Whatever the goal in DIY, when automating designs, black pixels or punched holes are selected and knit, while white pixels or unpunched holes are not selected, and used to produce textured, color-patterned knits, or serve as guides to added actions when combined with the knit carriage cam settings.
Depending on the structure, there may be rules or limitations to the pixel distribution that are at times also combined with specific color separations.
Downloads to machines using assorted methods allow for programming up to the width of the bed, 200 needles on the 4.5 mm machine.
Slip stitch programming can be substituted for hand selection when planning short rows.
My first electronic machine was a Studio model. A few mylars from that time are still in my present inventory. This scan shows two repeats used in what would become a sideways knitted skirt.
I tended to scribble on mylar sheets as I did later on my Passap technique Manual printed pages.
Testing smaller repeats helps to troubleshoot possible issues, our tolerance or patience in planning and executing the imagined results, and deciding whether a larger trial is worth it.
My first experiments with the automated short row technique were in producing sideways knit garments, a batwing sweater, and a calf-length skirt.
Depending on the distribution of pixels, it is sometimes easier to fill in areas with black pixels and invert the color if needed, using built-in machine functions. 
The skirt was knit using the top repeat, doubled in width, color reversed, with the speckled rows slipping for one of the horizontal stripes, tucking for the other, forming permanent folds.
There are many previous blog posts on automating “doilies” and circular shapes.
Other slip stitch patterns may be brought together in the programming for sideways shaping (presently avoiding the math involved when gauge matters).
3D printed slider, drop stitch lace review introduces a racked shape repeating in continuous sequences on a fixed number of needles.
There are ribber guides, not always necessary to use, but at times useful in tracking the process correctly.
The previous racking sequence in the planning stages: 
the shapes 
are formed by manually positioning needles on the ribber.
Automating the potentially circular shape, which, after angle and gauge calculations, may be extended to form a sweater, skirt, or other item.
The test repeat: 44X22 
may need to be mirrored horizontally, as in my 930, depending on the machine model and the download software used.
The knit bed produces the background, and the ribber picks up loops that will result in the enlarged stitches when dropped.
Considering the short row method and small stitch count, while the shapes were retained, racking positions were reduced, thus reducing their size. 
Air knitting, practicing racking movements as they relate to the top bed, before actually proceeding with the knit test, ensures the process starts with needles on both beds in the proper placements.
End needle selection is canceled, since the slip stitch setting is used on the top bed, where there are needles out of work.
Half pitch is used, placing needles on both beds between each other.
The first preselection row is to the left, with pairs of rows shaping the knit from left to right, starting with needles on the right pushed back to B away from the carriage every two rows until the process is reversed and they are returned to work.
For pattern knitting, the knit carriage is set to slip/slip.
The ribber carriage is set to N/N to pick up loops, at rest on the left when the sequence is completed, and uncoupled from the knit carriage if used to drop the loops for two passes. On its return, it is paired with the knit carriage again and is set to slip/slip to allow rows of knitting only on the top bed, 5 in the swatch.
Racking happens every row, while the top bed performs its own programmed thing.
In progress, if racking has been performed, the stitches will appear slanted to one side or the other, like normal rib, if it has not.
Ribber needles may not be brought above the B position combined with racking; they would collide with needles beside them on the top bed.
Light colors make it easier to see and identify successful stitch formations.
The best yarn to use is a smooth one that will retain its shape with blocking.
This yarn is a random off-the-shelf wool from an unmarked cone.
Because there is so much happening in a relatively small area, the surface bubbles. In some cases, that bubbling can be the intended design feature.
The racking indicator was used as a guide to determine when the point was reached to drop loops, change settings, and knit X# rows on the top bed alone, followed by setting the ribber carriage to knit once more, reversing racking positions, and repeating the process. 
Using the same slip stitch repeat on the top bed, simplifying the drop stitch shapes to 4-stitch 4-row blocks.
The yarn used in this case is a 6/15/1 rayon, knit at tensions 7/2, one that may be killed with no spring back with blocking, as opposed to wool, with a very different result.
The ribber on N/N forms loops for 4 rows, they are dropped, and the carriage is changed to slip/slip for 2 rows.
The stitches can be selected and brought into work manually; if so, a needle tape may be of use to guide the hand selections. A piece of tape, as shown on the left, keeps edge needles from mistakenly being brought into work.
Racking can be used to move the group of 4 stitches into position, avoiding hand selection, with a start at position 10, to 4, and back. 
The ruffled effect with the knit at rest. 
Horizontal lines or stripes of dropped stitches can be combined with other stitch types, i.e., tuck or lace, for various end uses. 
Combining the horizontal lines with automated short row shaping: these images show some drop aka long stitch designs which were developed and used in a group of limited edition items. 
This Passap Duomatic pattern was the source of inspiration.
I do not have notes available from that time.
Here is a present approach for automating the repeat on a Brother electronic.
Again, starting with a small swatch, testing for the tightest tension possible.
Using a familiar yarn eliminates the possibility of any issues occurring due to only the new fiber choice.
Patterning occurs in pairs of rows for an even number of total design repeat rows.
Here, 34 stitches produced a width of 6.75 inches; there is a 5-stitch vertical border on the straight side edge. 
The repeat can be programmed for any width or only for the number of needles in use by adding all black pixels on the right.
End needle selection is canceled, and the first preselection row is from right to left.
The 30X16 PNG 
required horizontal mirroring on the 930.
To avoid dropping the stitches on needles that are skipped on the top bed, or accidentally bringing up extra needles in work on the far right, a piece of tape can be placed on the ribber bed above the butts of needles directly below them.
All other ribber needles will knit for 4 rows, loops are dropped, the ribber carriage is switched to slip for 4 rows, and only the top bed will knit on all needles. The process is repeated.
As the knitting progresses, needles continue to be preselected across the piece except where those rows of white pixels occur, with them remaining there in the B position.
On the first row that happens, the ribber is set to knit and pick up loops.
When all needles are preselected again, the loops on the ribber are dropped using any preferred method or tool.
The carriage is then set to slip, with all needles returned to the B position, and the top bed alone will knit on all needles once more.
The needle setup. 
The swatch was knit on 20 stitches, 6L to 14R, reducing the border on the right from 5 stitches to 4, and measures 4 inches in width at the curves.
A cumulative list of the blog posts related to this topic may be found at the bottom of the 3D printed slider, drop stitch lace review.
Category: Ribber Fabrics
One repeat explored in many ways
Questions as to how to design for specific knit structures or how to use randomly found repeats appropriately turn up regularly in forums.
A review of punch card repeats found in downloadable volumes, which provides clues as to the suitability of random finds for different techniques, can be found in Punch cards to electronics: book symbols and samples.
This post began with a random published find from an electronic pattern book. The initial goal was simply to evaluate and play with the design, and then it evolved into a project growing in size as more ideas were sparked for added swatches. 
the match, 24X36
48X72
is potentially usable for
1: knitting as FI, with a wide maximum float of 9 stitches, which would merit control
2: thread lace, both yarns knit white pixels, the thin yarn forms the stitch on the knit side, the thicker yarn floats behind it
3: knit weaving, deciding whether to manipulate the long floats that are formed intermittently
4: tuck stitch, must be color inverted, white pixels form tuck loops for 1, 2, and 3 rows in various spots in the design.
DIY editing of the first repeat, seeking uniformity, eliminating rows, and shifting pixels for added possibilities. 
24X24
in full repeat X2, 48X48
doubled in height, 48X96 
color inverted, 48X96
potentially knittable doubled in height once more, test with thin yarn, 48X192
tested single bed for 60 rows, an obvious change in texture and aspect ratio. 
Single bed using the original, color-inverted file, 48X72. The yarn is a 2/20 wool; the resulting stitches are open enough to allow the dark bleeding through from the background to influence the appearance of its color. The swatch measures 7.25 inches in width. 
Double bed
The knit carriage is set to tuck in both directions, the ribber to knit in both for what is often called pintuck or punch tuck rib. The knit lies flat and is “reversible”. Using the same number of stitches and knit tension as the above, this swatch measures 10.75 inches. 
With the tuck stitch file easily color-reversed on the electronic, the knit carriage set to slip in both directions, and the ribber to knit in one, slip in the other, the density and width of the resulting knit change significantly.
Punchcard knitters would need to punch a second card.
Blisters are formed on the knit side while stitches on the ribber become elongated when slipped.
As the knit carriage returns to the left and skips needles, floats are formed to a max of 9 needle spaces, and eventually form pockets in the white pixel areas. 
As the ribber knits in one direction, it slips in the other, and stitches become elongated until they knit once more. The yarn needs to be able to tolerate being held for the necessary number of rows without breaking. 
The swatch measures just under 5 inches in width, although worked on the same number of needles as the tuck samples.
Some of the color difference is due to a change in natural light, but also to less bleed-through of the background as a result of the fabric density. 
As double bed knitters know, several inches of knitting happen before you can crawl under the machine or get creative with a mirror and/ or + lighting, to see whether you are actually knitting the intended pattern. This design, using the same yellow yarn with the added blue yarn of the same weight, and the same carriage tensions as for other double bed samples, made it hard to see whether anything but stripes was being produced while on the machine. The bottom of the swatch was knit with striper backing, the ribber set to N/N, and measures 6.5 inches in width. The top was knit with birdseye backing, using both lili buttons, the ribber set to slip in both directions, and measures 5.75 inches in width.
The color placement for background or design can simply be chosen by which color knits first, so either the color-reversed or the original repeat may be programmed. 
Original 48X72Single bed
This swatch was knit using the thread lace setting, and two slippery yarns, a rayon and a nylon thread of an unknown brand. Serger monofilament is an option, but my supply is multiple decades old and broke easily halfway up the first repeat. Testing large swatches and blocking them in the same manner as the finished piece would serve as guides in making choices.
End selection needle is canceled, but if end needles are brought out to D as part of the pattern design, they need to be pushed back to the B position manually before the next row is knit.
Width comparison does not apply, since the tension required was double that used in the other swatches.
There are less common applications when choosing designs. For example, the same repeat was tested to create a single-bed lace transfer design, with a single row knit after the transfers in each design row have been completed. It finally took using a 4th yarn to get the stitches to knit properly, unlikely something I would knit in a large piece, but it helps to understand what happens with reversals of directions in the mesh. 
An explanation of the technique, with added swatch samples and designs, may be found in the post Unconventional uses for punchcards 2: thread lace cards for “filet” mesh
The slip stitch double bed blister knit was shown previously, using the starting 48X72 repeat. Here is a double bed version, using the plaiting feeder and with the knit carriage set for thread lace. The results differ with placing the yarns in alternative positions, and both swatches measure 9.75 inches in width.
3D printed slider, drop stitch lace review
D sliders, also known as P carriages in Studio-Silver Reed language, only move/ push the needles; they do not manipulate any stitches.
The needles are pushed to various working positions, B, C for Studio, D for Brother, depending on the starting position of the needles.
Drop stitch “lace” is also referred to as drive lace in Studio pubs, and summer fair isle in Passap ones.
The first samples of the stitch type I was exposed to were shared at a Passap Seminar that explored the built-in console color separation techniques in the E6000, introduced in 1988. Two passes with no yarn, and both locks were required until the Passap version of the D slider was developed in Australia. The E6000 magazines then began offering designs producing what they named as summer fair isle, and in seminars, added reader techniques that were shared for use when planning to knit designs in 3 or 4 colors.
Many brand-specific magazines provided patterns produced with devices or accessories as they were introduced, with pubs on the topic ebbing and waning with the passage of time.
The first reference I have been able to find on the Studio P carriage dates back to the introduction of the SRP50 ribber in 1978. A grainy copy of the early manual is downloadable and illustrates its use on page 12, applied to drive lace on pages 36-38, and to pile knitting continuing to page 42.
This post is intended to address using sliders on Brother models, in theory, to facilitate the process of dropping stitches when continuous design patterning is in use.
Links to my historical posts on the definition and execution of this “lace” on different machines using varying methods are provided at the bottom.
The resulting knit benefits from the use of yarn that responds to blocking by lying flat and retaining scale differences between the different stitch sizes.
Knitting begins with all stitches on one bed, and loops formed on the opposite bed, that dropped at varying intervals, depending on the intended pattern, to produce elongated stitches between stocking stitch ones.
Dropping the stitches can be achieved manually with any tool on hand, by sliding the ribber carriage only back and forth if loops are formed on it, or with the aid of stitch ditchers/ dumpers.
Maintaining proper needle selection and not having needles accidentally pushed back to the A position, resulting in possible pattern errors, is made easier and quicker with specific tools, often called sliders and sometimes referred to in early manuals as carriages, although they have no moving parts.
Knit bubbles and “stitch ditchers/dumpers” and Brother KMs “pile knitting”/ ribber stitch dropping tools share images of such tools.
Usual dropping sequences in Brother models are made from right to left on needles in B position, with a return of the needles to B after the stitches have been dropped. The next preselection pattern row is made as the paired carriage return to the left, then repeating paired rows.
The appearance in machines that keep the needles in the equivalent of Brother B position after carriage pattern passes, i.e., Studio, Superba, Passap, with the possibility of dropping stitches every row, can produce shapes composed of simple long stitches.
To maintain Brother preselection, if the knit bed is used to form loops for the long stitches, there will be an added knit row on the ribber as the carriages return to the left, with a different final appearance.
I was able to obtain a 3D printed model for the Brother 4.5 mm machine from cults3D at the time of my blog post; the site is often unavailable according to forums, and the present pricing is said to be set to discourage downloads pending resolution in a related court case.
For those without access to 3D printing, this site may be worth exploring for direct purchase of items, ie, the slider, for $21.
The use of the tool is clearly demonstrated here https://www.youtube.com/watch?v=IGjPwGqFJhQ.
Note that sliders presently available are used on knit beds with slotted rails, as in the 930 on the right, and it is open to question if the use is possible on the solid and slightly narrower rails found in earlier electronic and punch card models. Also an issue, if the rail happens to disrupted in any way in the center. 
The Studio slider is shown in the center, and, on the right, the only Brother-produced slider, intended for use on the bulky machine.
The needle butts enter unimpeded and follow the tracks marked with arrows. 
They can be used on both the knit and the ribber beds.
Just as easily, stitches on the ribber can be dropped using only the ribber carriage for 2 passes.
The traditional method in published designs found in punchcard volumes uses alternating black pixels/punched holes to produce the loops that are, in turn, dropped, and all-white/unpunched rows, which allow for the loops being dropped when there is no pattern selection on the top bed.
For the 3D model, it is useful to “read the manual”, or in this case, follow the video.
I chose to mark my slider for future use.
The proper placements on respective needle beds to match the traditional method. 
This top bed placement is wrong, needles are still brought forward, moving right to left, but are left out to D, not B, on the return to the right. 
Beginning with single color samples.
A Studio drive lace published repeat for use with the technique
knit 2 rows, drop, repeat
12X16
test knit on 37 stitches 
results are in hard to read stitch size differences
breaking the common rules and appearance for this type of fabric, a “what if” version, double height, 12X32 
test knit on 50 stitches, 
knit 4 rows, drop, repeat. 
Larger designs can be more effective, 24X22
rendered double height, 24X44 
EOR rendered all white/ erased for traditional use and approach. 
Test knit on 48 stitches. 
I have a perennial curiosity in terms of using nearly anything in a way other than that intended when designed.
This is a first experiment using the 24X44 fair isle design,
with each row selection repeating twice and changing the position of the slider on the needle bed, no blank rows are required.
Stitches are still dropped when moving from right to left.
The slider is turned around and placed on the bed in front of the rail to move stitches forward. Note the relative position of the needle butts and the nub on the slider.
From left to right, to drop stitches, the slider is placed to rest on the rail, with the nub pointing down. 
With the knit carriage set for slip stitch, and the pattern programmed as fair isle, the black pixels or punched holes will be selected forward, when the carriages move to the left, picking up loops on the selected needles on the next carriage pass to the right. 
With carriages on the right, the stitches are dropped.
The small proof of concept. 
A larger test, the first PNG, 20X40 
in brick configuration, doubled in length, 20X80 
and then doubled in width for a guess at better aspect ratio, 40X80. 
After loops are formed, left to right, the slider operates from the right, 
will advance all needles out to E as it moves to the left, 
and drop all loops as it returns to the left.
The needles will be empty and aligned in B.
The next pass will preselect the next row of the design on the top bed, and the process is repeated. 
When planning to drop stitches on the ribber, the designs often include racking to form secondary shapes.
The traditional placement is on the left after loops are formed. 
As the tool moves to the right, needles are raised, moving all loops behind the latches. With its return to the left, loops are dropped, forming the long stitches. 
The stitches on the ribber are hand selected each row, knit, and dropped, with the top bed knitting single rows rather than 2 for each row of the design when the beds are reversed.
This giant swatch shows the results; the stitches in the dropped pattern tend to get larger as they move further away from the knit stitches beside them. 
These were my earlier samples testing my hacked Studio tool, which failed double bed, then reverting to using the uncoupled ribber carriage to drop stitches.
Knitting details in the 2022 post Geometric shapes in drop stitch lace 4, stitch release, added racking. 
A larger test, with the idea begun in a spreadsheet including shapes in black, knit rows in purple, racking positions in green text with row numbers in black: 
keeping it more practical. The slider may be used, as described above, the tiny swatch. In my experience, moving the uncoupled ribber carriage back and forth is quicker. 
The difference in the stitch formation that happens with the ribber knitting two rows with automated loop formation patterning for dropped stitches on the top bed, while the top bed knits a single row between formation of loops on hand-selected needles on the ribber, with loops dropped after being formed on each row.
End release may be used on simple geometric shapes that do not contain knit rows. If the repeat or the item being produced is long in the number of rows, it can be performed periodically.
The knit carriage is set to slip in both directions, including on the first preselection row.
End needle selection is canceled.
It is best to use a tightly twisted fiber that does not split.
When programming the number of stitches for the number of needles in work, black pixel columns may be added on as borders on the left and right to stabilize the knit edges.
Contrary to other slip stitch designs, in automating the process, there are mostly blank areas, which will result in knit stitches on the ribber, while the black areas will result in the loops for dropping on the knit bed.
These shapes do not have vertical lines. As selection changes, the initial loops will be held until the last ones in each shape are formed.
The 10X24 repeat chart. 
When there is no needle preselection, rows 7 and 19 of the 24 rows, 
stitches on the knit bed are dropped.
The programmed repeat is 40X24. 
On the 930, the programmed designs match the direction in which they appear on the purl side. 
End release long stitches on the left, compared to those with the traditional paired row method used in the flower shapes on the right. 
Previously published related post links in reverse chronological order, followed by a low- resolution collage of some of the test swatches explored in them
Multiple color drop stitch lace using img2track and more
Revisiting drop/release stitch lace 1
Drop stitch lace using Ayab software 2/ HOP
Tuck stitch/ combination fabrics
Drop stitch lace using Ayab software
Geometric shapes in drop stitch lace 3, end release
Geometric shapes in drop stitch lace 2, Brother KM
Geometric shapes in drop stitch lace 1, Brother KM
Drop stitch lace, 2 colors per row, Passap KM
Drop stitch lace, 2 colors per row, Japanese machines
Revisiting knit “bubbles” brother KM
Brother KMs “pile knitting”/ ribber stitch dropping tools includes a downloadable PDF with instructions published by Brother for their KR 260 compatible slider model
Dropping whole rows:
Long stitches meet transfer lace
A tuck stitch combination fabric
Working with block shapes
More knit bubbles
More play with dropped stitches
Knit bubbles and “stitch ditchers/dumpers”
Working out the kinks in my drop stitch lace saga
If DBJ is preferred, an interesting variation using thick and thin yarns produces a stable and reversible knit with an interesting peek-through evocative of drop stitch lace.
More DBJ variations: tubular FI, quilting, backings
Recent FB MK posts shared Toyota Simulknit samples.
The company offered attachments for pile knitting and for Simulknit. 
The latter produced a FI pattern on one side, with a solid color backing on the reverse.
A Brother imitation, DBJ with a solid color backing, is a method that will knit each color in each design row twice, resulting in expected elongation of the design, not a factor in single-bed FI.
Each two-row sequence must be identical, unlike the double jacquard fabric, where each row in a sequence may be different. This remains true even if the KRC-style separations are programmed to start with preselection from the right.
The Knitmaster SRP 60N ribber changes the cam settings automatically from slip to knit and back to knit, saving some time. The ribber carriage must be taken to the extreme left of the needle bed for the autocam lever to trip the driving cam.
From the manual 
The original file was chosen randomly based on the number of side-by-side squares in either color, since the color not chosen for the backing will form floats between stitches knit on the top bed.
End needle selection is on.
The backing color is worked with the ribber set to knit in both directions, the alternate color is knit with the ribber set to slip in both directions for two rows, and setting changes are made manually.
Since each repeat is 8 stitches wide, it is usable in punch card models.
The separation is 32 rows in height, enough to squeeze by in terms of punched areas. The usual recommended height for smooth, continuous rotation of cards in the drum is 36 rows; a second 32-row card could be punched and joined if needed.
The visual summary of the process.
The starting 8X8 PNG, 
doubled in height to 8X16, 
color separated, inverting every other row, then rendering the result double height so that each color in each design row will knit twice, 8X32, 4 times the height of the original 8X8, 
test knit on 40 stitches, but programmed for 48. 
The work on the machine, illustrating the pairs of floats formed by the light color after it has completed its two passes only on the top bed. 
A sinker plate hack for knitting on the top bed only with the ribber in work.
More ideas for working in one or more colors to produce knits with pockets in them, listed in historical order from latest to first
Blistered stitches DBJ single color
References for double bed single color fabrics with pockets
Quilting using Ayab software
Revisiting machine knit “quilting” includes Passap info
Quilting on the Brother KM 2, solid color back DBJ
includes a method for producing a single color background with the same color outlining/ joining the planned quilted shapes in the second color; the repeat is not separated, is a design where the original is rendered double height, is not color separated, 
and additional ribber cam lever settings changes are required. 
Quilting on the knitting machine 1 single bed
Tubular fair isle is possible, 
the problem is that the backing fabric is often loose when compared to the slip stitch FI patterning.
The blog post includes Passap info.
The color separation used in the swatch for solid color backing can be altered to produce a tubular fair isle. 
The preselection row is from right to left. End needle selection is on, and the first and last needles in use are on the ribber to produce the beaded, sealed edging.
Each color will form a single float behind the needles/stitches that are skipped and do not knit.
The carriage settings for each bed and work in progress. 
The first test was knit using matching tensions on the main bed and ribber, 4/4, with poor gauge balance between the sides of the tube. The difference is due to the slip stitch in the patterning bed, making for a narrow and short knit. 
A much improved result, with the tension changed to 7 on the knit bed. 
Birdseye backing meets a different color separation to result in each color in each row knitting only once: the 8X8 design did not knit properly when separated with that goal in mind, using manual separation, the Gimp script, and finally, the KRC function in the 930.
All needles were selected every few rows, spaced in different numbers for each method, with no indication of software download or machine issues, leading to this exploration using the same color separation as above. 
The concept should apply when working with more than 2 colors as well.
To avoid extra rows being knit on the ribber, slip/ lili/ birdseye backing is used. 
A side-by-side comparison of the change in the aspect ratio of the design using the single color DBJ backing on the left, as opposed to the birdseye version on the right, although both were knit at the same carriage tensions. 
Seeking blisters using a new design with a change in ground to contrast ratios, beginning with testing whether the design, simply doubled in height, and using tubular settings, can provide an alternative to color separations:
18X18
18X36
knit repeat, 40X36 with added borders. 
The carriage settings, making certain the tuck lever is not “accidentally” placed in the up position, 
both colors form floats. 
The resulting pattern is very different from the programmed repeat, forming a maze-like design; there are interesting bumps on the purl side, with alternating color single-row stripes.
The dropped stitches are from my having to cut yarns that got tangled around gate pegs just below the waste ribbing. 
Is more less? The repeat is now color separated, so each color in each design row knits twice, bringing the total of rows to 4X the original, 18X72. 
Visualized in 2 colors, the 18X72 separation was expanded with the intent of having the contrast knit for 4 rows only on the top bed, and the background for 2 on both beds.
The ribber settings change from A when knitting with the background color, to B when knitting with the contrast on only the top bed. 
As the ribber set to A and moving from left to right knits the pre-selected needles on the top bed, the floats in those areas will be encased.
The swatch includes 3 errors in switching the ribber slip lever on the right from knit to slip, and are identifiable by the rows with every stitch in the same color.
The result does not immediately evoke the original design. 
Programming the 18X72 row color separation produced successful blisters with the identifiable design. The light color yarn is a tightly twisted rayon. 
To explore further the blister dimensions formed by blocks and lines, this repeat is drawn from one referencing Truchet tilings, which explored varied techniques and pattern management, including DBJ pockets in single color knitting with repeats drawn on dotted grounds such as this, 36X36.
The starting repeat, 21×18, 
doubled in height to 21×36, 
and color separated so each color in each design row is knit twice,
21X72, 4X the height of the original, 
test knit on 42 stitches. 
There are large areas of non-selected needles when only the contrast knits on the top bed, forming long floats, which did not appear to be problematic. 
In ArahPaint in knit design 5, some fonts were tested and produced clean BW text for knitting.
Here, several rows in only the ground color are included in the repeat.
44X37 
doubled in height, 44X74, 
color separated, 44X148.
In this method, as the ribber is set to knit and the carriages move to the right, they knit every stitch on the ribber bed and any preselected stitches on the top bed; those areas seal some floats in. As the carriages return to the left, floats are formed behind the alternate color. 
The end needle selection is needed to seal the sides.
As in fair isle knitting, in areas patterning with several non-selected needles on the top bed at the side edges, before any carriage movements, end needles should be moved forward to D or E positions manually.
Conversely, when knitting only on the top bed and the whole row is not selected except for the end needles, push them back to A manually to avoid a float forming from one side to the other; the result is seen at the bottom of the purl view on the right. 
A birdseye version from Truchet tiling design inspiration 1 .
used to explore wide floats on the top bed as only the contrast color knits, the starting repeat 48X112, 
doubled in height to 48X224, 
color-separated, 48X448; 
img2 track on the 930 broke the design into multiple tracks, the first track, 180 rows, was test-knit.
With the ribber knitting the contrast with the levers set to slip from left and knit to right, there were consistent issues with dropped stitches when these areas were reached. 
As a compromise, the ribber was then set to knit in both directions when knitting the ground color, and issues with dropped stitches were eliminated. Pockets/blisters still formed, and the floats in the contrast were trapped between the background knitting on both beds, with visible horizontal lines bleeding through. 
Blistered stitches dbj single-colorwork 
pockets formed over whole rows
Pintucks 1 vs shadow pleats, fair isle pintucks 
Pintucks 2, ripples in knits using the ribber some published designs, racked variations, more links
Revisiting patterns inspired by waffle weaves
Waffle weaves 
have a structure that is not duplicable on home knitting machines.
Interlock explorations 2; adding needles out of work
introduced efforts using circular slip settings got Milano waffle knitting in asingle color
4 passes are made with every needle knitting on both beds, followed by 4 passes tubular slip stitch.
The main bed is programmed, set to slip both ways after the first preselection row.
After 2 rows are knit on both beds, the ribber is then switched to slip in one direction, knit in the other in response to needle selection on the top bed.
Main bed needles out ribber slips, main bed needles in B, ribber knits.
After 4 circular passes, the ribber is again set to knit for 2 rows.
The appearance during knit rows,
followed by float formation when only the top bed knits 
The number of needles in work on the main bed remains fixed.
The resulting grid may be used as a guide for hand techniques off the machine in isolated areas or all over. 
Repeating the experiment with 2 knit vertical stitch columns on each edge, this time disengaging the ribber and knitting 2 rows only on the top bed rather than knitting circular rows and changing ribber settings.
The floats are brought closer together, and the fabric is far quicker to knit. 
Needle arrangements may be varied to accommodate thicker yarns or alter the texture by varying both the number of knit rows and circular ones. 
The new, added variation:
The main bed is programmed for every needle, allowing spacing variations for vertical knit columns to number preferred
The knit carriage is set to knit while also selecting needles,
end needle selection is canceled.
Every needle remains in work on the ribber throughout.
When needles are selected on the top bed the ribber is set to knit in both directions, while when there are no needles selected on the top bed, it is manually set to slip in both directions.
While the ribber does not knit, ladders are formed on the top bed between the needles in work for as many rows as planned until needle selection returns and the ribber is set to knit again.
Automating the function: a 16X16 PNG that can be programmed across the bed using the electronic built in selection has a 6 double bed to 2 single bed rows ratio,
the full repeat chart usable on punch card machines,
the needle set up used in the swatch: 
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 1
Lace 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 non-selected 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 24X88
tiled. 
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, 72X80
the 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
Knitting with more than 2 carriages
Pintucks 1 vs shadow pleats
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
Interlock explorations 1
Modifying a sinker plate for use with double bed knits
Knitting with “unusual” fibers/ elastic 2
Ribber fabrics with stitch transfers between beds 2
Ribber fabrics produced with 2 knit carriages selecting needles
Multiple color drop stitch lace using img2track and more
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, 148X148
ArahPaint, 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, 54X168
Color, 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
18X18
24X24
different palette tiling
BW version
When 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 57X58
57X58 BW.
Triangles and blocks forming broken ribbons, 36X34
Tired of horizontal and vertical movement, returning to diagonals, recognizing component shapes with clean edges , 
BW 16X48
knit as single bed fair isle
If 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 carriages
Translating 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