Geometric shapes in drop stitch lace 3, end release

I began to think about color separations again, in reference to pile knitting and returned to the chart used in the circular shape in the #1 blog post in this thread. While studying it, it occurred to me that the fabric might be created by releasing the stitches at the end of the knitting. Brother punchcard books (now downloadable for free online), at the back, usually had a page with “lace-like patterns by KR” illustrating some of the possibilities in what I have been referring to as drop stitch lace. Once again, all stitches are transferred to the non-patterning bed. Selected needles whether by hand or by the machine, are in this instance, not released until the very top of the piece is reached. In long pieces of this type of lace, I find dropping stitches at regular intervals rather than waiting until the end helps things run smoothly, and gives one the episodic opportunity to evaluate proper stitch formation, to move up weights, etc. I found in my first swatch my inexpensive grey wool was really sticky and kept trying to knit with the white after the color was changed, explaining the mess on the left of the purl side image. Also, it pays to have some weight on, or at least to keep an eye on, the color changer side. As yarn colors are carried up (every 2 rows) between color changes if they are not long enough they will pull in the fabric on that side. If the end product is to be gathered at one end i.e. in a skirt, that could be an asset, but not so if the intent is to have it lie flat.

The pattern is programmed beginning on a row with black squares in it, ends on a blank row. The selection row in this instance is done from right to left (toward the color changer), the next color is picked up, and the process repeats every 2 rows. At the desired height I like to have the ribber knit the last row on only its needles before the stitches on the main bed are dropped across the width of the knit. Tugging on the comb and weights will speed things up. The fabric grows significantly in length, so watch where those weights are headed.

my first try, purl side500_991

knit side500_994

Along with changing the “nasty” grey yarn in the next swatch, I moved the knit further away from the color changer, and things went very smoothly. If where the repeat is placed in the knit matters, however, then the needle bed would need to be programmable as well to change the center needle position
500_992

500_993

the illusion knit inspired method of charting and working the released stitches does not work for this technique, the result is simply very large, striped, single color per 2 rows, loose stitches500_995End release does not work in every design. Sometimes in long pieces, portions of some rows will simply not release,  fuzzy yarns may result in the same. In addition, if long stitch shapes are distributed on knit striped grounds, the release needs to happen at a minimum when the top of each shape is reached. A sample with drop-stitch interrupted by all knit rows and with only one color released500_986

Geometric shapes in drop stitch lace 2, Brother KM

Occasionally I do play with hand knitting and charting for it. A couple of years ago I wrote on the topic of  illusion / shadow knitting. The repeat is 24 stitches wide, so it is suitable for use on punchcard machines as well.

a chart from that blog posttry_drop_stitch

the resulting hand knit, on the purl side
IMG_0823

While working out the circle in the previous post it occurred to me that the results were quite similar to shadow knits, where depending on the angle from which the fabric is viewed, images begin to appear in the striped fabric. The above chart is missing those all blank rows that result in no needle selection. The solution for using this type of color separation for drop stitch on the machine is to use double length. Other KM settings remain the same as in the previous post. The first selection row is from left to right. The big difference is that once again, there will be the same needle selection on the next row. With some needles in B and some in D, a slider or pusher will not move across the needle bed. In the past, I tried to drop stitches selectively on the main bed with rulers or whatever was handy. Now, instead, I found pushing the whole row back to B, allowed me to use my new tool to move back and forth across the needle bed, making faster work of the process, and returning needles in position for the next main bed row to be selected on the first pass, knit on the second. The swatch was casually steamed

knit side 500_987

purl side, viewed as it would appear in a sideways knit 500_988

Without the “tool”, all stitches can be brought to E and back to B with a ruler, piece of garter bar, ribber cast on comb, or another handy toy. Dropping stitches is done while carriages are on the right, they return to the left knitting only on the ribber. In the previous post, the ribber only knit first, both beds knit on the second row, and stitches were, in turn, dropped with carriages and yarn on the color changer side (L), after no needle pre-selection across the main bed.

Geometric shapes in drop stitch lace 1, Brother KM

These pattern repeats may become quite large, and are suitable for designing and downloading with software. Testing repeats in a small section to start with insures methods and accuracy when planning the larger ones. Here I would prefer a wider, brick repeat, however, I am working with mylar on a 910 so in this test, settled for a vertical repeat, the result is shown below. The pattern reminds me of shadow knits.

knit side 500_986purl side 500flippedpurl side, as it would appear in a sideways knit 500charting things outcircle drop stitch

As it stands, the repeat is 32 stitches wide, 32 rows high. The colored 3-row segments on right, if collapsed would result in an all-black row, with no overlap. Colors are changed every 2 rows unless the repeat is designed differently. Care is needed on the color changer side, making certain both colors are not picked up together as the color is changed, resulting in the ribber knitting both yarns together. KCII is used, canceling needle selection. An extra needle is put into work at each end on the main bed. This fabric widens considerably, so casting on and binding off need special consideration. Before pattern knitting starts, all stitches must be on the ribber bed alone, with needles in work, but empty, on the main bed.

I chose to knit my swatch with a first-row selection from left to right. The KC is set to slip in both directions, the ribber N/N throughout. This knits all stitches on the ribber, selects needles for main bed stitches to be knit on the next row. On RC 2, selected stitches will knit, while preselection for the next row will place all main bed needles in B position as the carriage moves to the left, leaving them ready to get “dropped”. Use your tool of choice to drop stitches and return them to the B position once again.  Color is changed, and the sequence repeats.

Previous blog posts on the topic: 2 colors per row, Japanese machines, on the Passap, an edging, stitch dropping tools, and occasional bits of info in other threads, ie. on drop stitch “bubbles”.

I prefer to automate needle selection whenever possible. Published material often requires hand techniques. Some samples are readily available for inspiration: the first image shows basic settings and some variations from the Brother pattern books. Stitches to be dropped are created on the ribber. Pattern 942 may be released at end of knitting. Cards (or mylars) may be marked to track racking handle positions, addressed in my previous post:  2015/11/07/unconventional-uses-for-punchcards-1/, or rows marked in color for other repetitive functions

from the ribber techniques book page 23:For a cumulative list of related posts please see: 2017/11/04/revisiting-drop-release-stitch-lace/ 

 

Brother KMs “pile knitting”/ ribber stitch dropping tools

I am pondering returning to some drop stitch lace experiments on my Brother KM, have blogged previously on drop stitch lace, and some of the tools that can help speed up the technique. Studio has marketed a “pile knitting” accessory usable for this purpose, still being manufactured. A recent web search revealed its cost is presently in the range of approximately 13 to 20 dollars per unit. As is, the tool does not work on the brother machine. One of the critical differences between brands is in the shape of the rear rail. Brother kms in addition have an elevated metal piece at the center of km, behind the rear rail and in front of the belt, as seen below in 2 of their different models, that hinders smooth movement by a tool across the length of the space it rests on. extra metalIssues with using the tool as manufactured: its back “rail” (1) is taller than the front (2), keeping the unit from sitting flat on the Brother bed, and also striking the metal rectangle pictured above. The front parts (3) and (4) do not align properly with the metal bed and further, interfere with use. studio p carriage:presser

Some sliding of the tool along the Brother metal bed, comparing the placement for areas within which the needles need to move, led to my altering the carriage by trimming the rear rail (1). Initially, I used a handheld electric sander, followed by a nail file to “even” things out rather than making any effort to cut the plastic.

In my revision (1) is now shorter than (2), rather than taller, and flush with the top of the curved ridges between both.

cut_offmm

full altered_500

the Brother Bulky 260 “D slider” was supplied with bulky kms1So far I have tried the altered Studio tool out on solid color knitting with hand needle selection. All knitting needs to be on ribber if the main bed is going to make stitches for pile, drop/ long stitch (aka mesh in some references) lace. For a test: with both KC buttons selected to slip, hand select needles for long stitches, put out to holding and knit across all needles. Selected stitches only will have caught loops on the main bed, all stitches knit on the ribber. Using the tool now that needles are back in B on the main bed, passing it from Right to Left brings all needles out to D, traveling back from Left to Right with it realigns them in B, dropping them. B is the needle position for needle selection on rows with no punched holes, black squares, or pixels when programmed patterning is used on the machine.

Instructions in the studio manual showing it in use, with all parts in place. A reminder: Studio needle positions are A, B, C, D, while Brother skipped the third letter of the alphabet, using A, B, D, E on its beds.studio directions

“Button holes” and “make many – increase” “lace”

An image often found on Pinterest, with its source attributed to a Vero Moda garment and accompanied by a “how-to” request, led me to give “designing” it a shot. Here, I believe, 2 layers of a garment are pictured, resulting in the stocking stitch knit that appears behind the eyelets. augudAnalyzing the fabric: a wide, flat rib is created. The equivalent of “buttonholes” with a fewer cast on than bound off stitches is in use, creating the narrowing effect at the top of each slit, four stitches are “lost”. Making multiple stitches from one (4 in this case) restores the original stitch count and returns width to the fabric. To make 4: Knit 1, purl 1, knit 1, purl 1 into the same stitch, or in this case, the bar between the 2 center stitches. Executing this is not “practical” on the knitting machine. Below is one possible method that could be adapted for groupings with slits of varying sizes.

My chart, showing 4 repeats (black border) and 3 added starting rows. Green numbers on the bottom indicate the repeat’s width (20 stitches), and on the left its height (12 rows). Slits are created every 6th row, with the right side facing. Two more stitches would be added on the far right for each side to match in the finished piece. Side borders and top and bottom bands could be made wider and longer respectively, knit in garter stitch to keep edges flat. repeatX4_31

the symbols used

screenshot_30

my unblocked sample, knit on 32 stitches in worsted weight acrylic, using #8 needles

IMG_1907

 

Pleats: ribbed , folding fabrics

RIBBED, FOLDING PLEATS result from varying the needle arrangement on both beds, usually in every needle rib. As with any knit fabric, the knit piece will fold toward the purl side along the length of the piece, not away from it. The bend can be put permanently into the fabric by leaving one or more consecutive needles on the same bed out of work. The non-working needle(s) will create a narrow vertical column of stocking stitch on the opposite bed which will roll itself toward its purl surface. By spacing the groups of non-working needles alternately between the beds, the fabric will immediately fold into pleats when taken off the machine. The same principle could be applied to hand knitting. The symbols: black dots indicate needles out of work, purple arrows the direction of the fold in the resulting fabric, and the needles in work on either bed, or any machine.

Sharp angles occur when there are enough needles in work on both beds to allow the fabric to fold over itself crisply before it is forced by the next group of out-of-work needles to fold once again in the opposite direction

needle arrangementalternating direction of folds to create sharp or knife pleats

folds up as

repeat the above configuration across the needle bed, going as narrow or as wide as desired, the series of pleats will face in one direction. Crystal pleats are very fine knife pleats often seen in sewing tuxedo shirts

double sharp or box pleats are a variation where the direction of every other pleat is reversed, extra stitch groups may be added between pleats to vary their spacing. The pleats are folded away from each other on the outside of the garment. Inverted box pleats are the same as a box pleat, but face inside the garment

added stitch group represented by a star, stitch count varied to suit

star

stars add

fold up as

box_sharp

accordion sharp pleats out of work needles evenly staggered on both beds

accordion

 fold up as

accordion sharp

Putting out-of-work needles on one bed close to out-of-work needles on the other will not allow the fabric to fold over completely before reversing direction, and will result in rounded or rolled, rather than sharp pleats. There should be one full needle rib stitch between needles out of work, highlighted below in red. Repeating the same selection results in rolled single pleats 

rolled

fold up as
curved knife

double rolled pleats mirror needle groups

double rolled

fold up ascurve1

in accordion rolled OOW needles are spaced evenly on both beds

accordion rolled

fold up as
sunray round

Types of pleats, their width, spacing, and mixing with stretches of every needle rib, may be used in whole garments or garment details ie cuffs, peplums, single-fold large pleats in skirts and jackets, etc.

Brother Ribber Techniques Book page 37 illustration

page37

Some considerations:

Normal shaping procedures are not practical in these fabrics. Tension changes are used from loose to tight to achieve shaping from wider at the bottom to narrower at the top, requiring extended swatches. The larger the finished items, such as skirts, produce more predictable results if the test swatch is a large one. A minimum of 100 rows for gauging is recommended. A test segment is made for each tension change. Swatches should be allowed to rest after being treated like the finished garment will be: blocked, pressed, washed, etc., then hung vertically and allowed to rest. After deciding the length, 2-4 inches need to be subtracted from the desired measurement to allow for the “drop” that is likely in the finished piece over time.

The fabric may look a bit different on one side than the other, either works as the exterior of the piece and is a matter of preference.

These are knits where the clicks between numbers on tension dials on machines come into use. In addition to the usual gauge calculations for knitting garments, a bit more math is needed.

The number of needles used needs to be divisible by the number of stitches used for any pleat.

Joining on inner folds rather than outer ones produces better results. Having an extra stitch at joining edges, with seaming using half a stitch on each side, will keep pleat widths constant.

The larger the pleat, the more bulk is created. Most skirts will require 3 panels with one seam worn on the center back. Yokes may be added to decrease bulk rather than having pleats meet at the waistline.

Ribbers on Japanese machines tend to knit tighter than main beds. At times an increase of 2 tension numbers may be required to get stitch sizes created by both beds to approach being equal. The other factor to consider is that the wider the plain knit vertical portion of the pleats, for stitches to knit off properly, the more tension needs to approach the # used to knit the same yarn in stocking stitch on the respective single bed. Tolerance varies between machines.

Experimentation is needed even before knitting the large swatches. It pays to be familiar with both your ribber and your yarn before trying these fabrics and to keep good notes.

Folded / true pleats occur when the groups of NOOW (needles out of work) that make the fold lines are spaced far enough apart so that the underlap of the pleat is quite wide. Rolled/ mock pleats occur when the groups of NOOW that form the fold lines are fairly close together.  Stockinette/rib combinations: vertical columns of stocking stitches are created, sometimes combined with ribbed ones. The fabric lies flat and does not fold.

Double jacquard is usually an every-needle rib fabric, so pleats can be created in conjunction with it, even planned to occur within specific areas of the design repeat. Consider yarn weight and backing technique in planning for drape.

A series of needle arrangements to try, including one worked on every other needle, which requires the pitch change from P to H. Charts were created as combined tables using Mac Numbers 5/2018

More from the Brother Ribber Techniques Book pp 108-112

Review of terms often used: full pitch = the needles of one bed are exactly opposite the needles of the other bed. Passap = racking handle up. Half pitch = the needles of one bed are directly opposite the gate pegs of the opposite bed. Passap = racking handle down. FNR: full needle rib = within the working area all needles on both beds are in working position, with the beds set at half-pitch. 1X1 rib set up= within the work area every other needle on both beds is in work in alternating positions, ribber set to full pitch. Tubular cast-on is often used for fabrics of this type, in both FNR and 1X1 rib setups.

“True” pleats have three components: the face, the fold-over or turn back, and the underside; they are formed by folding a piece of knitted fabric over. “Mock pleats”  are produced by varying stitch patterns. Sometimes the terms S and Z are used in reference to how the pleat folds, with S pleats pointing the right and Z pointing to the left. The fold-over bulk is something that needs to be planned or even compensated for when creating garments ie such as skirts, where yokes are often added to minimize bulk at the waist and hips.

Studio tips and techniques #36, by Terry Burns, is now available for free download online and begins to cover Double bed pleated skirts  tt-36-double_bed_skirts

A simple shape, an exercise in DBJ, Brother KM

When first learning how color separations work for DBJ on any machine, it is helpful to begin with a simple, easily recognized shape, to play with as many variations as possible, and study the results both in terms of the resulting fabric, and how the motif is altered by changing the machine settings. Below are copies of the handout I used when I introduced new knitters to rib jacquard. They are Brother specific. Out of habit, I tend to leave the slide lever in its center position. If a ribbed edging is needed, it is a lovely surprise if one plays with lever settings, finishes a second piece of knitting, to find after its completion that the second piece has a rib that is a different size than the other due to a missed change in lever position. My design is planned for use with punchcard machines, but a single repeat may be isolated and used to knit patterns on electronic machines as shown at bottom of the second page.

For Passap knitters, a bible on using a single shape (triangle) and creating infinite variations by technique modifications, adaptable for use on the E6000, was published in 1988

passap deco

 

Brother KM

Brother Ribber Techniques Book illustration is missing lili position for the slide lever

lili_rib

500_3

C500_2

some of my previous posts on  DBJ color separations 

Pile knitting

I live in the northeast US, and the past few weeks have been taken up by a whole lot of time moving snow and not knitting or even thinking about knitting. A Raveler, however, recently asked about pile knitting which got me contemplating knit fabrics again. I thought I would start a thread here on some of the techniques and possibilities involved, editing, and adding further information as I can.

Pile knitting may be done on any machine. The quality of the fabric varies, depending on the method and yarns used. Loops are often created every other row, and “normally do not pull out”. They may be made either on the main bed or on the ribber. Some of the techniques result in a much looser fabric than others. In those instances, using a ground yarn that will felt, and slightly felting the finished knit will make the fabric much more stable. If it is to be used in garments, by default, it is best to make those pieces larger than required, and to plan to use them in cut and sew projects.

Beginning with the machine manuals and suggestions: in Studio/Singer knitting machines the ribber features specific options for such fabrics. These pages are from the Singer SRP-50 ribber manual and one of their punchcard books and share some principles while illustrating setting and card design. Food for thought on any adaptation for use on other brands

Two weights of yarn are used: a lightweight yarn for the pile, and a fine yarn for the background. The usual set up is for every needle rib, half-pitch. The finer yarn is threaded into the auxiliary feeder.

Studio machines use the P Carriage with the P pressor attached to drop the loops. If using a punchcard or mylar, the punched holes create the design, the unpunched holed knit the ground. The Singer P carriage information (from SRP60N ribber manual) singer_PCarriage

knit sample

500_481

500_482

Studio punchcard sets and Volume collections offer many designs and inspiration for DIY. A page from one of their collections

Toyota had a small accessory offered for knitting pile using the ribber and the simulknit setting. Both yarns knit on the main bed, the ribber only catches loops in the “S” yarn. Manual available for Toyota pile knitter 

Kathleen Kinder was credited with first using FI designs for pile knitting, resulting in loops being created in every row rather than every other. In the method, loops are still required to be dropped after every row. Cards with bold areas of each color are most suitable. Since the fabric has a tendency to spread horizontally, doubling the length may become necessary if the goal is to retain more of the motif shape.

A natural follow up is to use double jacquard cards and color separations to achieve multiple color pile. A color changer is a must when using multiple colors. Loops will be formed every row here as well, may be dropped every row, or just before each time the color is changed.

Pre-selection of needles in Brother poses an interesting problem: patterning needs to be retained, dropping stitches disrupts it, and there is no accessory such as the P Carriage to make the process quicker.

A bit on ribbers: Japanese KMs, alignment, and symbols 1

Before approaching using ribbers in relationship to cables I thought I would mention a bit on alignment. An online source reviewing the topic with downloadable PDF: http://machineknittingetc.com/brother-kr120-kr710-kr830-kr850-kr230-kr260-service-manual.html. Studio machines’ how to may be found on a youtube video by Roberta Rose Kelley. Before making any adjustments check that the clamps that hold the ribber in place are flush with the table and securely clamped; that the screws in the setting plate are not loose, and that they, in turn, are installed at the same depth.  As adjustments are being made, and the thumbscrew is tightened, the setting plate may actually slide toward the main bed, narrowing the gap. To prevent that from happening I had to use a metal spacer between the stopper and the main bed.

Make any adjustments based on needles at each end. Ribbers tend to bow in the center with wear and age. To check how needles in both beds line up in relationship to each other: with the racking lever on 5, the pitch lever on P, pull forward at least 10 needles on each end of both the main bed and the ribber, they should line up point to point. If any of the needles do not touch or line up, loosen the 2 screws to the left end of the ribber just a bit (a quarter turn is usually enough), tap the end of the ribber with your hand just enough to the right, or left to line up needle positions. Recheck the alignment on several spots across both beds, tighten screws, check again.

Another visual option for checking alignment is offered by Studio machines in their manual for the RT1 transfer carriage  To check the height of the ribber: pitch lever on H, bring it to the full up position (Brother has 2 up positions), and bring forward at least 10 needles at each end of the main bed. Use spacers ie. a credit card, or claw weight hangers that came with ribber as measuring aides; they should slip easily between main bed needles and ribber gate pegs, the recommended distance between the back of the KR needles and the KH gate pegs is 0-0.6 mm.

The online PDF has additional photographs of the nut that needs to be loosened in order to change the height. To loosen it, the ribber needs to be brought to its down position. Use the spacer tool, start with a quarter turn, to begin with, (lefty loosey, righty tighty). Lift the ribber into place. By moving the thin metal lever (adjuster plate) up and down the height may be adjusted, one side at a time. Bring the ribber down to tighten the bolt, up again for a final check.

Lastly, with main bed needles out of work bring groups of ribber needles out to E. A single claw weight should slip behind the ribber needles and in front of the main bed gate pegs. Repeat adjustments if needed so the space between the beds is as equal as possible. The space between the bottom of the main bed and the top of the ribber gate pegs should be between 1.1 and 1.7 mm.

To adjust the distance between the 2 beds: bring at least 10 needles out at each end of the ribber. Use the spanner to loosen the thumbscrews, and a screwdriver to loosen the flat clamps.

If the nut should become completely loose for any reason: the part in question I believe, is #24 in the service manual, the “slide plate guide stud”. In the image below b= the bolt that became completely loose on one of my brackets. I discovered after getting things back together that a, which secures the ribber bracket, is actually directional with a barely perceptible change/ difference in shape. If it is accidentally rotated 180, it will keep the ribber bracket from changing height positions and working properly. Rotating it restored expected actions for me. 

Yarn thickness and needle arrangements may also require some tweaking of height and other adjustments. Listening for changes in machine sounds as the fabric is knit, and visual checks over time are a great help in avoiding problems. Here are positions for bracket lever as indicated in the service manual 

A reminder: if the needle presser bar on the ribber (all plastic) is to be removed, it is reinserted back in with ridges facing, and flat side down I have several sinker plates. An accessory that began to appear with ribbers at some point, seen here in this illustration:

below is a close up showing markings on the right side of upturned connecting arms in 2 different model year ribbers
and here the latch opening plate has been secured into place in the connecting arm without the #2 marking, where it makes a noticeable change, bringing the unit closer to needles when on the machine during knitting And,  speaking of ribbers and clamps, not all clamps are created equal though they may appear to be doing their job until some attachments cause problems.
Studio (shorter) vs Brother in place Brother bulky on top of the standard clamp, its shorter cousin Knitting symbols used for the ribbing attachment show what the stitches would look like on the “wrong” side of the knit. In the Brother system, KR refers to the ribber bed, KH  to the knit one: typical illustration of symbols as found in Brother punchcard pattern and technique books:

rib set up

ribber_5

ribber_4

A brother publication on Japanese symbols for knitting available in English, French, and German, may be downloaded from http://machineknittingetc.com/japanese-symbols-for-knitting-machine.html  ; page 15 is missing from the document. Another resource: http://tata-tatao.to/knit/japanese/e-index.html