Category: Ribber Fabrics

A review of brioche patterning

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

The term brioche in knitting is used loosely at times in any references to tuck stitches.  Designs may be worked in single colors, or with more complicated planning, they may be executed in 2 colors.
Some patterns are fully automated, with the knit carriage set to tuck in both directions, the ribber set to knit in both, others are worked as a tubular tuck, and lastly, some require frequent changes in cam settings in either or both beds.
My explorations for the use of tuck stitch settings in double bed every needle rib fabrics began with attempting to create a solid color shape on a vertically striped ground in Geometric shapes on ribber fabrics with tuck stitches 1.
The arrow marks the spot where both colors used were picked up from the changer. C1 and 2 show indicate cam setting changes used in the last part of the swatch.
 Here, a simple shape was programmed, and varied carriage settings on either or both beds were explored Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages. Geometric shapes on ribber fabrics with tuck stitches 3  explores self-drawn repeats in multiple colors. Added samples and files in the subsequent post New double bed swatches based on published sources of inspiration 2
Lace transfers meet fisherman rib in 2 colors on Brother KM 1Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2 These are advanced, complex fabrics. The repeats for 2 colors can grow exponentially in length.
Returning to designing suitable repeats, beginning in a spreadsheet: grey vertical lines represent stitches on the ribber, which will force apart stitches created on the top bed, creating the more familiar tuck rib surface. Mac Numbers offers the opportunity to hide both columns and rows. In this instance, with the 10 grey columns hidden, one begins to get the sense of shapes and movements needed on the top bed   Working toward a repeat for knitting the shapes in a single color, imagining the location of eyelets resulting from stitch transfers, I used two repeats, adjusting the first repeat to vary the resulting shape slightly A 11X30 repeat mirrored horizontally for use on my 930, tiled twice horizontally before programming and downloading, used as a 23X30 single motif to obtain a matching border on each side, A 9X28 repeat, my second try, programmed as a 20X28 single motif, When knitting using only one color, the machine is set with the main bed tucking on every needle in one direction, followed by knitting on every needle as it returns to the starting side, the ribber does the same but in the opposite direction. It is a circular tuck, also referred to as fisherman’s rib. A slight shift in patterning may change the outline of the desired shape, introducing or removing stray lines or secondary shapes.
The possible cam setting options: In two-color brioche combined with hand-transferred stitches, the main bed is set to tuck in both directions, white cells tuck, black cells knit.
Brother machines preselect needles for the next row with each pass of the carriage, so on even-numbered design rows, as the carriage moves to the opposite side, all needles will form tuck loops on the main bed. The next row will be preselected, with some needles now back in B rather than D position.
With an appropriate transfer tool, move the stitches on the 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.

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

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

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

New double bed swatches based on published sources of inspiration 2

Published a few months ago: New double bed swatches based on published sources of inspiration

At year’s end, I commonly find myself reviewing earlier blog posts and am drawn to testing previously developed repeats in new or different ways.

Many publications, whether for electronic machines or punchcard models, group patterns in separate categories, not offering many clues as to whether each design may be used for other knit structures.
Some punchcard manuals do offer a page with limited guidance, such as this in the 860 manual. Truchet tiling design inspiration 1 and Truchet/Smith inspired designs 2 meet ArahPaint, introduced resources and methods for developing DIY knittable designs inspired by them.
Blistered DBJ 2 and technique variations on a single repeat. used this tiling in several ways, followed up on the previous post, Blistered stitches DBJ
Revisiting both posts, developing some new pattern variations.
The starting repeat, 74X74, drawn in repeat to test tiling alignment, 148X148ArahPaint, Tools > Layer -> Brush saved the 74X74 picture is loaded
the white palette color is locked with filled rectangle, using the brush and bucket fill on whole image, the new 74X74 file was test knit on the 930, which automatically mirrors the image horizontally,  centered on 60 stitches.
End needle selection on the knit carriage was canceled.
The slip setting in both directions was selected after the first preselection row.
First and last needles were in work on the ribber, with the carriage set to N.
If large groups of stitches were not selected on the sides, an end stitch was brought out to E manually before knitting the next row.
Slipped stitches elongate, as seen in the image on the right. The elongated X2 design did not work on the Brother,  with too many rows knitting only on one bed; they start jumping off, and the length of the slipped stitches is a potential added problem, with too many rows knitting only on one bed, they will start jumping off and the length of the slipped stitches are potential added problems.
Blistered DBJ 3 began with a punchcard design untested at the time, modified for use in knitting a patterned half fisherman rib,  24X112. The knit carriage is set to tuck in both directions, the ribber carriage to knit in both. The resulting knit has subtle textures on both sides, lies flat. Related stitch structures and samples in Geometric shapes on ribber fabrics formed with tuck stitches 4
The same design, 24X112, color inverted, has applications as well, among them, pile knitting, best knit on Studio machines, and single color drop stitch lace.
The first of several blog posts on the technique, Geometric shapes in drop stitch lace 1, Brother KM.
To knit, cast on EON, transfer all knit bed stitches to the ribber, except for the first and last.
Cancel end needle selection.
On rows where no needles are selected, drop the stitches formed on the main bed. Return all the same needles to the B position, checking that no extra needles are accidentally pushed in or out of work.
The knit grows quickly. The yarn used is a 2/10 W/LYO, a wool and lyocell blend. Lyocell is a versatile, semi-synthetic fiber made from wood pulp, particularly eucalyptus trees, and was originally trademarked as Tencel in 1992.
A thinner yarn would highlight the open areas more.
The swatch, knit on 48 stitches for 90 rows of the pattern, measures 9 X 11.75 inches.
Returning to the inspiration, 24X32
using double height, 24X64 color invert every other row, double height, 24X128
renders the color separation that, when knit as DBJ, produces the elongated design version where each color in each design row knits twice.
Preselection for the first row is from the right. Using the tubular tuck setting, either pair of opposite cams, the result is evocative of illusion knits; the texture is more 3D than in the images. There are distinct changes in appearance if one is willing to invest in manually changing cam settings as often as every two rows.
The latter is more feasible using two pairs of carriages operating from opposite sides.
The knit is compressed in height and quite wide, with 48 stitches and 150 rows of pattern measuring 14.75X8.25 inches.

More to explore:
Tuck stitch meets thread lace repeats and vice versa 
Using punchcards (3) or electronics to track small cables in pattern
Using  punchcards to track cables and twists in pattern 2
Unconventional uses for punchcards 1: tracking racking positions in ribbed fabric Unconventional uses for punchcards 2: thread lace cards for “filet” mesh
Using punchcards to track small cables in pattern (1) 
Punch cards to electronics: book symbols and samples 12/17

An army of frogs, some DBJ tips

A tale of crustaceans and critters ,
introduced an army of frogs that began with a border chart  the 27X83 PNG  

in half drop, 81X83

There is often a resistance to swatching. One of the benefits of large enough tests, even when gauge is not a factor, is to find that, as in this case, color separated for DBJ, knit in birdseye backing, well, look at this!

The color reversal seen at the top of the repeat, as return is made to the first row of the design, can be caused by making an error in changing colors appropriately. There is no evidence of that on the reverse; striping would be wider in areas where either color was carried for 4 rows.
If the planned design is to be used as a continuous pattern, with a return to row 1 after reaching its top, when knitting DBJ, the designs must be an even number of rows in height to start with. 
Tools or built-in functions that automate conversions do not always provide error warnings.
Another go at the frogs: 27X84
in half drop, 54X84
The GIMP script color separation, 54X168Color, and technique choices, and whether they are deemed successful or not, are determined by personal preference. Here, a space dyed thin cotton was plied with a white yarn as the light color.
The frog at the top of the repeat is no longer beheaded.
There is a snag around that area, however, that causes slight distortion, noticeable on both sides. Some notes on machine knitting color changers review their use.
The snags in the swatch were from the space dyed yarn getting picked up with the green/ dark ground.
That can happen from the ribber arm needing a minor adjustment, not clearing the color changer far enough (there is an audible click at that time), or, in this case, the thin yarn was snagging around the guide for the adjacent #2 dark color and getting picked up with it. Historical blog posts on DBJ can be found in the blog index
Keeping machines clean and oiled, along with balancing the ribber, aids in error-free stitch formation.
Always something new to learn, lili buttons will not rotate if the carriage is set with the slip levers in the up position.

 

More play with triangles

This post adds to my design repeat collections. Most of the files provided are intended as inspiration for DIY.
From Truchet/Smith inspired designs 2 meet ArahPaint
Quilters are familiar with block designs easily found in print and online that technically may be broken down into triangular blocks joined and meeting to form sharp points. Truchet, in his publication, used half-square triangles and assigned letters to the segments,   and a PNG to explore,   that when magnified shows the inevitable doubling of some same color pixels side by side or in sequential rows when drawing in random repeats; it becomes unavoidable. A DBJ test knit
Exploring how shapes meet and can be combined to make new shapes: this is a 12X10 file, shown in repeat,

and in multiple colors  makes it easier to identify intersections and secondary shapes

A 12X12 start,with added colors  

tiled in an adjusted colorway

18X1824X24different palette tilingBW versionWhen you want to knit no more than 2 colors per row, and large repeats with open spaces are appealing, in this 38X18 file, some same color pixels touching soon become evident, in progress 57X5857X58 BW.

Triangles and blocks forming broken ribbons, 36X34Tired of horizontal and vertical  movement, returning to diagonals, recognizing component shapes with clean edges ,

BW 16X48

knit as single bed fair isleIf broken shape edges are OK, this 24X48 repeat with underlying 8X8 blocks, is usable in punchcard models. Triangles are broken along the diagonal  solid lines.In electronic machines without the capacity of knit from screen or added storage, non repetitive image PNGs may need to be programmed in sequential segments.
When producing items such as scarves, there is an opportunity to play with extending the idea further.
Wolfram world is an online reference explaining the rules for building automata.
Cellular automata charts for knitting, etc. was written by me at a time when I produced a series of pieces inspired by their patterning such as this, knit on the Brother 930, with images of earlier automata samples knit on my E6000 shared in My new knitting projects

Triangles can be easily recognized forms when testing designing and related techniques and how textures and aspect scale can vary in machine knitting.
From Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriagesTranslating Passap model book pattern/use on Brother 1
Early posts:
A simple shape, an exercise in DBJ, Brother KM
Double jacquard using punchcard machines

 

Swatches > seasonal knits 2025

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

 

 

 

Passap to Brother 7: more Duomatic inspiration

IN PROGRESS

My early posts were often quite brief, and some of the explored techniques were never returned to despite my intentions.
A shawl tale was written in 2009.
The designs explored in this post can be found in the Passap Duomatic baby book. A closer look: My attempt at a hand technique at that time, and the declaration of a planned challenge, “creating a downloadable stitch pattern that will automatically select appropriate needles and duplicate this texture.” It only took 16 years!
The pattern chart: on the Japanese machines, the beds are reversed. The back bed = ribber in our case, is set to knit every row.
Locks is the Passapese for carriages.
Many patterns can be achieved by lock settings and arrow keys without added programming. In Brother machines, a small cousin of the function is found in the use of lili buttons.
When an arrow key is pressed, it tells the Passap machine to engage the pushers.  Depending on the direction of the movement of the locks, the pushers will be lifted or pushed down. Their initial position is set up manually.
The left arrow key changes pusher selection when the locks move to the left.
The right arrow key changes pusher selection when the locks move to the right. Use of both arrow keys simultaneously will change the pusher selection every row.
With the Zero key, no arrow selected, the pushers do not change their position on that pass, repeating the selection.
Pushers preselect for the next pass, as happens with needle preselection in Brother.
AX is the tuck setting for Passap, pushers selected up knit, selected down tuck.
When setting up these patterns, it is best to have a needle on the ribber on each side, not observing the usual “needle rule” for rib knits.
When working on both beds, the default illustrations have a space > dot between needles in work to permit the illustration of needles between them on the opposite bed, so the chart is not for an every other needle design. In this instance,  stitches > needles in work occur in pairs on the top bed.
Programming the repeat: the first pass will knit or tuck alternate pairs of stitches.
The needle selection then stays fixed for 3 rows and reverts to the first selection, a 4-row design. Stitches will be tucked side by side, breaking another common rule.
The ribber needles in this case are extra, not transferred down to the ribber from the knit bed as in some of the fabrics recently explored in other posts.
They are brought into work between pairs of knit stitches on the top bed, represented by the red lines in this chart.

Because of their location, the ribber should be set for half pitch.
With use the beds can shift, for tips on ribber alignment please see post:
A bit on ribbers: Japanese KMs, alignment, and symbols 1.
The stitches on the ribber are outlined with cyan, the triple tuck loops as those needles are brought forward on the knit bed for knitting with white. The proof of concept, programmed on 46X24: The darker color was thicker, knit well, but since this was a test, seeing stitch formation while checking for accuracy mattered. Testing the pattern on the knit bed first determines any problems with the design before the ribber is brought into work, limiting visibility as the knit progressed.
The same repeat, with stitches transferred down to the ribber, leaving empty needles on the top bed, knit on every other needle with 2/8 wool, produced an interesting texture, but quite a narrow knit, 3.5 inches wide. Racking on EON rib: some considerations.
A different design, with the repeat cut in half widthwise for a more traditional tuck stitch configuration, 
also with stitches from the ribber between stitches on the main beda knot in the yarn knit right through and was missed, easy to do when working double bed if the yarn travels with no hesitationThis design uses a simple racking pattern, easy to execute in thin yarns, but not as impactful. In Brother the ribber performs the racking movements.
Both beds are set for plain knit.
The needle set up is on half pitch.
Cast-on for the test swatch was with the racking position starting on 8, with the plan to rack to 10, knit 2 rows, rack back to 8, knit 2 rows, and repeat, performing all position changes with the carriages on the left.
The yarn used is a 2/18 wool/silk blend that resisted the technique regardless of tension and weight adjustments, and began breaking, but there is enough knit to visualize the result. Pattern 2053 is for reversible checkerboards that use tuck settings on both beds,The strippers in the Passap system help push down on loops and knit stitches, anchoring them in a way simply not possible in Brother models. Even if a choice were to be made to push down between the beds with a hacked tool, the Brother needle preselection renders that impractical.
The concept behind the Duomatic version is then switched to automated patterning with the tuck setting on the main bed, and the ribber set to knit every row.
The two rows with one arrow key result in the repeat shifting locations by repeating the same selection, as seen in this chartThe 8X40 design was knit on 48 stitches, these knits are quite wide, loose bind off are required when the pieces are completed.
Each sample knit measures 11.5 inches in width.
Where 4 side by side needles are tucking for four rows, the stitches on the ribber may have a tendency to jump off, resulting in loops not being anchored, so those areas require special attention. The proof of concept for the above repeat in one color and then with color changes every 2 rows

More variations including racked ones are explored in Fisherman_ English tuck stitch rib 1_ checks patterns_ Brother, Passap.

Revisiting double bed knits with stitch transfers between beds

IN PROGRESS

A reminder for Brother machine users. When automating any pattern by programming the top bed, if there are any needles out of work, end needle selection must be canceled, or stitches on either side of the empty needles will knit, not tuck, slip, or knit in the proper color, altering the planned design.
This latest repeat is worked using hand transferring stitches at regular intervals between the main bed and the ribber.
To facilitate tracking, the transfers were executed every 10 rows with the guidance of a marked-up, custom-printed needle tape.
The knitting can begin on the top bed with waste yarn.
Even weight is needed for the stitches to form properly.
The ribber is set to full pitch, P > point to point, during the knitting of the piece.
It is possible to start on waste knitting and to use the ribber comb for an open cast on the top bed.
Alternatively, the single bed comb may be used, with ribber weights evenly spaced apart on it before transferring stitches down to the ribber, or a ribber comb may be poked through the waste knitting evenly, followed by the addition of weights.
1: the initial needle transfer set up, on a multiple of 7 stitches +2. The cells marked with red on the tape represent stitch groups that are never returned to the main bed during the knitting of the piece
2: the transfer set up for the first 10 row group
3: the transfer set up for the alternate 10 row group.

The first and third images from the left show the piece when first removed from the machine, and the other pairs show the swatch after steaming and pressing. The yarn used is a 2/8 wool. Since the fiber has memory, it retains its spring back after blocking and resting, but with some loss of the 3D effect.
Man-made fibers and some natural ones would flatten completely and permanently with pressing/ steaming. 
Tuck lace published designs may be used, instead of taking needles out of work, transfer needles in those blank vertical column locations down to the ribber. The 24X48 PNG tot pattern #620A few of the previous experiments and samples in double bed knitting with stitch transfers between beds, at times only once, at others in repeating pattern blocks.
Knit and purl blocks to create folding fabric_ “pleats”
More fabrics with knit bed tuck patterningUnconventional uses for punchcards 3: lace in rib
Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2. Ribber fabrics with stitch transfers between beds 1Slip stitch patterns with hand transferred stitches, double bedBrother shadow lace, rib transfer carriage Combining knit carriage needle selection with racking   More to explore
Transfers between needles on either or to and from both beds
Double bed embossed patterns
Bowknot aka butterfly or dragonfly stitch in more than one color
Slip stitch patterns with hand-transferred stitches, double bed
Ribber fabrics with stitch transfers between beds 1
Ribber fabrics with stitch transfers between beds 2
Origami-inspired 2: more pleats and folds using ribber
Pleats: ribbed, folding fabrics
Lace transfers meet fisherman rib in 2 colors on Brother KM 1

New double bed swatches based on published sources of inspiration 1

From Dubied pattern books,
1: matching needle set up
2: stitch positions after racking to the right
3: stitch positions after racking to the left
These images illustrate the differences produced depending on the number of rows knit without racking: four on the left and 2 on the right. The knit is reversible, is lightly pleated, and lies flat. In this swatch, no rows were knit between racking sequences.   A pattern that requires no cam changes is knit in tubular tuck stitch, using opposite buttons on the knit bed and ribber. The starting size matters in this case to allow for the use of the color changer every 2 rows. Knitting begins on the left, using the settings shown on the left.    My third color, white, was knit in plain ribbing, would be too narrow if used in a final project, and, if used, should be knit using the same settings as the remainder of the knitting. This pattern requires more interpretation, as seen in the blue text notes. The knit bed may be programmed, thus automating its functions. The repeat as suitable for punchcard models, 24X36 the corresponding PNGand proof of concept, knit on 40 stitches, testing a one stitch knit vertical border on the left side, and 2 stictch one on the other. The 930 automatically mirrors the design.

The needle arrangement the program for the top bed, 24X36, usable on punchcard models the swatch repeat, 53X36the starting setup on the machineThe knit bed is set to tuck in both directions, all black pixel rows will form knit stitches. When pairs of rows with non-selected needles occur on the top bed, the ribber is set to knit, the tuck lever may be left in the up position. When all needles are selected on the top bed, the ribber is set to tuck A closer look at the structure on the knit side
Slip stitch designs, beginning with “ripple stitch” sampleUsing a spreadsheet to plan racking sequences and respective row numbers:the repeat is 10 rows in height
1-5 the knit carriage is set to knit, the ribber carriage is set to slip in both directions for 5 rows, marked with yellow cells
rack by four positions at once. The yarn and tension will need testing to allow for that much movement and for knitting the next row without yarn breakage or carriage jams
6-10 set the ribber to knit, knit one row
rack by one position every row X4, returning to the original position
set the ribber to slip in both directions again, repeat the 10 rows.
Following the charted sequence, set up with 3 needles only on the main bed on the right. As the sequence is completed there will be three needles on the knit bed on the left. The original needle setup is restored with return to the original racking position. The proof of concept knit in a 2/20 wool An easy racked pattern in 2 versions and with slightly different needle arrangements began with
the planned sequences in series with change in direction every 10 rows.A punchcard machine can be marked with the row # to help track positions.
The inspiration:Full cardigan is a tubular tuck, using opposite tuck/knit buttons. As one bed knits every stitch, the opposite bed will form loops on every stitch.
The yarn used is a 2/8 wool. The first test was knit on an every other needle rib The second test matched the needle set up in the manual, but was knit in half cardigan, not full, with only the knit carriage set to tuck in one directionA version of Brother block racked designs from the Ribber Techniques book uses the top bed to knit every row, with the ribber set to tuck to the right and knit to the left.Reversing the racking sequence in direction results in some biasing of the stitches, not as evident in the swatch photo in the manual. That feature can actually be used to produce 3D projections.

Cumulative racking references
Cross-brand pattern interpretations: Dubied to Brother 
Double bed embossed patterns 
Origami-inspired 2: more pleats and folds using ribber 
Racking on EON rib: some considerations 
Racking mechanical handle repair saga 
Racked patterns 5: Passap/Brother 2 
More dragon scales and chevrons in ribbed, racked (4) fabrics 
Racking: Passap/Brother 3
Fisherman and English rib checks patterns, Brother and Passap
Ribber fabrics produced with 2 knit carriages selecting needles 
Combining  knit carriage needle selection with racking 
Vertical racking 3: automating half fisherman in pattern (2) 
Racking 2: vertical chevrons/ herringbone + 
Ribber pitch, a bit on racking 1:  chevrons/ horizontal herringbone
Unconventional uses for punchcards 1: tracking racking positions
Racked ribber cast on 

DBJ based on repeats in my previous posts:
Combining patterns referenced in  previous blog posts
60X58180X174a single DBJ block with birdseye backingAnother striped block variation and the corresponding swatch can be found in the post on  Developing tiled repeats suitable for multiple stitch types, including tuck
in the same post, knit as single bed FI but also suitable for DBJ, 30X30with all those dots removed, knit as DBJ
Ribber fabrics with main bed tuck patterning 1/ pick rib explored a range of such designs, this version adds taking needles out of work on the main bed after the stitches on them represented in the groups of 3-cell white vertical columns are transferred down to the ribber
the starting repeat, 22X34was tested on 58X68 stitches Narrow vertical columns of all knit stitches on both side edges worked on 3 or more needles on either of the two beds can form a functional rolled edge finish on double bed knits.

More fabrics with knit bed tuck patterning

WORK IN PROGRESS

Punching cards for tuck patterning involves lots of holes. Punched areas knit, unpunched ones tuck or skip selected needles.
There are many ways to experiment with color changes, sometimes in yarns of different thickness, using familiar repeats such as this punchcard design. In this test swatch, the red yarn is a 2/18 silk/wool blend, and the thinner a blue polyester serger thread that forms a bubbly surface on the knit side. Colors were changed every 8 rows. The programmed electronic repeat including a knit stitch border at each side edge, 61X16 This 12X42 configuration is typical, with tuck shapes forming on a knit ground;   replacing knit areas with alternate tuck patterning,  a larger design, 24X54 rendered double length, 24X108When colors are changed every 2 rows, the result is very different than the maze/mosaic effects sometimes formed when using combined knit/tuck patterning A decade ago, Ribber fabrics with main bed tuck patterning 1/ pick rib
introduced this fabric, which lies flat and, depending on yarn choices, can appear to produce eyelets and has a soft drapeWhen combined with planned needles out of work, some patterns will form what are sometimes referred to as mock aran designs. This first repeat is built with simple blocks. The all-white vertical columns represent areas where needles are transferred from the main bed to the ribber. The tucked main bed areas shorten and widen the transferred stitches, pushing them apart and forming vertical “waves”. The resulting knit is narrow and retains its 3D quality if wool is used, but acrylic or blends and some natural fibers will flatten permanently if pressed.
The proof of concept worked on 60 stitches:
A “fail” of sorts, a diamond shape was tested. To start with, I ran out of the first yarn. There were some rough spots in the ribber-stitch formations. When steamed, the vertical knit columns flattened at the center while outlining the ruffled edges, which may serve as edgings. When searching for tuck aran online, all finds include single-bed patterning, where tuck/knit stitches create narrow vertical columns between the larger designs. Often, the pieces pictured are blankets produced on 9mm KM models. Fewer versions bring the ribber into play.
Punchcard repeats may be knitted as published on electronic machines or altered to suit.
A straightforward approach to double bed experiments is to use designated tuck lace cards and transfer any stitches on needles marked to be taken out of work down to the ribber.
Variations can begin with designs commonly found in cards supplied with new machine purchases.
In these first two samples, knit stitch blocks alternating with tuck stitch ones aim for a wavy expansion of the rib columns while keeping the 24-stitch card constraint. The 24X20 PNG was knit on 61 stitches, with a single ribber stitch border on each side. The 24X20 repeat may be punched in height X2 for use on punchcard models. The 24X20 PNG. The swatch was knit on 62 stitches, with a 2-stitch rib column on each side. It was not possible to use a tighter tension on the top bed while keeping the stitch formation error-free. Moving from card repeats to electronic ones frees one from width 24 stitch repeat constraints, as seen here:
Card #3 is contained in most with purchase KM punchcard models. Using the basic repeat, the chart shows varying the original while
making it outside the range of execution on punchcard models. The 10X24 related chart and PNG,

The repeat used for the swatch, including planned transfers to the ribber, is 63X24    the The yarn used is Merino wool. These knits narrow and lengthen when removed from the machine.
Working with blocks of patterning, a 24X32 design.  The all white pixels/unpunched squares indicate areas where the stitches are transferred down to and up from the ribberCancel the end needle selection since there will be needles out of work on the top bed.
When transfers are made to the top bed from the ribber, the needle selection needs to be maintained and is easy to recognize.
The swatch was knit in in a 50/50 blend of silk/wool, was far narrower and more 3D, light steming flattened the result considerably and permanently. ….
From a Studio punchcard volume, the corresponding PNGs
1: 24X44,2: 24X48,3: 24X48,4: 24X48, and mirrored patterning from the StitchWorld III Brother Pattern Book, 146X32Beginning with the 24X44 #1 pattern, variations adding stitch transfers to ribber:  a 24X32 repeat
planned with knit bed tuck stitch vertical borders on each side, 62X32 A second variation: the PNGthe 63X32 swatch repeat also planned with knit stitch borders on each side the resulting swatch Using repeat #2the 24X48 PNGthe swatch repeat 59X48 Small changes can easily be made in knit bed pattern areas to make the result more personal.

A 31X48 electronic variation combining elements from the inspiration repeats was knit single bed on 70 stitches, 48 rows with an added knit stitch programmed at each side edge the yarn used is a 2/18 wool silk blend, accounting for some of the differences in shading and light sheen. After steaming and light pressing, there was some loss of the 3D textures. Assorted single and double bed patterns with needles out of work, NOOW:
Tuck lace trims and fabrics 2
Tuck lace trims and fabrics 3
“Crochet” meets machine knitting techniques: tuck lace trims and fabrics 1”
“Crochet” meets machine knitting techniques: tuck lace trims or fabrics 2

A DIY large scale repeat adapted from an online published collection

Electronic pattern books now available for free online often include images of mylars or of files for knitting using specific machine models and/or accessories.
The designs may be used as provided or serve as springboards for DIY variations.
Some knitters prefer large-scale designs in non-repetitive patterns on garment pieces.
Roses and houndstooth designs reappear frequently on runways. This was included in a Studio pub and caught my eye. Conversion to the full 96X172 file. Visualizing the potential large piece knit, it was not an instant favorite. Working towards a DIY design and examining varied methods and steps:
the inspired 4-stitch brush to be used in the background fills a small “rose” from a punchcard repeat, 24X24the first approach uses color to alpha to place the design on a pattern-filled ground, the file is adjusted to 30X30 to allow for outlining the rose in a third color the result, in turn, is centered on a 44X44 new image.
To have the white pixels forming the petals undisturbed when using color to alpha, the background is changed to cyan in a new window, fill a new picture, 44X44, with pattern copy and paste the flower, anchoring it in place after rendering the cyan transparent and change the magenta outline to white, tile to 132X132playing with the movement of the shapes to change the overall placement,  the brick repeat immediately shows patterning problems, and the shapes appear small the 30-pixel file is doubled in size to 60X60, check that the number of colors is set to 3, fill the white background with pattern magenta pixels to white the intersection problem in a standard brick repeat reoccurs if the white outline is considered too thick, reduce it to one pixel from 2.
In this 60X60 image, the lines forming the petals are also colored in magenta, and the outline is reduced from 2 pixels to 1, Changing the approach: the above is drawn in repeat on a white ground. Rotating any individual elements becomes possible with no disruption in the yet-to-be brush-filled design. Filling in the white ground with the pattern results in no tiling errors eliminating the third color, BW brick, it is not possible to isolate a smaller repeat keeping directions constant in alternate rows of the pattern makes isolating the smallest repeat possible, 60X120. Back to the inspiration florals, isolating one of the roses, 61X59, note that the shape is not symmetrical with a single-pixel third color outline, on a white ground, 64X64tiled in a simple brick repeat to 128X192 on a white ground with the background pattern-filled64X128 isolated smallest repeat tiled in BW with colored outline removed testing random placements produce a design with the smallest programmable repeat note that the horizontal distance between the flower shapes is not fixed

seeking symmetry 50X58 scaled to 58X58planning added borders 64X64  outlined a full single repeat 192X256 using the same random arrangement building the smallest straightforward single brick repeat if there are limitations on the size of the programmed image ie to avoid multiple tracks in machines such as the 930 using img2track the slightly scaled design reduced to an 80X80 repeat to play with in any configuration of your choice. The test swatch for the full single repeatContinuing on a floral theme, inspired by a filet crochet design, 30X90 its half drop version, 60X90drawing both in repeat to 180X180 helps to determine whether further editing is needed, and if the shift in vertical/horizontal vs diagonal striping is preferred