To mesh or not to mesh 9: more on mock filet design See the post for additional repeats and my method of developing the design.
I could not find the source for this Pinterest find on the upper left, which results in a combination of large mesh and single transfers to create the heart shape.
The initial 24X44 png brick repeat, 24X88

with more knit stitches between shapes, 36X88 the knit rows separating the stripes of heart motifs are highlighted in red.
On Brother machines the KC does advance the repeat in standard lace, so each of those red stripes is reduced to two rows of blank cells, resulting in the 36X88 repeat charted on the far right A small proof of concept knit in 2/18 wool A Studio 560 was my first electronic model machine, owned decades ago. Among the mylars saved even though the machine was sold many years ago, I found this repeat, 24X47 cells, the last offered in this series. Studio mylar sheets were marked in 6X5 blocks instead of Brother’s 5X5. The punchcard repeat chart here is outlined in 6X6 blocks of cells, the convention in Brother punchcards. the png

A series also shared in the post Seasonal knits inspired by published repeats 1
two from the various groupings
24X3924X78

Small to large repeat figurative designs inspired by filet crochet charts

Reducing figurative designs to repeats for knitting on a low needle counts results in loss of definition.
Filet crochet charts can serve as a starting point for repeats, but usually are planned on  more than equivalent 24 stitch counts, so results of adapting them are often usable on electronic machine models only.
The knitting technique used to execute the design determines whether the lengthwise aspect ratio is affected or not.
1: the source image
2: processed using Mac Numbers
3: opened in Gimp
4: the grid color can be altered to view and match stitch counts
5: the color reversed image to visualize the possible appearance of doing so in the knit
6: a small border frame is added, bringing the figure color to the edges of the knit piece, and the figure is mirrored, helping to make a choice about its orientation on the the knit side  Depending on the model machine used, the motif may appear as drawn on the purl or on the knit side, mirroring it when direction matters may be done using machine settings or mirroring before download.
On my 930 mirroring was not necessary, the swatch was knit on 40 stitches, with the added frame.
The figure alone, 35X72 pixels shown on 6X6 grid blocksA DBJ swatch with birdseye backing  A sitting companion, inspired by random Pinterest find, processed using ArahPaint, not knit tested, 49X65 pixels   shown on a 5X5 pixel grid  Graduating to pillow or blanket size, a bit of romance in advance of February, from a Priscilla Filet Crochet book, the original was in a nearly oval format.
A border was added to complete the original to full oval shape,
black pixels were added to complete the inner shape, and the BW image was extracted and saved.
Working in RGB mode, the border needs to be adjusted for symmetry, not fully complete here, and bucket pattern fill may be used to customize it or any frame the 117X154 modified oval chart and png color inverted 107X154 for DIY modifications to other shapes  A 137X184 RGB version with editable border  Mythological inspiration from a Priscilla source
A: the original
B: processed with GIMP
C: processed with Arah the final png chart, with some pixels removed  and the 118X54 png  A 142X81 pixel version that includes a border From previous posts:
74X54 Celtic design
43X53 squirrel  This image is not from a filet crochet chart but from one of my Studio 560 mylar sheets dating back decades. It is used to illustrate the possibility of mirroring in different directions to produce far larger designs ie wall hanging or blankets.
Alone it could serve as a scarf, with the image rotated and perhaps even mirrored at the opposite end of the scarf to match directions when draped around the neck The 60X50 cell repeat It takes a few clicks of a mouse and a couple of program windows nowadays to make the addition of single cells at the top, bottom, or sides of such large designs that avoid tiling intersections with double cells if that is the goal.
It is also easy to manipulate the chosen designs to visualize the appearance of a final piece. Printing the pixelated results in a larger format can aid informed choices before any actual knitting.
Adding a single cell blank column on the right, and one with a few pixels on the bottom a blank row on the top, 61X52 in a 122X104 repeat that with coordinated borders could approach the use of most of the needle bed with the initial shape mirrored horizontally and then drawn in repeat a column with double pixels appears again at the center of the design staying with that, but making shapes go around

Seasonal knits inspired by published repeats 1

In previous posts, ie Numbers and GIMP: online punchcard patterns to electronics 2, I shared some ways of converting online images from varied published sources.
This series was edited using primarily ArahPaint and some Gimp, both are available for free.
DAK users have the ability to achieve similar results in that universe, producing stp proprietary files. There is no export (or import) available to other formats ie png or bmp possible.
Fair isle is not in my preferred wheelhouse, especially in season-specific designs, but that said, I have been sharing these repeats in the FB machine knitting forum and thought I might make them available to others here as well.
The pngs are editable for further DIY modifications.
24X18924X94 24X85    cropping given repeats for desired tiling, # 1068 the original 24X119 png   cropped to 24X105 My first encounter with “naughty reindeer” was during a Brother dealer-sponsored small machine knitting club meeting.  A present update, using a Pinterest find as the source the original 24X60 with 2 rows added to 24X62in brick repeat, 24X124

A 40 stitch Madag design  40X68_1 40X68_2 A 24 stitch version, with the moose, and without the original, 24X152  cropped to 24X118 with the moose edited out, 24X84 Snowmen and trees
24X12024X50_1   24X50_2 testing tiling before knitting, editing out unwanted symbols the original 24X99 the edited 24X74 As a 24 stitch repeat, this is suitable only for single motifs, since repeating them horizontally would join the darker ball shapes. Adding a blank pixel column on the far right changes the horizontal alignment. A few pixels added at the top of the motif form an unbroken join vertically, the final 25X146 shown on the right  This Santa was identified as being attributable to Knittery, a company long defunct that offered pre-punched cards for purchase. Images where the background is punched out make it possible to introduce striping it with the color changer or using the chart for duplicate stitch embroidery on a knit ground.   the original, 24X38 in half drop, 48X38  and in  brick repeat, 24X76

the original, 24X185 with the elimination of some rows, first at the very top and then just above the snowman’s hat the final 24X182 png The question as to how to adjust repeats for use on 12 stitch knitting machines often comes up in forums.
Continuing in the seasonal vein, the easiest method is to begin with a 12-stitch repeat that occupies only half of the card vertically and twice in width. Here the original “half” is 12 stitches wide, 46 rows tall.
One method for the conversion is to work on a spreadsheet:
Begin with a table 24 cells wide, adding enough rows to the expected planned height to repeat the snowflake border, 46 cells in total
configure the cell borders for easy viewing, ie with a 3 pt red lines
hide 12 columns beginning with the second from the left
fill in black cells matching the original design or the DIY version
unhide all 12 columns for the final repeat  When converting the screen grab from a spreadsheet to png in Gimp, before scaling to final size, a first scaling may be required to make certain the result is divisible by the expected number of stitches and rows using the broken chain link, and then scaled again with closed chain link, the first png Working in Gimp or any paint program
draw the “original” and save it, mine now has 2 added rows, one above and one below the deer, making it 12X48 pixels scale it to twice the original width configure the grid properties for contrast/easy viewing
fill in every other column with white using a straight line white pencil. To do so, select a pixel with the mouse, hold the shift and command keys down to draw the lines, and release the mouse to stop. The first white pixel may be placed within an easy-to-follow section of black ones and then the mouse may be held and moved up and down to complete each column. Save the result.
Proof that it is always a good idea to draw the initial image in repeat before committing to color separations or any downloads and actual knitting:  Two possible alternatives in adjusting the design to one’s preference are marked in 6X6 grids in ArahPaint to match markings on blank Brother factory blank cards:
the first removes a snowflake border and is reduced to 12X39 pixels, the second adds 4 rows at the top of the second snowflake border, 12X52 the number of rows between motif segments can be varied for planning the introduction of stripes in added colors If only Gimp is available, I have not found a way to vary colors in grid borders in blocks other than to use guides, appearing as dotted blue lines.  A break from reindeer, teddy bears and hearts follows, perhaps for a baby gift or to save for Valentine’s Day. When clear horizontal borders are added to motifs, the half-drop repeats will produce mixed results.  the pngs:
24X3924X78 48X40 24X6024X30
48X30
24X26
24X52
48X26 Bell motif variations  
24X3024X48 48X24  The last in this series, a nutcracker motif inspired by a larger scale cross stitch design, reduced by me to a workable 24 stitch MK design with varied borders and collaged small motifs in the background  24X101 24X87 24X87 with added background designs  Considerations in choosing a design are guided by its end use, tiling the repeats leaves fewer surprises in any actual knitting.
This might appear in casual observation to be a “snowflake”.
The full 25X25 pixel version can be isolated, with matching fragments around the whole. Magenta lines indicate cropping points depending on end use if double stitches not immediately obvious or planned are to be eliminated. A: the full design as a potential knit border
B: trimmed a one-pixel width column on the right to 24X25 while retaining matching top and bottom rows C: trimmed the single top row  as well to 24X24 for an all-over execution, drawn in repeat for an opportunity to evaluate whether the design as it now appears produces the initial imagined shapes and effect  Then there is the optical effect change that happens with color invert, for which an easy test may be made during knitting by simply switching yarn color positions in the knit carriage sinker plate
24X24
12/2024 additions beginning with punchcard suitable repeats
24 X24 designs with addition and subtractions of pixels on a base repeat, along with visualizing the difference in appearance resulting from color reverse24X22 24X68 electronic additions
playing with color reverse
17X17

34X17ArahPaint 34X34from mylar sheets 20X22 22X34 26X26
28X36 32X3236X36StitchWorld 3 #75, 32X3438X4040X41StitchWorld 2, 40X64 inspired by a weaving chart: diamond diagonals with interior flakes, 40X41Passap 163, 20X40 Passap 162, 37X37 from the Russian site: #5383, 24X255gone skiing #6669, 24X149 #5697, 24X120Early new model electronic machines offered large scale designs as mylars or downloadable files. It is possible to work with the images of the files from the associated manuals or books.#18-2, 108X184 #18-1, 108X200in repeat, 216X384 #10, full working repeat 151X150 Check tiled repeat for any rogue pixels or to choose specific segments #14, 120X200 #22, 120X173, individual flakes can be isolated and combined in different ways

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A slip stitch patterned ruffle and more

A recent Instagram share led to my being asked how the ruffle attached to the piece as partially shown on the left was created. The images on the right illustrate 2 of the color-way explorations prior to committing to a final one, all knit in rayon chenille yarns.   At that time a punchcard was used. The repeat technically is 24 stitches wide and 18 in height, repeated twice to meet minimum punchcard height requirements, while for electronic patterning the 18 row segment is used. That said, repeating and shifting the minimum pattern repeat in a paint program or spreadsheet allows for visualization of possible color change sequences,  A 24X36 electronic repeat beginning with 4 all knit rows:    Knitting does not always need to be programmed to start on the first design row.
When miles of trim ie when it is planned as an edging for items such as shawls are planned, there are other considerations.
I prefer to use the seam as you knit method. Since rows will be joined to rows, use a 1 to 1 ratio. Doubling up on stitches happens every 2 rows along the knit border’s vertical edges.
After estimating the number of rows in the final piece, any trims can be knit separately, taken off the machine on waste yarn, and joined as the piece progresses. If needed, after removing the waste yarn, more rows can be added to the trim or unraveled to shorten it before binding it off.
The other option is to finish the body of the knit item, and then join the trim as it is being knit.
The process is rendered easier if the ribber is off the machine.
Switching between punchcard and electronic models, it can get confusing as to whether the design needs to be mirrored horizontally or knot.
In this case, the png was used on my 930 in the same orientation as the punchcard design.
To reduce the roll to the purl side, it may be best to use yarns that will block flat ie rayon, or acrylic.
The knit is centered on the needle bed. My 930 has a punchcard needle tape in place, I prefer programming based on 24-stitch needle selections to avail myself of the position option available on the electronic.
The first preselection row is made toward the color changer.
End needle selection is canceled, or unwanted floats will be formed, pulling in the edge of the knit.
When the color changer is reached and the proper color is in the yarn feeder, set the machine to slip in both directions.
Continue color changes in the preplanned sequences.
In proper pattern selection, the slip stitch column/non-selected needles occur on the right (1).
The all-knit stitch column/ selected needles occur on the left (2). Rows, where every needle is preselected, will knit a solid color with the next carriage pass. As colors are changed small floats will be created between the stripes, a light edge weight may be needed, depending on the yarn used and its fiber content, to keep the edge stitches from being reduced in size or even gathered.
1. the same color is used for 4 consecutive rows when all needles are selected and are followed by color changes every 2 rows until all needles are preselected once more
2. color changes are made every 2 rows
The cyan arrows illustrate the floats on the purl side the differences in the stitch shapes on the knit when the end needle selection is on, and the lack of proper formation of color blocks, especially if the goal is a reversible knit. Added knit rows will result in less of a flounce, offer the opportunity to play with striping, and more colors may be added, accompanied inevitably by cut yarn ends  For a reduced roll on narrow edgings, add a 2-3 stitch every other row border,   the result illustrated in this close up of a different slip stitch ruffle, also joined to the shawl using the seam as you knit technique.  Ruffles may be created with other stitch types ie tuck, which shortens and gathers the knit stitches aside them in areas where they are used.  For those not familiar with slip and tuck stitch formation, it is reviewed in the post: Single bed tuck and slip stitch fabrics 1. Here hand-selected short-row techniques form the wedges, with ladders added for more surface interest on the far right.

 

 

 

Revisiting 3D scales and shells, automated and not

Other posts exploring the 3D scale topic began in 2015 with a swatch experiment based on an Armani sweater.   This was followed by an update with associated, untested hand-knit directions generated by Intwined, a long-extinct program.
Over time one develops shorthand and symbols for visualizing and tracking actions. The scale design plotted out in Mac Numbers isolating repeats and added borders  Many knits with groups of stitch transfers and eyelets can have a 3D quality reduced with blocking. The yarn used in this swatch is a 2/8 wool, shown in the initial appearance and after pressing and steaming.
Printing custom needle tapes and marking them was an aid in tracking actions as opposed to following a printed chart. For many stitch transfer variations based similar design charts see
Inspiration for varied stitches from a single chartThe following group of shared experiments is listed by creation date and begins with the most recent
More mesh dragon scales, some striped and some not
Single bed scales made with stitch transfers
More dragon scales and chevrons in ribbed, racked (4) fabrics
Hand-knit “dragon scales”  as pointed out in comments, the stitch count on row 15 needed adjustment, a new chart  knit frontThe new chart aimed at keeping stitch counts constant  The proof of concept, knit on #7 needles with a random yarn on an unmarked cone  Incidental discoveries  Ribber trims 4 
Automating 3D textures across full rows of knitting:
Machine knit leaves using slip stitch with holding Revisiting automated shell shapes  Automated shapes across rows of knitting using slip stitch only  various designs
“Automated” shell shapes  When the construction of the scale and shell shapes was proposed, I did not always share the repeats for the automated version.
After the fact, a screen grab from the shell charts was cropped to its outline, opened in ArahPaint, and using the program’s tool “guess weave from grid“, the 36X98 png is obtained with a few mouse clicks,

and saved the file for further exploration.
Note that for the “shells”, the shapes are formed by all the triangles pointing in the same direction, while in the “scale” version they mirror vertically.
Tips and reminders:
I find it useful to test techniques in geometric shapes that are familiar and easy to imagine in 3D, hence the return to triangles.
The goal here is to automate needle selection to eliminate stitch counting and hand selection.
The 200 needle max on 4.5 mm machines, as well the amount of memory in the model of electronic being used, ie 2K in a 930 imposes more limitations.
Performing the selection of needles manually and using the setting for short rows may make varying shapes, their scale, row counts, and color changes possible in a way that traveling to and from the same side of the machine in 2 row sequences does not.
When using the slip stitch setting if every needle on the top bed is not in use, the end needle selection must be canceled.
The knit carriage must clear all needles in work with each carriage pass even though small stitch counts may be worked on at any one time.
Just as when working short rows, depending on the fiber content of the yarn, there may be some visible wear on the purl side from the many carriage passes required to complete full design rows.
Test on small swatches for accuracy and aesthetic personal appeal before committing to larger pieces.
A 36X166 pixel repeat:   The edge half repeats are eliminated in an attempt to yield straight vertical side edges, with the repeat reduced in height to 36X124.  The resulting scales, knit in a 2/8 wool, were resistant to getting completely poked through to the purl side.  Comparing the difference in the results when knitting the same number of stitches and rows in the pattern; the blue yarn is of a slightly different thickness than the pink.  Seeking striping at the center of the triangular shapes, I found what appears to be a one-off error in the spreadsheet numbering of cell rows vs actual design rows, which initially resulted in issues with a correct conversion to PNG.   Transitions are made after odd numbers of rows to allow starts from the right for each pattern segment ie. Yellow/ 8+1 rows at the top of the repeat for plain knit segments, orange for the 3-row contrasting color stripe at the peak of the shapes. There will be cut yarn ends at each transition.
The design, charted in black and white,  the 36X82 png One may choose on which side to display the resulting shapes, here to the knit side,   and to the purl, shown also after some pressing. A punchcard snap is inserted in one of the pockets in the last image on the lower right to hint at pocket size.  Steamed, flattened shapes may also be coaxed in different directions, stitched in place or even together with a contrasting stripe behind them, or added beads at the join  A first draft at adding a FI or slip stitch stripe at the center of the repeat still relies on some segments occurring for an odd number of rows, was rearranged in the later designs, measures 36X88 pixels.  

Analyzing the swatch:
the edges where the triangular shapes meet the striped bands jut out more when pointing down than when pointing up
the eyelet typical when knitting short rows for 2 rows is OK as part of the overall design
the 8 rows of plain knitting between the shapes are too many Altering the design 1:
the plan is to retain starting each segment of  scales from the right,
the fair isle band is now planned for an even number of rows, making it possible to operate more easily from the same side, but loosening the tension,
the 36X80 repeat: the side edges in the swatch differ from each other,   Altering the design 2: whether executed with cam button changes with the knit carriage always operating from the right, or operating a second carriage selecting needles from the left, the fair isle band in this experiment needs to occur for an odd number of rows, the repeat is 36X68. The cells highlighted in yellow on the right of the chart follow the carriage movement from the right when switched from slip to FI, and the gray cells the movements for a second carriage selecting needles from the left.
The recurring shapes are planned to produce straight side edges.
The 36X68 repeat Very often 3D knit structures can change dramatically with steaming and pressing.  They can literally be “killed” permanently if fibers such as acrylics are used, while wool has some spring back, but surface retention depends on the specific pattern. The temptation to press is in proportion to what degree the knit rolls, sometimes dramatically, to the purl side. In this instance, the depth of the shapes was lost, and the swatch grew significantly in length.

More on casting on and binding off, random tips

In online forums, many knitters, often beginners, bring up questions about the best methods to cast on and bind off on their varied knitting machines brands, and problems they encounter, which led me to this review with the addition of more information.
The content will be another work in progress, subject to further editing and the addition of more photos and documentation.
Previous posts on the topic:
More shapes on ribber fabrics with tuck patterning, fantasy fair isle   ribber latch tool bind off 2/22
Ribber cast ons: breaking the “rules”  12/19
Ribber cast on comb/ open stitch single bed cast on 2/17
Binding off, double bed 4/19
Casting on, double bed  5/19
Casting on, binding-off single bed  5/19
A look at single bed mock rib 1/17
Picot cast on for every needle rib  11/15
Racked ribber cast on and rib configuration tips  11/15
Transitions in ribbing from EON to FNR fabrics  11/15

The Brother Making Garments Book has clear, step-by-step illustrations for many techniques.
This information presents some of the same techniques as illustrated in the previous post on casting on and binding off the single bed in a different visual sequence.
The starting side for any knitting technique does not often matter. Some exceptions are: starting from the left for preselection rows when knitting 2 color dbj using the KRC button in electronic machines, and when the carriage needs to operate to and from the right, from right to left when the color changer is in use in patterns that require color changing every 2 or even number of rows.

The weaving cast-on leaves open stitches at the start of the piece, with the yarn traveling through them.
The weaving brushes need to be engaged, down position, and levers up.
It is not necessary to deactivate them by raising the levers, I tend to do most of my knitting with them in the brush-down weaving position.
Check that they spin freely, not only can fluff get caught between the bristles but sometimes under the brush itself, keeping it from rotating properly and resulting in weaving fails whether during this cast-on or when knit-weaving in pattern.
1. Begin with the lever down, brush up, loosen, and remove the screw
2. with the lever up, the brush will slip out right side up, turned over, 3, will show any fluff or threads wrapped around it. Remove the accumulated fibers, and if any bristles are poking out of place, pull them out or clip them with scissors
4-5. lever up, slide brush in place
6. with the lever down, brush up, replace the screw, and as with any screws, do not over-tighten, check that brush spins freely. BTW screws in knitting machines both Japanese and European are metric, a set of metric screwdrivers is very useful.  This is not a permanent edge, is handy when beginning with waste yarn, and if the piece is to be gathered at the center, the yarn end can be pulled, threaded into a needle, and passed through the open stitches again if needed, and secured.
The Brother single bed cast-on combs, shown used immediately after the first cast-on row, are strictly a Brother thing. It is possible to continue knitting without them. My first machines were other brands and offered nothing like them.
If stitches do not immediately knit off properly, after any cast-on, bringing the needles out to hold position for the first 2-3 rows will generally solve the problem.
When I do use them I prefer to point their hooks toward the top bed rather than away from it
EON e wrap cast on: forms a permanent edge that may also be used in decorative joining of pieces.
After e wrapping every other needle, in this case from left to right, place the yarn in the knit carriage A feeder and close the gate.
When inserting the comb front to back, the yarn end on the carriage side is easily caught in the hooks and would form a long loop on that side if knitting is continued to avoid that, in any cast-on, lift the yarn up and over the gate pegs on the carriage side  insert the comb, free the yarn from over the gate pegs make the first carriage pass to the opposite side, the empty needles will pick up loops, eyelets will be formed as knitting continues
Every needle (EN) E wrap cast on creates a permanent edge.  Using the needle bind-off method at the top of the piece will closely match the cast-on edge.

The crochet/ latch tool cast-on is my preferred one when decreasing multiple stitches as well. I prefer to lift the last single chain onto the last empty needle on the carriage side rather than continuing the chain and lifting the last open stitch onto it.
The latch tool bind-off around gate pegs will match its appearance. Both can be performed to create looser chains when needed.
Multiple decreases on both sides of a garment may be achieved by casting off the stitches opposite the carriage side using a separate strand of yarn using your favorite bind-off. My go-to is the crochet one.
In fair isle knitting, bringing all needles out to the E position opposite the carriage before knitting the row will ensure those stitches will be knit in a single color, for easy bind-off when the carriage reaches the opposite side, and 2 color knitting can resume.

A youtube video was shared on FB for a version of this bind-off, filmed on a Studio machine, suggesting it might be easier to use for knitters with hand or wrist problems.
On Brother machines, small tests are executable without the use of waste yarn and ravel cord.
The technique takes into consideration the formation of the side edge stitches illustrated here for single stitch increases. When bringing one empty needle into work opposite the carriage, the yarn will twist and form a “knot” as the carriage moves to and from the opposite side. Knots (blue arrows) vs loops (red arrows) are shown in this illustration from the post on seam-as-you-knit 

Part/slip cast on: a single needle will be brought into work at a time opposite the carriage.
Use a familiar yarn, and set the tension one to two full numbers tighter than that appropriate for it in stocking stitch.
COR: set the knit carriage to slip in both directions
Opposite the carriage, bring the first needle on the far left of the intended group to be worked out to hold/E position.
As the knit carriage moves from right to left, the needle in the E position will knit and is returned to the B position.
COL: No knitting occurs as the carriage moves and returns to the right, that same stitch or any stitches in B will simply be skipped.
COR: Bring the second needle from the left out to the hold/E position.
As the carriage moves to the left the needle in the E position will be the only one to form a knit stitch and is returned to B.
COL:  All stitches are slipped as the carriage moves and returns to the right.
Repeat the process, bringing single needles out to work moving from left to right until the cast on is complete.
Begin to knit the body of the piece slowly,  making certain all stitches are formed properly.
Part/slip cast off :
Knit the last row at main tension, and end COR
Set the carriage to slip in both directions so that needles brought out to hold position will be knit.
Turn off any patterning mechanism, in Brother set the change knob to N-L
Hang a claw weight on the right.
Transfer the first stitch at the right onto the needle on its left, and pull that needle out to hold/ E.
As you move the carriage to the left the needle in the  E position will knit, as it returns to the right the needle will be skipped.
COR: repeat the process beginning with the next needle on the carriage
side.

To pick up dropped stitches:  Two stitches dropped side by side :

From the KH 800 manual: 

Swatches based on adapting random online published repeats

I still surf Pinterest daily and often encounter published punchcard repeats that catch my eye.
Many need some interpretation and editing for use in specific machine models.
The first inspiration: is knit using 4 colors, alternating 2 rows of a base color, then rotating color changes for 4 rows for each of 3 contrasting ones.
Counting up from the bottom of the illustration after the marks for the typical two all-punched rows, it would appear this is a Studio punchcard, but starting row 1 as visible outside the card reader can simply be changed for any other brand knitting machine.
The every other stitch configuration is for an every other needle repeat used in early machines such as the Juki.
A full reference volume   An illustration of the card use  If using thicker yarns on a standard machine that grinds at the loosest tension, this configuration can retain the full design while knitting every other needle/EON.
The adaptation began using Mac Numbers, the repeat was isolated and traced, and the 12 blank columns were then hidden producing a result scaled in indexed B/W mode to 12X36 pixels. The tiled design, checking alignments.  The proof of concept Periodically tuck stitch designs that appear to break the usual rules for the stitch are discussed.
This design is intended for a push-button machine capable of 24 stitch repeats, uses symbols in the associated chart interpreted to mean tuck loops form for 2 rows and knit along with all other stitches every third row.  The working repeat is made up of 8 pixels in width, and 36 pixels in height.    This next design is likely published for use with the Studio color changer, which is marked with letters for each color,   rather than with numbers as in Brother models.
It is intended as a slip-stitch. The bottom swatch relies on color changes every 3 rows, which would need to be performed manually.
In the elongated version, colors are changed using the color changer, every 6 rows.  The design was first tested in thin yarns using the electronic 24X84 elongated PNG  tested for alignment   and displays interesting 3D variations, the purl side is remindful of shadow pleating  Changing colors every odd number of rows is a tad fiddly.
The use of the color changer is not an option.
With the three yarns fed through the yarn masts, it became hard to keep them from twisting around each other. Ultimately, that problem was solved by hand-feeding one of the three colors with the cone on the floor, in front of the machine, as one would place yarns for weaving.
Brother knitters are familiar with yarn placements in the sinker plate.
Position A is for knitting when using only one color or for the ground color in fair isle patterning.  There is a “gate”, which is closed, and the B color/contrast motif color is placed in that front position, knitting the yarn in needles preselected to needle position D on the next carriage pass.
It is tempting to leave the gate open when switching colors by hand frequently, and that may work for a while, providing tension is placed on the yarn manually to keep the yarn back. If at any point the yarn shifts forward (green arrow), with no needles in position D, stitches will be dropped.
Textured stitches can make for more complicated correction of errors or dropped stitches.
Taking the extra seconds to close the gate (red markings) after each color change avoids what became fondly known as “dropitis” in my classes.   The proof of concept: two of the yarns used were acrylic, so steaming to reduce the curling of the swatch flattened the texture.  At one point Studio published a newsletter  with cover art composed of simple drawings, such as this, for #143, which spiked my curiosity, and led to these explorations:
the pattern and symbols refer to tuck stitch, but technically the design is executed using short rows and transfer techniques.
The programmed repeat selects needles, making tracking actions easier.
End needle selection is canceled.
No cam buttons are in use.
The knit carriage is set to hold.
Stitches on the single needles selected on rows, 2, 12, 22, etc, are transferred onto the needle on their left. The empty needle is then pushed back to A position, out of work, creating a ladder.
The groups of 3 preselected needles are pushed out to hold, the D position, before continuing.
After every 2 rows knit, a stitch on the left is pushed back into work, until lastly, the empty needle is returned to the B position.
All needles will then knit for one row filling in the empty needle with a loop and a full knit stitch on the next pass where transfers begin again. A brief summary of stitch manipulations  Images of the work in progress, a small claw weight single claw hung on edge stitch helps keep side edges equal in length:
preselected needles initially manually brought to hold position after the first carriage pass to the right
after the second carriage pass to the left, with the first needle on the left in each group pushed back into work  the second needle on the left in each group is returned to work
one needle in each group remaining in hold pushed back into work  at this point the empty needles have been brought to the B position, single preselected needles have been transferred to the left,  and a pass is made forming loops on the empty needles/ eyelets  The original 18X30 repeat, some machine models and download software may require that it be mirrored horizontally,   repeated to 44X30 with a planned distribution of plain stitches at sides, knit in 2/18 wool blends: Converting random transfer lace designs poses different challenges, and since the time at which the reference post was published, there have been several Gimp updates.
Lace designs contain few black and white pixels and, at times are brand-specific. Multiple transfer lace in Studio models begins with 2 blank rows, while Brother begins with a design row, and ends with 2 blank rows. As given, the inspiration repeat is designed for Studio/Silver Reed.
When using any program, ie Gimp, ArahPaint, or even Dak, the original scanned or screengrabbed design needs to be aligned horizontally and vertically to window borders for accurate conversions.
Gimp:
Before any scaling of images, establish stitch and row counts. In this case, they are published as being 16 stitches X 96 rows.
The process for converting the same lace design using Gimp 2.10.34 on the Mac, beginning work in RGB mode:
1. drawing a straight line to the side of the cropped image reveals a slight lean to the right
2. using Image, Transform, and Arbitrary Rotation -0.30 improves the alignment  3. using the rectangle tool, crop to the borders of the published image.
In this instance, the cropped image measuring 199X938 pixels is at first scaled to multiples of 10 for both width and height, note the broken chain link
4. 160X960 pixels. 5. Image mode is changed to B/W indexed, and the image is scaled once more to 16X96, the size of the expected repeat, note the intact chain link  6. the final repeat, when studied, matches that from the results in the previous post  1: the result using ArahPaints tools, including its guess weave from grid, compared to
2: the Gimp final image and
3. borrowed from the previous post illustrating other considerations before actual knitting,  
which include:
if using the repeat on Brother machines, the first 2 blank rows of the design are shifted to the top.
The 16-stitch design width makes it suitable only for electronic models.
The final PNG is actually downloaded as a fair isle pattern while maintaining the required needle selection for lace, and the knit carriage remains set to knit throughout while the lace carriage selects and transfers.
The machine, depending on the model, may by default mirror the result vertically, so the final PNG can be mirrored and saved as here, prior to knitting on the 930, or the mirror function in the machine may be used after programming.
I prefer to save my files in the orientation required for the actual knitting as a means to avoid confusion or errors.
Working in Arahpaint, rotating an image turns it on its center point. To rotate a layer, selection, or image, from the Image menu, choose Rotate.  Selections can be made at offered angles, or specified degrees can be entered in the degree field, or select an area, move the pointer outside the bounding border, and then drag on any one of the small boxes at each corner while pressing the left mouse button.  To align the image,
1. load the lace inspiration
2. choose Image, select Rotate Image, and draw a line that follows the orientation of the image. The color will be based automatically on the palette being used, and altering the pencil pixel size or color has no effect.
The program then rotates the image and will inform you of the rotation angle, and the drawn line becomes straight.
To confirm alignment, click the OK or Close button in the Rotate Image window.
3. use the rectangle tool to select the content for the full design repeat, and crop the aligned image to the selection. 4.-9. continue with the steps using the tool Guess Weave from Grid, producing the same final PNG. In summary, they are:
4. crop the selected image to size
5. change the color palette to 8-bit, adjust background and foreground colors
6. reduce the number of colors to B/W, adjust the threshold, and set the number of colors to 2
7. the resulting image
8. use the guess weave from the grid tool, crop the bounded image to the selection, magnify the results to visually check the repeat, and save the PNG if satisfied
9. the final 16X96 pattern design repeat, matching the Gimp result. The associated swatch  This Pinterest find is credited to Tatiana Demina, and is intended for use on Studio punchcard machine models.  Studio machines are capable of transferring and knitting in single carriage passes. Studying the image of the card, it can be seen that there are no blank rows anywhere, and punched holes on alternate rows indicate transfers alternating first to the left, and then to the right.
The swatch was knit using the same technique described  recently in the post Unconventional uses for punchcards 2: thread lace cards for “filet” mesh
The original 24X56 design was lengthened X2 to, shown here also doubled in width to 48X112   to match the direction of the transfers, the hint offered in the inspiration source can be followed down to indicate the first row of transfers need to be made to the right,    hence the knitting begins with the knit carriage on the left, the lace carriage on the right. As the LC moves to the left it preselects needles, and as it returns to the right it transfers them to the right.
The LC is removed from the knit bed.
The KC knits a single pass to the right and remains there.
The LC is returned to the knit bed on the left, preselects needles on its pass to the right, and transfers them to the left as it returns to that side, and is removed from the bed.
The KC knits one row to the left and stays there.
The LC is returned to the bed on the right and the process is repeated.
Preselection of needles is made by the LC toward the knit carriage, transfers are made away from it.
Whether the repeat needs to be mirrored again may depend on the machine model or the software used to download the file to it.
The direction of the first row of transfers provides the necessary clue, they need to be to the right. If to the left, mirror the pattern horizontally and begin again.
The swatch was knit in a wool-rayon blend, the results point to the difference in appearance and gauge with a change in color and type of yarn used when compared to the inspiration image The context for this can be found in To mesh or not to mesh 8: more Numbers meet Gimp
the 60X74 png  and the proof of concept

E 6000 info

I was lucky enough to begin knitting at a time when seminars were international and abundant, Susanna Lewis was teaching at some of them and hosting 3-day hands-on workshops, and Passap in particular hosted yearly “Passap University” events for a few years in different parts of the country.
As pointed out in a previous post, some of my note-taking is in the form of scrawls.
This is information I find myself reviewing and gathering from various sources,  it may require future edits.
An amended index Duet Magazine handy references:
#6, Electronic pattern matching charts, p.p. 21-22
#6, Index of stitch patterns with associated pattern numbers, techniques, relative pages, and added info, p.p. 43-46
#8 Intarsia knitting, garments and image charts, p.p.19-26
#9 Using thicker yarns, p.p. 34-35
#11 Duomatic and E6000 Equivalents, p.p. 30-34,
“weaving” and samples p.p. 39-43
#14 Duomatic and E6000 Equivalents, p.p. 21-24
#12 Hand transferred lace edgings, p.p.43-47, pleated skirts p.p. 69-71

Passap University handout A swatch executed playing with needles out of work, NOOW, on both beds. On the front bed the needle selection is fixed, while on the back bed a shift in needle and pusher selection by one position results in the switch in color of the vertical solid color lines from light to dark.
The library of built-in patterns and associated techniques in the E6 is huge, and associated with technique numbers. Any DIY designs often can be knit with familiarity with just a few technique numbers and disregarding the associated lock settings.
The knit commonly known as DBJ in many other brands is referred to as double bed 2 color or more fair isle, additional lock settings are suggested using specific technique numbers, but not those offered in the manual itself.
3 and 4-color knitting is appealing to many, the associated samples are evocative of industrial knitting.  Thin yarns are a must, and for large pieces or garments, the number of lock passes is daunting let alone if combined with added settings and arrow changes and bleed through becomes a factor in the resulting color mix. On the whole, I have kept more than 2 color knitting out of my wheelhouse except occasional Brother swatches.
Abbreviations that are often encountered:
FB front bed
BB back bed
CC contrast color
col color
MC main color
L left
R right
ss stitch size
st stitch
pat pattern
<— left arrow key
—> right arrow key
<—> both arrow keys
0 no arrow keys
HP half pitch, racking handle down
Semi-auto patterns require manual lock setting changes as often as every 2 knit rows
180 Birdseye double bed fair isle; UX can be tried as an alternative to LX
181 Birdseye double bed fair isle, the background color on reverse, “single blister”
182 Double-bed fair isle, vertical stripes on the reverse
183 Double-bed fair isle, striper backing
184 Double-bed birdseye fair isle with long-stitch
can be used for planning release stitches after casting on only the back bed,
or try N/OX for a tuck jacquard variation
185 Double-bed fair isle with long stitch, half Milano, may be used for drop stitch lace after casting on on the back bed only; knit 2 rows with yarn followed by 2 rows with no yarn to drop stitches. Other techniques may be used with a stitch ditcher, requiring fewer carriage passes
For Pile knitting: cast on the back bed, change setting to FX<— pushers 1X1 work, rest/LX, drop stitches from the front bed periodically
186 Double-bed fantasy fair isle striped tuck stitch, knit 2 rows N/KX, 2 rows N/N
187 Double-bed fair isle with alternating tuck st on every row on the reverse as per the manual, in addition:
For wavy rib, pushers back bed 1X1 work/rest, 2R col 1 AX <—/LX, 2R col 2 AX0/LX For nopps, pushers back bed 2X2 work/rest, change locks  col 1 2R AX <—/LX, col 2 6 rows AX0/LX, but change color every 2 rows
188 Double-bed fair isle with half fisherman’s rib on reverse
189 Double-bed fair isle with contrasting stitch formations in contrast and background (semi-automatic)
190 Double-bed fair isle with contrasting stitch formations for contrast and background (semi-automatic)
191 Double-bed fair isle with two tucks on the reverse side
192 Double-bed fair isle with pintucks (semi-auto, no combo), double blister, color 2 blisters 2R col 1 N/LX, 4R col 2 BX0/LX, BB 2 pushers in work for each of the 2 end needles
For nopps change settings from slip to tuck, 2 rows col 1 N/N, 4R col 2 AX/KX, 1 pusher work position each end BB
193 Double-bed fair isle with pintucks (semi-auto, combo), embossed pin tuck
194 Double-bed fair isle with pintucks (semi-auto, combo)
195 Double-bed fair isle in 3 cols 57,85,93,94,96,97,98,102,107,109
196 Double-bed fair isle in 3 cols, tucks on the reverse side
197 Double-bed fair isle in 3 cols, spotted effect
198 Double-bed fair isle in fisherman’s rib and 3 cols
199 Double-bed fair isle in 3 cols, tucks on every row reverse side
200 Double-bed fair isle in 3 cols, contrasting   formations on BB
204 Double-bed fair isle in 3 cols, pintuck effect (semi-auto, combo)
205 Double-bed fair isle in 3 cols, pintuck effect (semi-auto, combo)
206 Double-bed fair isle in 3 cols, pintuck effect (semi-auto, combo)
207 Double-bed birds-eye fair isle in 4 cols
207 Change locks to N/KX for fantasy fair isle 
208 Double-bed birds-eye fair isle in 4 cols, tucks on the reverse side
209 Double-bed birds-eye fair isle in 4 cols, spotted effect on the reverse side
210 Double-bed fair isle in Fisherman’s rib and 4 cols
211 Double-bed birds-eye fair isle in 4 cols, tucks on every row reverse side
212 Double-bed fair isle in 4 cols, contrasting st formations on BB (semi-auto)
216 Double-bed fair isle in 4 cols, pintuck effect (semi-auto)
217 Double-bed fair isle in 4 cols, pintuck effect (semi-auto)
218 Double-bed fair isle in 4 cols, pintuck effect (semi-auto)
243 Tubular fair isle in 2 cols, as alternative try back bed all pushers up, CX, no arrow key
245 Intarsia in 2 colors
246 Intarsia in 3 colors
248 Intarsia in 4 colors
250 Pintuck formed where there are black squares in st pat, can try for drop st after casting on BB only
251 Pintuck formed where there are white squares in st pat
252 Pintuck formed where there are black squares in st pat
253 Pintuck formed where there are black squares in st pat
254 Pintuck formed where there are black squares in st pat, pintuck with spotted effect
255 Pintuck formed where there are white squares in st pat, pintuck with spotted effect
What about expanding DIY designs for use on both single and double beds?
Analysis of these techniques will reveal that frequently the main difference between the Techbuque console prompts consists simply of the console providing the knitter with beeps or visual reminders of lock settings, and at times color changes or racking sequences.
The various technique numbers compensate for the lack of directional arrow keys in the front lock as seen in the Passap non-electronic models. This in turn is achieved by the machine altering the method of color separation.
The ability to think of knit stitches as black pixels, or punched holes, or filled-in squares, and no holes or white pixels, unpunched or blank squares as tuck or slip stitches or specific colors frees us from any reliance on built-in techniques, or for that matter, from needing some of the specially drawn reader techniques.
When the reader scans card patterns or downloads, it essentially “sees” black and white squares regardless of our intent for their end use.
KT (knitting technique) 179   is intended for knitting single bed fair isle. Only designs composed of even numbers of rows may be used. As directed, the background and motif colors “always” have to be reversed, a requirement familiar to Brother knitters when using punchcard machines and fair isle patterns, along with the single bed color changer.
Depending on the design, floats may be a problem and are not managed as easily as in Japanese machines because of the fixed double beds and limited access for actions like latching up or wrapping with secondary yarn ends.
The back bed needles and pushers may be brought into work for converting to  2 color DBJ, with arrow keys and pusher selection set for birdseye or other backings, including ladder-back. A sample arrangement of needles and pushers for the latter set at BX, left arrow key, LX: but arrangements can be varied to produce varied effects.
When arrow keys and settings other than N on the back bed, each needle in work will need a corresponding pusher in work.  If needles are out of work, the corresponding pushers are placed back in the rail.
When switching to every needle double bed techniques, ignore the console directions for the racking handle position and remember to leave the handle down.
Susanna Lewis wrote knitting techniques that need to be entered separately from design motifs when they are planned for using three and four colors.
Such techniques were initially planned for card readers. Downloading them in the present day merits a separate discussion.
To start knitting do the SX/preselection rows as usual. The front bed pushers will be in the rest position. Set the locks as instructed, knit one row, and the back bed needles will knit. When locks are on the left, at the prompt on the console set the row counter on the lock to 000. The sequence of knitting always begins and ends with the locks at left when using these techniques. The same is true if the design needs to be split up to accommodate console memory. A method for doing so is reviewed at the bottom of the post on 2 color dbj using large, non-repetitive electronic repeats
Both the Japanese automatic KRC selections and 179 begin with selections of white pixels in the first design row.
Joella Knitworks Newsletter was one of the many pubs available in the early 90s. After some email exchanges with the publisher, I was asked to share my method for accomplishing a similar result, the article was published in the May-June 1992 issue. At the present time, there are wonderful resources for easy downloads that include punchcard volumes with huge selections of published patterns for each stitch type.
Each can be converted for use in electronic downloads to any machine including the E6 with the aid of specific cables and software i.e. Wincrea, Journal 6, and DAK.
Beginning with any published punchcard design, duplicate black and white cell placements, whether for single bed or double bed color-separated fabrics, and follow with the entry of Tech 129 and color reverse, so that black squares knit, white squares tuck.  Technique 130 in turn, performs the same functions as 129, but for 2 consecutive rows, enabling it to duplicate any situation that in the Japanese machines would call for double length, or when using some of the Duomatic patterns that call for the DECO to be set on 2.
The console gives suggestions for lock settings based on factory programming.
Once a design is downloaded, suggested lock settings can be disregarded, i.e. Tech 129 and 130 can be used with the front lock set to LX instead of KX depending on the planned stitch type.
The back bed can be also brought into play with settings determined by the knitter rather than by console suggestions.
Pusher selection in Passap is akin to Brother needle preselection.

Brother punchcard volumes varied content based on trends at the time of publication. This particular one,  has a section at its back on patterns knit using opposite tuck/slip buttons on the main bed. There is a slight difference in appearance as to whether the carriage tucks first or slips first. Any pattern using pairs of rows recurring such as in these tuck examples, may be used. The E6 front lock has a UX setting. The function is one-row selective slip and one-row selective tuck. The lock will slip when knitting from right to left on the needles above pushers in rest and knit on those above pushers in work.  When moving from left to right, it tucks on needles above pushers in rest, and knits on those above pushers in work. Because the locks stay together throughout any knitting, the back lock is set to GX. The same setting can be tested on any tuck design suitable for color changes every 2 rows.

OX is a combination setting of KX and CX, it is used in tech 162,63,64 and 65 and is always combined with DX –>on the back bed. The techniques cannot be combined with stitch patterns.
DX is the tubular setting for tuck on the back lock.

 

Traveling between brands, Duo and E6, settings and techniques

The old pattern books for specific machine brands picture fabrics in many exciting textures.
This post includes information gleaned/ collated from several decades-old references and is shared as a possible starting point in exploring translations between brands.
I welcome being contacted if any knitters more experienced than I notice any errors.
The Duomatic locks compared with those of the E6 Arrow keys
Left <– reverses pusher position as the lock moves from right to left
Right –> reverses pusher positions as the lock moves from left to right
Both <–> reverse pusher positions every row
More on the lock settings, and planning follow-up swatches for some of the suggestions in the future,  Traveling between Duomatic and E 6000 patterns is helped by tables showing the relationship between the Duomatic and E6 lock settings.
Duet Magazines #13 and #14  began a series attempting to match technique numbers in the Passap E 6000 to Duomatic techniques, which seemed to stop at that point. E6000 vs duo_ duet
The topic was popular at knitting machine seminars, and several other authors published their collections, offered at seminars such as Passap University and Passap Clubs. Many of the references in my collection are several decades old.
Color changes in text indicate changes in instructions, suitable for 3 and 4 colors, and with transfers from one bed to the other
From the Duomatic purchase, collectionThis is a copy of a Passap University handout, contributed by Eileen Metcalf