Category: Ribber Fabrics

A bubbles cousin

This is a Superba drop stitch fabric, using the same principles as those in the last post, with a rib stitch outlining the alternating drop stitch shapes on the purl side

directions from the manual

In my knit sample the ribber does all the knitting every row and patterning is accomplished on the main bed, reversing the recommendation in the Superba manual

the new repeat

Set up is so that needle selection position once again begins with 5 stitches on the left, occurs in a multiple of 5, with extra needles in work on ribber on either side

Transfer all stitches to ribber, begin needle selection with first five stitches on left in work, 3 OOW, 5 in work, 3 OOW across the bed as seen in the illustration above, reversing the beds.

The first needle, then every 4th, and last on right on the main bed will never be dropped, are always in work.

When needle selection changes to block number 2 from left, the center 3 sts of every group of 5 every needle rib sections are dropped, the empty 3 needles beginning with the second group from left are brought into work, repeating the process across the bed.

Knitting continues until needle selection changes, *the middle 3 stitches of each 5 stitch EON rib group are dropped, the previously 3 empty needles in the opposing sets are returned to work. Knitting continues until the needle selection changes* and the * * process is repeated.

Cast on and bind off methods are determined by end-use and personal preference

the resulting fabric, purl side

the knit side (not truly reversible as  the swatch in the last post)

a not so bubbly bubble end

Back to circles from squares

I actually posted on the topic of circular garments in knitting in June-August 2011. Hard to believe 2 years have gone by since I last played with this idea. Here is a version knit on the Passap, using tuck stitches both single and double bed, awaiting seaming and blocking (alpaca/silk)

a detail shot

and swatching for a variation on edging  with cotton, using rib tuck and slip throughout

side 1

side 2

viewed on a dress form

the other on a hanger prior to washing and blocking

in process of blocking, 40 inches diameter in this orientation

the blue cousin, 38 inches in diameter

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Double jacquard separations 4_ making them “work”

Working back to the repeat from post # 3 on this subject, I returned to the drawing board and edited the separations.  Tetris is a tile-matching puzzle video game originally designed and programmed by Alexey Pajitnov in the Soviet Union. The objective of the game is to manipulate tiles, by moving each one sideways and rotating it by 90 degree units, with the aim of creating a horizontal line of ten blocks without gaps. The principle at use for the separated “squares” shapes is to achieve the same result for each of color separation groups (highlighted by dark borders in the charts), by moving them up and down, or changing their positions in the color sequence. The first method (beginning with only one row of ground color) has eluded me in terms of an “error free” result. More than one version consistently in a missing single stitch of color. The latest method shows the problem color “tiles” marked in dark ovals. The column on left is the original separation, A shows the juggled colors, B the pixels, squares, or punched holes for the repeat, and the far column on the right shows markings that may be used to track the color change sequences, which may be transferred to punchcard, mylar, or for any cues in change of sequence your program can provide. The swatch approaches the original intended design far more than any of the previous attempts. It is expected that the background color will be the majority or main color of the design; it gets separated out as first color. By splitting the knitting of most of the needles to the beginning and the end of the sequence (japanese 2 color default) this way, one supposedly eliminates the chance that the needles knitting the second row of each color will knit over, blocking a space yet to be knit in the first row of the design by a color that has not yet been knit. In this small pattern no colors knit more than 3 consecutive stitches at any one time. With some motifs the final alternative is to redesign the motif.

the test swatch (striping was the result of forgetting to set the KM for slip <—>)

Using the alternative method for decreased elongation of motif upon knitting, here are the working charts for beginning with 2 rows of color 1

the swatch: got it!

my mylar sheet markings

A&B show my marks corresponding to color positions in the color changer, the first 3 repeats on left are the ones used to knit  the swatches. Separations are suitable for DBJ, but I chose to knit trials in single bed slip stitch.

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Quilting on the Brother KM 2, solid color back DBJ

Quilting books may give inspiration for varied shapes. The illustration below is a diamond variant, another may be found in the brother ribber technique book, p. 33, different color and KC knitting sequence.

On orange rows, the main bed knits lots of needles, selects sealing stitches for the next row of knitting, on green rows, the ribber does most of the knitting and will select the stitches the main bed will knit on the subsequent row, and so on
The first preselection row direction does not necessarily matter in single color fabrics as long part buttons in both beds are set appropriately, unless double length is used, in which case KC row needs to be toward the color changer and the design needs to be in 2-row “color” repeats whether as actually punched, “drawn” and programmed, or with elongations used. The above repeat is suitable for punchcard machines as well. If knit without elongation,  one may use the same carriage settings as the previous sample above. KC –> with card/pattern locked, knit one row to right, set card/pattern to advance, opposite part buttons in use, results in knitting tubular for nearly square diamond shapes. The “stuffing” below is small cut-up pieces of waste knitting.
Software eveloped in the decades after this post makes BW editing easy and quick:
the starting 12X12 PNGdoubled in height, to 12X24  with every other row color inverted For longer diamonds or 2 color knitting, the 12X48 PNG KC<– row is toward the color changer. Settings on the ribber need to be changed manually every 2 rows for both single color and 2 color patterning.
When lots of needles are selected on MB, knit 2 rs using settings pictured on left, the ribber slips for 2 rows. If only a few needles are selected, knit 2 rs with settings pictured on right. The ribber will knit all needles, MB only those providing the outline of the shape in the front of the knit, sealing the layers. All ribber carriage slip setting changes happen with carriage on left, prior to the next pair of knit rows, before or after the color change. Errors are less likely if a sequence of the steps involved is developed and followed.

settings, col 1               settings, col 2

The sample below was knit in 2/48 cash wool at T 3/3 using the above repeat. The fabric is sheer, and the joined sections of fabric are lacey.

This method allows for knitting large shapes without the distortion resulting from many double bed techniques. A series of swatches using the technique:

front view rear view

Once the principles are worked out, very thin yarn or monofilament in front may be used with a thicker or contrasting color in the back, with viewable inclusions against the ground. A wool backing and a non-felting front can achieve interesting blister-like looks without some of the issues of double bed blisters and patterning, large shapes of plain knit could be contrasted against all rib backgrounds, and so on

a few more experiments

a monofilament cocoon with paillettes in its pockets

It is also possible to use an altered knit carriage to knit rows on the main bed only, while leaving the couple carriages on the left instead of changing ribber settings from slip to knit and back with color changes, see later post on ribber-fabrics-produced-with-2-knit-carriages-selecting-needles/

A Ravelry question raised the possibility of knitting a flat tube with a different solid color on each side. This may be achieved using the same principle as quilting. The programmed pattern is for 2 rows of punched holes or black pixel rows followed by two unpunched or all blank rows. When all main bed needles are preselected, the ribber is set to slip for 2 rows, only the main bed will knit. When there is no preselection on the main bed, the ribber is set to knit, no stitches will be formed on the main bed, so each surface remains separate. The knit carriage is set to KC1 to ensure the sides of the tube will be sealed. If two knit carriages are used to select needles, then it is possible to easily adjust tension for the alternate color if that is deemed needed.

Quilting on the knitting machine 1

ice-station.com.mx viagra SINGLE BED QUILTING for straight-edged pockets, hand technique only: leave needles OOW creating vertical ladders in location to correspond to side edges of pockets, have a loose tension row (at least 2 numbers higher, more if possible) to mark their tops. Both will serve to pick up stitches, loose rows help for the turning of any hem when joinings begin.

Knit half the length of the fabric required (create a small hem that will, in turn, be at the lower edge of the finished piece if preferred), continue knitting, picking up ladder loops closest to bottom turn prior to each pass of the carriage, continue until the loose tension row is reached, pick up all stitches as in a hem to seal the knit pockets, repeating the process throughout.

Hand technique combined with punchcard: slip stitches are a familiar tool in marking rows for picking up hems such as at the top of knitted skirts. They can also serve to create pick-up bars, and the slightly narrower, shorter lining for a quilted fabric. Nearly all stitches and rows in the card need to be punched, empty spots (non-selected needles) will skip, creating marking “floats” for rehanging after completion of the first half of the piece. KC pattern selection is on, part <—>. Non-selected needles on the second half of the piece will give a clue as to where to hang the floats, in turn bringing selected needles out to holding if desired. KC: needle selection is left on, no part buttons, the carriage is now set to knit every row throughout. The fabric will be knit together in those spots on the next pass of the carriage. Decisions can be made as to whether to do this every row or every other. A self-drawn possibility is below on the left in which instance all white squares would need to be punched out, a possible factory pre-punched on right. Not to be forgotten is appliqué, where separate shapes may be knit and joined onto the ground (knit in any desired stitch) technique by a seam as you knit method.

DOUBLE BED QUILTING: carriage settings on brother are for circular knitting. Cast on for every needle rib with a familiar yarn, knit one or 2 rows, and to make a trial piece, set the main carriage to slip to right, ribber carriage to slip to left. The ribber tends to knit tighter than the main bed since large numbers of needles will be knitting side by side, the tension should be loosened at least one or 2 numbers while on the main bed the tension used should be closer to that used for the same yarn when knitting stocking stitch. Bring every X needle on the main bed to hold position, knit 2 rows, and repeat to the desired length of the pocket. When the latter is reached, lower the ribber slightly, “stuff” pocket, bring all needles to hold position, the needle set up is with needles at halfway between each other (racking handle H as for every needle cast on ), so main bed may be brought to hold as well, knit 2 rows, and repeat process adjusting cam settings. The same principle applies here whether patterning is used or not. With slip setting non-selected needles (B pos) slip, do not knit, and needles in D position or holding in hand tech, will knit and in this fabric seal the fabric. In the chart, the symbols represent the stitches as they are formed on each bed to create a tube. The carriage icons show that opposite part buttons are in use on both beds. The ribber (odd-numbered, white rows) knits left to right, slips right to left, MB (yellow rows) slips left to right, knits right to left, creating a tube.

Automating the function brings us to another color separation of sorts. In single color quilting using simple tubular setting: Knitmaster machines work a bit differently than Brother, so cards/ mylars would have to be designed accordingly, Passap has some built-in techs that can help with this. The settings below are for brother, and the card, for narrow vertical tubes. The width between punched holes could be adjusted to any factor of and up to every 24. Every row or every other row can be marked. Cast on for every needle rib. In this repeat when rows with no needle selection occur at its top, set both carriages to knit 2 rows (or bring all needles manually out to hold) to seal pockets. MB is set to slip in one direction, will knit on even rows,  to slip on odd rows as punched. The ribber is set to slip from right to left and knit from left to right. With carriages at KM’s left insert the card, lock on row 1. KC –> knit 1 row in rib from left to right, release card, and continue knitting. In Brother machines, the tucking lever must be in the down, N position as well. When possible, the tension on the main bed should be as loose as it will allow, if stuffing the pockets is planned. Without wadding, the face can have a crumpled look with a smooth back.
A small test with a 15 stitch wide pocket

Going further in automating the repeat: this card portion includes the sealing rows (1 and 2): extend repetitions of rows 3 and 4 until the length of the desired pocket is reached for your DIY repeat. The ribber is set to slip from right to left and knit from left to right, the main carriage to knit from left to right, and to slip from right to left (opposite part buttons). With carriages at right insert the card, lock on row 1. KC <–, knit 1 row in rib from right to left, release card (or mylar), and continue knitting to the desired length. Make certain there is an even number of rows between each pair of sealing rows in your own design. It takes pairs of carriage passes to complete each circular round. To use the repeat below as a continuing pattern, one row in its height would need to be removed or added. A test  of the repeat

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Double jacquard 3/ single bed multi color slip

Double jacquard knitting allows one to design and knit multiple color patterns without the worry of floats. The color changer (standard machines hold a limit is of 4 colors at any one time) and the ribber is required. The ribber knits the floats into the second layer of fabric on the ribber side, resulting in the term double knit. Often the main bed is set to slip throughout. Slipped (or first-row tuck) stitches become elongated until nonselected stitches knit off. The more the colors in any one row, the more all the stitches on the front face of the fabric must stretch in order to accommodate the number of colors laid behind in the backing fabric. The elongated stitches may allow for the other colors to be seen, and this is often referred to as “grin/bleed-through”. Different ribber settings may help with some of the elongation (depending on separation method) and grin through issues. The same principles used for DBJ separations apply to single bed multiple color slip stitch, and creating the initial swatches single bed can serve as a test for the DBJ pattern separation. In the series below some of the potential issues become obvious

the design repeat

The simplest color separation expands each row of the design to X times its original length based on the number of colors per row; in this case, 3 design rows expand to 6. In addition, in order to knit the fabric, the elongation function (X2) must be used, and each color for each design row will be knit twice, with color changes every 2 rows. This is necessary if the color changer is to be used since it takes 2 passes of the knit carriage to travel away from and back to it in order to pick up the next color. The result is a very elongated design. It is possible to knit the same motif without elongation, but then the yarn needs to be cut and changed on the appropriate side and each row, creating side edges not suitable for garments. One can separate any design with this method, and the motif may even have an odd number of rows. The sequence below is for the expansion of the first 2 motif rows

The graph below shows the motif in repeat, the next column the color separation, with expanded rows, and in the third, the black indicates the knit stitches (black squares on mylar, punched holes in card)

Testing the design single bed slip stitch: the resulting fabric is dense, with lots of floats, and narrow in final width, with little if any stretch. In the knit swatch: elongation is marked, would remain so even if the fabric were knit double bed and settings on ribber to reduce elongation were used

There are 2 other options for separating colors that deal with the problem of elongation, but they do not work on every design. The separation on the left is set up in sequential 2 two row units. In a 3 color pattern, each row of the design expands into 6. The selection row is made toward the color changer. The separation on the right also retains the knit scale. In using either one must often be willing to adapt and edit the original design motif. The total number of rows is the same as the previous method, but the sequence for color one is split as seen in numbers beside the color column in the chart. The selection row is made away from the color changer, knitting a single row in the pattern for color 1. In these separation methods, the motif must have an even number of rows

The respective resulting swatches: the elongation problem is solved, but the repeat is off in the upper third of the design. Some separation programs are able to scan through your design and locate the problem areas, even shuffle the order in which the colors are knit in order to allow the separation to work, but manual solutions may be quite time consuming or at times not possible

A redesign: one method to avoid pattern shift problems and ensure success is to use units in the design that are 2 stitches high, as seen in the motif and its separation below.

In knitting, the selection row is made toward the color changer. In rows where color 3 is not represented, only the first and last needles are selected, and manually pushed back to the B position. Eliminating end needle selection can cause problems at the outer edge of other colors, eliminating blank rows from graph and knitting would require much more attention to where in repeat one is actually working, and lead to possible frequent mistakes in color sequence.

the resulting fabric, knit, and purl views

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Double Jacquard 2

The Passap Handbook for the Deco by Bernadette A Ernakovich was an excellent guide to exploring the qualities of changing lock settings on the hand, feel, look, and in shape alterations on the original design, a simple triangle, when using them. In knitting any fabric, distinctions need to be made between what is doable vs practical. Japanese machines are less tolerant than Passap for repeated functions on the same needles, and the numbers of stitches and of rows, if attempting to duplicate textures, often need to be adjusted or reduced. Some very interesting fabrics may be achieved by hand changing ribber carriage settings on the Brother KM, which are made far easier on the E 6000 because of its collection of lock settings in conjunction with arrow keys on the back bed. I amended the “Passap” triangle to the smaller repeat below

electronic

punchcard (40 rows of punched repeat actually required for functional length)

This document DBJtest includes directions on using the design repeat as is, or separated for DBJ work by 2 different methods for both punchcard and electronics: color separations. Swatch photos are below, this type of exercise shows how the resulting fabric may share a single design, but is changed sometimes surprisingly by changes in ribber settings

the front/knit side

its rear view

Added techniques: for vertical striper backing see subsequent May 14th post

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Double jacquard 1

Because of recent changes in my life, I may be in the position of attempting to explain to some new knitters how DBJ “works”, and to offer them some suggestions on managing the making of it. Since the machine I will be using is a Brother electronic specifically, I am gathering notes that are pertinent to that brand. I thought I would share some of my working notes here. The set below was gathered more than 2 decades ago, so I cannot add a specific bibliography, and information that may be gleaned from manuals is not included. This is the start of an ongoing series, including some DBJ rules for 2 color work, Brother machines, some adjustments need be made for more colors or for use on other KM brands

knit slowly, watching edge stitches to ensure that they are knitting off properly. If they are not, hang the side weights on the work, and move them up every 20-30 rows

clear the end stitches on every row, be especially watchful in wide pieces, failure to do so may cause mis-patterning or dropped stitches at edges

listen for the click when changing colors. On brother machines the carriage must be taken far enough to the left for the click to occur, lining up the connecting plate for the yarn change. If the color is changed without going far enough, you may either knit with the same yarn or no yarn

thread all four yarn holders, then if the wrong button is pressed you will only knit a row in the wrong color instead of dropping your work to the floor

check your yarn change before you knit each row for the correct color or the possibility of 2 yarns traveling together

weigh the work evenly

be certain selection row is in the correct direction (with pattern locked on punchcard), or you may end up with stripes rather than a pattern design

if you need to stop work, leave with carriage on right, it makes it easier to identify which color was last used in your sequence

do not use fully fashioned decreases as this affects the pattern near the edge stitches

reduce weights to correspond tho the number of needles in use when decreasing

work multiple decreases ie at underarms with carriage on the right, this way both sides may be shaped at once using the main yarn on right, the next color on left, thus avoiding long floats

if the design is not an all-over one, continue in Jacquard for the remainder of fabric, using a repeat that has 2 rows marked/punched, 2 rows un marked/punched throughout

ribs in single strands of garment yarn may be too soft or wide, for 1X1 ribs try adding an extra strand of yarn. When the rib is completed, pick up the heel of the adjacent stitches to fill in empty needles, and knit 2 circular rows before continuing in jacquard

2X2 ribs are better suited to single strands of yarn; at the top of the rib bring the empty needles into work, rack to the left and knit 2 circular rows, rack to the right and continue in jacquard

full needle ribs are usually wider than jacquard, as an alternative, the piece could be started on waste knitting, and rehung on fewer stitches, then, in turn, knitting the rib

the lili buttons represent every other needle set up, so an even number of needles is required; the needle position indicators on the ribber tape and the corresponding space between them help track pairs/ even numbers of needles in work

racking handle on P: the knit and purl needles are point to point, directly opposite each other, on H the purl needles are halfway between each pair of needles on the opposite bed, and the latter is most often the basic needle arrangement for double jacquard; check needle alignment before knitting planned fabric to avoid needle damage, etc

vertical striper backing on brother kms is possible but needs a bit of added manipulation and its own specific directions for needle set up

for thicker fabrics, the needle arrangement on ribber may be for 1X1 rib, 1X3, or other configuration, pitch on P. The larger the number of needles on either bed, the closer the tension on that bed to the tension suitable for that yarn in plain stocking stitch. In this instance, the ribber tension is tightened up by one or 2 numbers. If the ribber needles are in every group, ie. 2X2, 4X4, 4X2, etc, then the lili setting may be used. This sometimes helps if the effect on the knit side tends to show noticeable vertical lines along the sides/length of the stitches created on the ribber.

2 X 2 industrial rib 

arrange needles to give a neat join at seams, plying yarns may again be required

racking cast on may be used, avoiding transfers between beds after every needle cast on

https://www.youtube.com/watch?v=u90_iobGu-0 shows one method of working and illustrates needle arrangement well and transitions to main bed knitting

I personally never do 3 circular rows after the first cast-on row: it will produce floats on one side of the rib, which may be noticeable in your final fabric on one of the 2 sides.

the alternative: with the same needle set up:

to close holes rack the beds one full turn, knit 2 rows, rack back again, and arrange for desired fabric

Working out the kinks in my drop stitch lace saga

Still geared up for accessories, I felt compelled to come up with an edging: the following is an end stitch release knit. Prior to binding off the “tape” end stitches are transferred to the knitting bed, and then they and the remaining stitches are bound off. The transferred stitches do not drop and create a long stitch double knit segment. I am still working with the white acrylic
bound off and before release with the release starting after release
after pressing: flat, edge stitches too short attached to back bed before knitting pattern  (purl side)knit side alpaca and silk swatch, surprise: this baby knits up/steams fairly flat! The most regular dropped stitches happened when the stitch ditcher was used at least as frequently as every 4 rows, the lock was too hard to push with it resting on the knitting bed before each pass. I thought I might break down and use a built-in technique and my color changer to drop stitches: Technique 256 here I come, and figlet! this is a completely different fabric and there is one row of loops formed for every 4 passes of the lock I now get why some people call drop stitch with this technique mock garter stitch, but that is so not what I was going for, so back to the drawing board for me! I have an idea….
if the repeat is twice as long, and 2 of the 4 rows are knit without yarn, then loops created on the first 2 rows should in theory be dropped. Tech 130 in essence doubles repeat length. Using it and the same back bed pusher arrangement and settings as tech 256 the fabric is much more like the original, but tension now needs to be adjusted, denser knit stitches are now too loose… time for a very long break! you can’t always get what you want, do you sometimes get what you need? Curses! triple the number of stitches and tension problems occur, stitches don’t want to drop in specific areas of knit, now using a combination of empty lock and occasional hand ditching, different yarn, totally different look fabric than on the first sample: here it is on the machine
this shows why any lace needs blocking. Finishing on the Brother: bottom and top of ruffle rehung and cast off around 2 gate-pegs for length matching width of “pleats”; piece and “ruffles” also rehung for the same type of join after 1 row of knitting through both layers. The finished piece measuring 17X60 inches after partial blocking.  A different stitch pattern (E6000 1130) in the white acrylic color striping in the alpaca/silk blend, requiring dealing with yarn ends at color changer side. I had an interesting experience while knitting the one above of both locks jamming in the color changer. So many ways to have fun! and … I still want some bubbles!
A thicker yarn, larger tension difference between the locks, a bit more bubble on the knit side, but  too  much effort to knit