Category: Ribber Fabrics

Geometric shapes on ribber fabrics with tuck stitches 1

The previous post elicited a Facebook query as to whether it might be possible to create solid shapes within the field of brioche vertical stripes. The inspiration for the query was a hand-knit pattern published in Ravelry 

https://www.ravelry.com/patterns/library/pariss-brioche-scarf

Many terms are used in instruction manuals and published directions. In my notes I will refer to fabric with tucking on both beds as full fisherman rib, tucking on one bed only as half fisherman. These were my first attempts at exploring the inspiration idea, the fabric has inherent differences as it requires both slip and tuck stitch settings, so technically it is neither fisherman. Knitting happened on a random drop stitch day, which explains the patterning interruption errors.When attempting to knit isolated geometric areas on a field of frequently tucking stitches, automating the task when possible makes the process easier and faster. This was my first “diamond” pattern repeat, suitable for a punchcard machine as well. The design is illustrated on the left, converted to punched holes/black squares/pixels on the right  The knit carriage is set to tuck throughout. The programmed repeat will alternate the knit/ tuck functions across the bed based on black squares, punched holes, or pixels.  For full fisherman rib (top swatch) the ribber needs to tuck in one direction only, opposite to the action taking place on the main bed. A choice needs to be made on either of these 2 setting directions based on needle selection on the main bed and stays fixed throughout knitting. The ribber is set to knit on even-numbered design rows on the card, to tuck on odd. Row count numbers may be different than design row ones depending on row counter settings by the operator or built KM ones. Below are tuck settings for to the right on top, to the left on the bottom.

For half fisherman rib (middle swatch), the ribber is set to knit with every pass.

Note the half fisherman fabric is narrower than the full. Also, I am not used to my 930, overlooked that the machine was set for isolation, so its bottom diamond-shaped repeats are incomplete.

In the bottom swatch, I tried to produce a more distinct shape on tubular tuck created with only knit stitches on both sides of the fabric. Hand selection on the alternate beds on all tuck rows produced knit stitches in the desired area. A needle out of work made it easy for me to find a proper location on the needle bed.

Getting back to automating at least part of the process for such shapes: the repeat needs to be altered main bed will be knitting the black squares in the chart on the right on every row, tucking the white ones. When the ribber carriage is on the side appropriate for it to tuck the following row and no needles are selected in design segments on the top bed (odd-numbered design rows, ones with the majority of black squares, tuck may not be used in those locations because then the resulting stitches would be tucking on both beds with nothing holding the tuck loops down.

bring all needles between selected main bed needles up to hold on the ribber so that they will knit while the remaining needles tuck on the next pass of the carriages.

In my sampling, the ribber was set to tuck when moving from right to left. Below is the resulting swatch, shown on both sides. Part of one diamond shape is missing due to the fact I was concentrating on moving needles around and missed the change in selection on one side of the machine. Back to the original method used in the previous post where ribber settings are changed from knit to tuck <– –> every 2 rows along with color changes. I chose a design that would make it easy to identify the location of non-selected needles on the main bed in rows where the ribber will be set to tuck in both directions. The result is interesting, but the solid areas, narrower than the remaining knit, are in the opposite color to the dominant one on each side, the reverse of the inspiration fabric.
When needles are not selected on the main bed, interrupting the every needle selection.  Bring all needles on the ribber between selected needles up to hold on each of the 2 passes from left to right, and right to left. Stitches on those needles will knit rather than tuck resulting in this fabric The first swatch at the top of this post was achieved going a very different route. Two knit carriages were used to select and knit from opposite sides of the machine. Each carried one of the two colors. When working with the first color and coupled carriages the main bed is set to tuck <– –>, the ribber to knit <– –>. The second color is knit using the main bed knit carriage only, set to slip <– –>. A knit sinker plate may be altered and used so as to knit on the main bed only rows, adjustments to it are shown in the post: 2018/04/15/ribber-fabrics-produced-with-2-knit-carriages-selecting-needles/. The chart for my working repeat with a multiple of 4 rows in each pattern segment, color changes every 2 rows indicated on right trying to produce a diamond shape using this technique, my first repeat had arbitrarily placed pixels: the cam settings on the right of the swatch images correspond to those used in each swatch segment. Colors were changed every 2 rows throughout. The first 2 rows in the pattern were knit in a tuck setting, followed by 2 rows knit in slip. In segment B when no needles were selected on the top bed, all those needles were brought out to hold before knitting to the opposite side. Because every row is now knitting in the corresponding color changes the result is a striped pattern. Segment C is knit with both carriages set for 2 rows as in C1 alternating with knit carriage only set as in C2. At that point the color being carried knits only on the ribber, skipping non selected needles on the top bed, avoiding the striped result. A float is created between the beds in areas where no needles are selected that will be “hidden” as one returns to knitting in rib with 2 carriages. The arrow in the chart points to an area where two colors were picked up with the color swap rather than one. The resulting swatch samples

Analyzing the result in section C: the diamond is the same color on both sides, whereas the initial rectangular shape experiment reverses the colors. Reworking the diamond repeat in segments that are each a multiple of 4 rows:  Other considerations in DIY designs. The background repeat for this pattern is actually composed of units 2 wide by 4 rows high. If the pattern is intended to be repeated across a larger number of stitches on the machine bed than that in the chart, it is always worth tiling the image to pick up any errors (sometimes happy design features). Tiling in width readily shows an error tiling in height as well proofs row intersections as well tiling the corrected width repeat, now 42 stitches wide by 72 rows high sometimes tend not to keep immediate notes when I test ideas, which often comes with a price. I knit my first swatch using this repeat beginning the pattern with 2 rows of tuck, resulting in this fabric (and some randomly dropped stitches once more) with the same color diamond on both sides:  Beginning the pattern with 2 rows of slip stitch on the main bed only mirrors the swatch at the start of this post. Where no needles are selected on the main bed, with passes of the combined carriages, two rows of tuck will now be produced, resulting in the wider geometric shapes and the increased bleed through  The tuck loops created by the white in this instance have the elongated slip stitches in the alternate color (blue) partially covering them, creating the darker geometric shape in the top detail photo. The blue is thinner than the white, the effect will vary depending on yarn weight and tension used for the main bed yarn. One can begin to observe the change in width in areas with more stitches tucking.

If the aim is to have a tighter, more clearly defined diamond, after the swatches rested, the swatch that began in slip stitch setting appeared to “work” better to my eye, even with the single color geometric shape on both sides taken into account. Ultimately the choice is a personal one. The wider vertical stripes created in the white yarn in the slip combination fabric happen because of the 2- stitch wide repeat on the top bed as opposed to a single needle one in a true fisherman knit. Because of the slip setting the results will be narrower in width from it as well.

Ayab knitters will need to program any repeat across the width of the intended number of stitches, and use the single setting. Electronic knitters can enlarge the background pattern field easily, or create brickwork, extended repeats.

Arah-paint offers a free program that allows drawing repeats in different orientations with a few mouse clicks. Shifting this pattern must also be in pairs of pixels/black squares in this instance because of the 2X4 stitch background unit. The 21 (half) pixel shift shows an error in its continuity 22 stitch shift results in a “correct” all over repeat

Quite some time ago I experimented with shadow knits including in posts

2013: DIY design2017 crochet

It occurred to me the same design might work in a tuck rib version. The original repeat was 24 stitches wide, 28 rows high scaled to double length, 24 stitches wide by 56 rows high a tile test of the new pattern The ribber remains set for knitting in both directions throughout, with the main bed set to tuck in both directions.
Knit tests: the red yarn was very strong cotton, hard to knit smoothly, the blue encountered some stitches not being picked up on the main bed as well, but the concept may be worth exploring further. The main bed is set to tuck in both directions, the ribber to knit throughout. The red and white fabric is considerably wider because of the tension required to get the red cotton to knit.

Better stitch formation results with the different yarn used for the second color

And lastly, a first quick adaptation of a design previously used for drop stitch lace, which requires some further clean up the yellow squares indicate loops tucking on both beds at the same time, the repeat on the far right is the one tested after eliminating those areas. It is 14 stitches wide by 80 rows high an “improved” version, the choice remaining as to whether to make all the blue shapes pointed at top and bottom or “flat” this is my repeat, tiled. It is 14 stitches by 84 rows The single 14X84 png

2 color ribbed brioche stitch on Brother knitting machine 1

I have always found 2 or more color patterned brioche stitches executed in hand knitting as inspiring and complex challenges to admire, but have not been tempted to actually attempt to execute them in any way.
I have not knit on a Studio KM in more than a decade, have been asked whether this fabric is possible to produce on Studio/Knitmaster. The crucial difference between the 2 brands (Passap has its own universe) is the fact that Studio selects and knits with each pass. Needle pre-selection for clues as described here is not an option. Some Studio information from manuals on tuck knitting including settings for “English rib and Double English rib”:  tuck on Studio km.

This was my first Brother machine knit swatch result: Each of the 2 colors tucks for 2 rows and in turn, knits for 2 rows alternately. Settings are changed manually as shown below after every 2 rows knit, following each color change on the left. Making things a little easier: the top bed may be programmed on any machine, including punchcard models to avoid cam button changes in the knit carriage every 2 rows. With the main bed set to tuck <– —> throughout, black squares will knit for 2 rows, white squares will tuck, also for 2 rows. The first preselection row is toward the color changer. When no needles are selected on the top bed (white squares) the top bed will tuck every needle, the ribber is set to knit. When needles are selected on the top bed (black squares), the ribber is set to tuck in both directions. The ribber will tuck on every needle. Proof of concept: blue yarn is used on rows where main bed needles are selected (black squares). The crossed stitches at the top right begin to represent an effort to create surface shapes or designs on the fabric. They are created by crossing stitches 1X1, making certain the stitch creating the “shape” is carried to the front side of the fabric, the opposite stitch crossed so it is facing the knitter. I used KCI in this instance, the first needle on left in work on the ribber bed, last needle on right in work on the top bed. A border is created on the knit’s edges on the far right and left. The reverse side of the fabric:  Using a blank square on a knit row to help track 1X1 crossing patterns  Working the 24 stitch repeat using KCI; both first and last needles in work on the ribber bed. Due to operator error and forgetting to change ribber settings after a transfer row, I chose to stop knitting rather than attempt a pattern correction  Another attempt at cabling, 1X1 and 2X2. That white line in the bottom image on the right was caused by the color changer picking up and knitting both colors for part of the row before I noticed it. I got rid of the “wrong” color from the feeder and continued on. The wider 2X2 cables require “special handling” and eyelets are formed on columns aside from them after transfers are made. In 2022 I wrote a series of posts on visualizing cables including using the charts to anticipate ribber work and using custom printed needle tapes to facilitate the process. This chart illustrates cable crossings, which can be made in either direction. My own cables were made with the #4 stitch moving in front and over the #2 stitch. Keep in mind when direction matters, crosses will be mirrored on the knit side.
This particular repeat when used in 2 color brioche will move the cable stitches across a center vertical line in the same color as the stitches being crossed
For 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. The possible cam setting options: The cable crossings are made on an all knit row, following tape markings and always on needles marked in the chart.
Knitting the pattern in 2 colors requires ribber setting changes as described at the top of the post, and the first preselection row is made toward the color changer.
Knit rows are created after every needle is preselected, which happens for 2 consecutive rows. After the first row is knit, push back to B needles with stitches involved in the cable pattern, cross the specific ones, push any/ all needles B position needles out to E, and the second all knit row will be completed with the return of the carriages to the left.
Tension adjustments will likely be needed with every needle tucking on each bed for 2 rows. I had a loop hung up on a gate peg that was not noticed, which can be seen as a snag toward the bottom of the colored swatch segment. After the fact repairs in these stitches can be hard if even possible.
The concept swatch has varied test spacing between crossings.
Again, note that with this method crossings occur over a center column in the same color, not the contrast as in previous swatches. Plaiting is sometimes suggested as a way to imitate color changes in fisherman-rib. In this particular fabric, the result was quite muddy on both sides. The situation is different when working on single bed vertically striped fair isle designs. One of my ancient machine-knit demo FI swatches: On any knitting machine with every other punched hole, or electronic with black squares, or pixels locked on a single row, if the pattern is knit in FI, continuous columns of vertical color are created. If the goal is creating the continuous and unbroken vertical stripe 2 color pattern single bed, one must place like color on like color.
Because FI is essentially a slip stitch the fabric, it will have less stretch and is narrower and shorter than when knitting either yarn in stocking stitch.
Cables on the machine need to be transferred across fixed widths between needles, so there are distinct limits as to how far stitches will allow their movement in groups in either direction. Loosening the tension can often help. Sometimes it is possible to create extra slack by a variety of means, making moving the stitches easier.
I have found my own limit for this fabric was working with a 2X2 cross (it is possible to work moving single needles as well).
Adding to the complexity of single bed: proper needle selection for the next row knit needs to be restored prior to knitting it when using the FI setting, movement of stitches is mirrored on the knit side in the opposite direction of that viewed on the purl. Visualizing some possibilities as worked on the purl side to consider the knit side appearance mirroring is not enough the direction and appearance of the crossed stitches on the knit surface are reversed from that on the purl as well When working every needle rib it will take 4 rows of knitting with 2 color changes to produce the striping on a single row. R represents stitches on the ribber, K the stitches on the knit bedThis shows an instance where crossing the numbered stitches on the main bed with color changes every 2 rows, by default, lines up the same color on the same color. Stitches in the same color are formed in the in-between needles on the opposite bed.
Another way of looking at the 1X1 crossings on the top bed behind a single central fixed stitch on the ribber. The fabrics may be tested and knit in single colors as well. When working on the 2 color brioche crossings are made on a row where all stitches are the same color; 1X1 cables when made in this case, are forced apart by the tucked stitches between them on the opposite bed, in the alternate color, implied here by the white line Tuck stitches widen the fabric. As a result, the tucked knitting in this chart on the ribber (represented by the color yellow), forces the space between the knit stitches produced on the main bed (represented by the color green) apart, while stitches tucked on the ribber will create the gap between the stitches knit on the ribber, appearing on the reverse side of the fabric. The combinations create the appearance of single stitch vertical stripes.
This is an illustration of one possibility for programming reminders for tracking the location of cable crossings  Every needle ribs are generally knit at tighter tensions than when the same yarn is knit single bed. Too loose a tension in any tuck fabric causes problems with loops forming or knitting off properly, too tight will produce stitches that do not knit off properly. One limitation of crossing stitches here is the actual stitch size, which needs to be constrained to produce the fabric. Tiny stitches need to travel across fixed space. One by one crossing is manageable, 2 by 2 requires extra slack to make the transfers possible.

Adding some “give” to crossed stitches
1: the carriage has moved from left to right after the color change. All needles except for the four white squares in my design were preselected prior to the next row of knitting. The carriage now stays on the right
2: take note of the white tuck loops formed on the ribber on the previous pass from left to right
3: white tuck loops ( I chose center 3) are lifted up and off their respective needles and allowed to drop between the beds. This will allow the 4 white cable crossing stitches to have more slack. 
4: cross your cable in the intended direction
5: push cable stitch needles out to E
Knit from right to left, change color, continue in pattern
With some planning on longer pattern repeats it is possible to plan added clues to tracking rows on which the cables occur and their location on the needle bed. Repeats with very few marked areas merit testing in tile as any other repeat.
The charted repeat on the left below when tiled shows the area of a patterning error, on the right with the missing blank rows added the problem is shown to be resolved, the repeat is now 24 X 84. A proof of concept swatch: Planning for all over the brick layout of corrected repeat: The tiled repeat .png, 96 X 336, the single 24 X 168. More detailed charts of the 2 repeats, suitable for punchcard machines. Ayab knitters need to repeat the final motif across the width of the download in order to match the number of pixels to the number of stitches in use across the needle bed, using the single setting.

Adding complexity, there is the possibility of lace transfers meeting fisherman rib 
and a plaited swatch attempting to avoid color changes every 2 rows, the technique is not a personal favorite Other related fabrics may be found in posts:
Geometric shapes on ribber fabrics with tuck stitches 1
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
Geometric shapes on ribber fabrics with tuck stitches 3

Fisherman_ English tuck stitch rib 1_ checks patterns_ Brother, Passap

More than 6 years ago I produced a series of scarves that were double-sided, reversible, and were considered “manly” by some of the customers at my shows. Some were one color, some in 2. I found an early post with no clear instructions for them, but with this image and that of a punchcard marked for a racking pattern (given below). Coincidentally the question of checkerboard rib knit patterns came to light in a forum, and I found myself reviewing the technique, with part of the intent to reproduce this fabric. I have, over the years, been terrible at keeping good notes (if any). At times what I was working on was so “obvious” I had confidence I could rely on my memory. At others my attitude once the problems were worked out and a limited one of a kind series was produced, was that I was “done” with that particular fabric. Now here I am, years later, with a mystery pattern on my hands and a time-consuming quest, wishing I had documentation for how on earth I achieved it

Definitely not “there” yet:

Early translations from the Japanese or German manuals did not always communicate clearly the meaning of symbols or actions required to be taken by the knitter. A bit clearer meaning may be gleaned from these instructions in Brother Punchcard Pattern Volume 5. The hatch marks on the racking symbol indicate the number of pitches the ribber is moved in either direction. The number of stitches moved corresponds to the number of needles in work on the ribber. Recommended settings for English rib also known as half-cardigan, royal rib, or pearl-stitch, with no patterning or racking, the beds may be reversed. It is a 2-row repeat. One row is tucking on the main bed on every needle in one direction,  knitting on every needle in the same bed upon return to the starting side. The opposite bed knits every row. There is one textured round followed by one of 1X1 ribbing. It is not a balanced structure, looks different on each side. Variure denotes fabrics wherein the same bed is tucked for 2, 3, or even 4 rows followed by one or 2 rows of rib knitting every needle on both beds. The tucking bed may also be set up with needles out of work and with added racking as well.
In fisherman’s rib, the settings are for a tubular tuck, with opposite tuck buttons set in the carriages. While a bed tucks on every needle, the opposite bed knits every needle, reversing the process on the return row. It is also a two-row repeat and referred to as full-cardigan stitch or polka rib.
It has the same appearance on both sides and does not contain any rows in all rib. An additional illustration of both The recommended Brother ribber’s “needle rule”.More tuck rib variations may be found in posts on interlock 1, and 2.
Adjustments to the needle rule may be needed depending on the fabric. If only one bed is knitting while the other is tucking, having the first and the last needle in work on the knitting bed. In English (aka half fisherman’s rib) only one (either) bed tucks.  Directions marked with green #6 on left are from the Brother Ribber techniques. The remaining images are for the single-color racked checkerboard pattern from Brother Punchcard Pattern book #5. No pattern card is involved, every other needle arrangement suggested on the right accommodates slightly thicker yarns. A half-pitch setting is used.

In the above instance, the main bed is not performing any patterning function, it is knitting on every needle in the work position. On a punch card machine, a card may be used to track racking positions. With the carriage set as usual for patterning and needle selection but with no cam buttons pushed in, the main bed will continue to knit stocking stitch. No rows are punched, and the numbers on the card in the colored columns indicate the racking position for corresponding rows. The “card” on the left is designed to match racking positions and carriage travel directions (colored arrows) to mirror those in the publications. Since a 36-row minimum is recommended for continuous punchcard use, the “card” on the right has added a 4-row segment for each segment of racking directions. The full repeat is now 40 rows rather than 32 in height. The numbered columns on the far right are as they would appear on standard blank Brother punchcards. The number one is at the level of the first visible row while the card reader drum is actually selecting the first design row. End needle selection is canceled (KCII on electronics). The first move as indicated by arrows is to the right, so the first row is preselected from right to left. The card is then set to advance normally and released. If any errors are made treat card adjustments as you would in any other fabric.

Adding main bed needle selection for selective patterning: the actual punchcard here includes annotated changes in racking sequences from 5/4 pitch positions at its start to 5/6 racking positions for the top half of the completed repeat on its left side. It may be used as-is or set to double length either for use with a single color or combined with color changes every 2 rows.

The card as punched may be used in many ways. In past experiments, I have shown that not changing the racking pitch for a single row while keeping the two alternating pitches constant created scale-like textures rather than checkerboard patterns

here again for a 16-row sequence

On fabrics with racking enlarge the stitch size by 1/2 to one full number to accommodate the stretch needed in racking the stitches.
Color changes: fabrics made in full fisherman rib are reversible, while those in half fisherman are not. In full fisherman rib in order to knit a specific color, that color must be knit for two rows and tucked for 2 rows alternately. In Passap AX with pushers and arrow keys must be used, in Brother, ribber needles would need to be hand-selected to the proper position on every row. 
The yarns used should be soft and have some stretch. Every other needle patterning may be used with slightly thicker yarns.
Racking in the same pairs of pitches ie. 4-5, 4-5 with no added actions taken, produces vertical columns, akin to results in any fabric that repeats the same functions in the same locations on the needle bed

I knit my first “checks” sample on a 930 electronic programming a single repeat to match the card used double length. The goal: the check sample pictured in punchcard pattern book 5 

In programs or machines that allow for memos that correspond to design rows for each repeat, enter the racking pitch number beginning with design row number 1, and continue to 32 or more as needed. The racking sequence is changed at the halfway point of the full repeat.

Added experiments: using the same electronic repeat above, here I worked *20 rows racking every row between positions 4 and 5. One row was then knit on all stitches on the top bed** (I pushed needles out manually rather than changing cam settings), repeated * to**. The fabric reminds me of racked herringbone, the “checkers” are distorted Changing color every 2 rows shows the same lean in the fabric. I have had intermittent problems with my ribber, stitches begin to simply not be picked up by the main bed and are dropped for no apparent reason A very different fabric is created using the repeat and instructions below*Knit 2 rows, rack 1 pitch to left; knit 2 rows, rack 1 pitch to right to RC 20 (or preferred row count); knit 1 row continuing in pattern to the opposite side without racking**. Repeat * to**. One repeat of the 2 sequences is 42 rows in height. At row 1 of each new (here 21 rows) sequence, the carriage starts on the opposite side Changing colors every 2 rows is possible. The racking will begin with the carriages on alternate sides of the machine after the single-row knit without racking. In segment 1 racking occurs on the left, color changer side, and in segment 2 racking occurs on the right, opposite the color changer. 

“Full” fisherman rib with patterning on both beds: on Passap the back bed is capable of many more patterning choices than in Japanese machines, and strippers help hold loops in place on the needle beds. The Passap “needle rule” places the first needle in work on the front bed, and the last on the back bed. This is also variable depending on the fabric being knitted. Using the repeat

tech 129: (black square tuck for single row) on the front bed. Set up back bed after prep rows, making sure pushers are in the same work/rest position as on the front bed *Knit 2 rows, rack to left, knit 2 rows, rack to right to preferred row count ie RC 20; knit 1 row still in the pattern, without racking**. Repeat * to**. One repeat of the 2 sequences is 42 rows in height. The resulting pattern is reversible.” This swatch was knit with the bottom 3 blocks using 6X6, both arrow keys on the back lock, and N in front. The back bed pusher setup is doing the patterning. The top 3 blocks are set to pattern selection on both beds, using AX, arrow keys, and KX on the front lock. Using technique 130 will double the height of the repeat, working each row twice.

On Brother, the second bed selected needles will face tucking needles on the main bed. This creates a knit stitch on one bed, holding down the tuck loops on the other, allowing for side-by-side tuck loops on opposing beds. Such selections would need to be made on the ribber manually. Both beds are set to tuck, both arrow keys. The needles on the ribber immediately below the ones tucked on the main bed are brought to the E position and face the tuck needles on the main bed, while its non-selected needles will tuck. Rack before pushing those needles (black dots) that will be knit up to the E position. The Brother settings for full fisherman suggested in their Ribber Techniques Book and manuals produce a “circular” tuck stitch, with each bed tucking and alternately knitting on all stitches in opposite directions, so the cam button setup is different than when one is planning textures in varied patterns It is also possible to produce “checks” without any racking at all. On the Passap, this sample was produced eliminating racking completely. The front lock was set to knit throughout / N, the back lock alone did the work. Pushers were selected 6 up, 6 down, the back lock set to AX with left arrow key for even multiple rows divisible by 4. I used 24-32 to get a sense of scale. The arrow key was canceled for the next 2 rows AX 0 to switch the pushers.  The working repeat became *32 rows 6X6, left arrow key, 2 rows AX 0*with the front bed programmed

Here the front bed is programmed for the repeat below, technique 130 (black squares tuck for 2 rows After the initial prep on the front of the bed, prior to knitting the first pattern row, pushers were manually selected on the back bed to match the pusher work/rest position selection on the front bed. Their position will change as the back lock moves to the left. After 12 rows, the arrow key was canceled for the next 2 rows to AX 0 to switch the pushers. The working repeat became *12 rows AX, left arrow key,  2 rows AX 0* with the front bed programmed, and its lock set to KX. The back bed produces a “checkerboard”, the front bed produces checks as well, but in a vertical alignment

A similar half-fisherman (only one-bed tucking) fabric may be produced on Brother machines by automating patterning and switching “beds”. The main bed is set to tuck in both directions, the ribber is set to knit throughout. My sample was pretty much a disaster at the start. After trying different carriages, switching out needle retainer bars on the main bed, checking alignment, and every trick I could think of I was rewarded with stitches simply not being picked up at intervals by the main bed. Time for a break for both the operator and the machine.  

a bit more success:

Below is my electronic repeat, 12 stitches by 56 rows in height. It is intended to mimic the work done by the pushers on the Passap. Alternate groups of 6 stitches will knit (black squares) or tuck (white squares) for 2 consecutive rows. At the center and the top of the full repeat, the two extra rows of squares result in alternate groups of stitches tucking or knitting for 4 rows, contributing to the shift in the color and texture of the checks.
Passap specials: the idea of hand-selecting needles every row while watching multiple loops tucking on both beds and even adding racking is far too daunting to my mind. Highly textured patterns are far more easily produced in machines that allow for a greater range of patterning on both beds.  To review, E6000 tuck settings:
N, EX: same on both locks, may be used without pushers or console
KX and AX: tuck in both directions
OX and DX: tubular tuck. FB: tucks right to left, free pass left to right, BB is opposite
The FX setting is incorporated into several techniques used with KX, 104, 105, 112, 113, 167, 259, and 260. Some techniques for adding back lock settings are 106, 114,145, 158, 167, 168, and 190. Techniques 259, 260, 269, and 270 use racking; 200, and 212 require manual changing of arrow keys; 284 uses the U100 transfer carriage in combination with fisherman rib for an embossed effect.
Using FX settings with pushers full fisherman rib can be combined with full needle rib or half fisherman rib on the opposite bed.

Technique 167: use FX/KX

Front bed pushers are always selected up from right to left by the console independent of pattern, so they will knit. Set up pushers on the back bed in the pattern after the first row of the pattern, and make certain they are in the opposite arrangement of work/rest positions on the front bed. EX knits on all needles from left to right. Black squares represent knit stitches and white tuck ones. Making lock changes at the start of the repeat: knit 14 rows,* Knit 2 rows FX <–/KX, followed by 12 rows FX 0/KX** Repeat* to ** One full repeat of the 2 sequences is 28 rows. The original BW building block is 6 stitches wide, 7 rows high, pairs of each form the unit used to form the larger repeat blocks

My chart for my full working repeat test sample: dots represent pushers, green highlights rows with lock changes for pusher reversal. The latter are made here on RC13 and 14 rather than RC 1 and 2

Getting back to that scarf and reversible checks, I finally sorted out the how-to and a repeat in a different number of stitches and rows. Technique 180: disregard console directions. Set up with 1 extra needle and pusher on the back bed at each side. Pusher selection on the back bed as described below matches half the number of stitches in the full repeat starting on the right side of the back bed. End with a single pusher on the far left in the opposite work/rest position of pushers in the group to its immediate right. Reset the front lock row counter manually at the end of each full repeat (24 for mine) back to 000. As an option one may choose to knit half a repeat at the top and bottom of the piece. My first swatch is testing one full repeat + a few rows. My full checkerboard repeat is 24 stitches wide by 24 rows high, composed in turn of a set of 4 blocks 12 stitches wide by 12 rows high. The AX setting changes pusher selection every 2 rows, and the AX 0 rows reverse pusher selection, resulting in the shift in the patterning on the back bed. Knit the first 24 rows (full repeat #) with no lock change, I found it easier to reset the arrow key at the start of the repeat on RC 1 and 2, rather than RC 23-24. The single BW building units are 6 stitches wide by 6 high with blocks 4 producing the 12W X12H repeat segments A working chart for the full repeat: Black dots = pushers in their work/rest positions, numbers on right = full repeat in rows

Parts and accessories “hacks”_ adaptations

There were back rail and carriage/ parts modifications from year to year. Any of these carriage swaps may not work across model years, and should be tested with caution. I happened to have magnetic ” rectangular pin backs” from some of my previous projects, was able to remove the magnets fairly easily and to obtain consistent results using them

Using punchcard knit carriage on an electronic knitting machine
The magnet on the back of the electronic carriage is what trips the reader in the 910. With the 892 and 910 carriages side by side, I marked the approximate spot I wished the magnet to be. It is presently in place with cellophane tape for my tests. I believe it to be a rare earth magnet, 12 mm in diameter, part of a jewelry piece from days gone by, with a deep attraction to all KM metal parts.

the first location was too high, pattern did not read properlyplace40what turned out to be a much better spot 

Punchcard lace carriage on electronic, adapted from video; it took a bit of fiddling with getting the magnet positioned properly. A resulting test swatch knit on my 930 using a built in pattern on the rightHere the 910 LC is also missing its magnet (left), gluing on a magnet in the position shown below made it usable on the electronic again.

Ribber fabrics produced with 2 knit carriages selecting needles

Altering the KC sinker plates and arm: remove 6 small screws from the sinker plates, leaving only their arm

The carriage with the altered sinker plate in place in turn will then be used to replace rows that were to be knit with the ribber set to slip in both directions <– –> . In my sample it operated from the right, with the combined carriages (KC2), from left. 

I have random parts, some never used. When trying to familiarize myself with a 930 I came across the ID for one such part I had never used. It turns out it was intended for older ribber connecting arms on newer model beds

the connecting arm

one clearly marked with a number 2, one not immediately below it

Brother Plating feeder and how to use it

cast on will fail if the yarn is placed in the rear plating yarn feeder onlyas opposed to in the main yarn (front0feeder

There now is a 3d printed device for the Passaphttps://vimeo.com/101599762. It as well as the earlier mercer plating device http://www.knittingparadise.com/t-396061-1.html require gluing or drilling to affix parts to locks, are not easily available. At one point in time I tested a far “simpler” version of a yarn feeder for a second, thinner yarn aiming for a plated effect, using a thin plastic tubing taped securely on a passap yarn feeder. The goal is to keep the tubing clear of any needles as the locks move across the knitting beds.Samples were knit on Brother machine (left) and on Passap (right): on Brother needles were set up 2 in work, 2 out of work. On the ribber an even number of needles were in work, with lili buttons in use, and the ribber carriage was set to tuck in both directions while the main bed remained set to knit throughout. Passap had the 2 in work 2 out of on work needle arrangement on the front bed set to N, with pushers one up, one down, both arrow keys in AX (tuck setting) on the back bed, fabric is not “blocked” in any way. 

Reversible DBJ, Brother knitting machines

I am including notes on my working through the process and some of my stumbles at the start of this post. More specific how-tos are found toward the bottom of it.

Such fabrics may be created with both the KRC built-in function or with the color separations that knit each color for each design row for 2 consecutive, identical rows. Punchcard knitters are not excluded. The starting side is on the left for the KRC setting (B in this illustration), on the right side for the alternate color separation (C, double length, or drawn with each row repeating X 2). I am still testing my 930, for my samples I began by using the built-in pattern #16 in the Stitchworld Pattern Book I. In the absence of a jac40, the fabrics are knit by manually selecting stitches to the upper working position (E on Brother) on the ribber bed every row. Preselection for the next row to be knit on the main bed makes the process far easier.

In my first sample, the colors are the same on each face. Since the same number of needles are selected for both design and ground, both sides of the fabric will be exactly alike. There will be floats, enclosed by knit stitches of the opposite color. Beds are set at half-pitch. Consistency makes any process easier and more predictable. My ribber set up was also with an extra needle on the ribber at either end of those in work on the main bed. I found I had less issue with the long floats in my design when I made certain the needle selection began with needles to the left of those in work on the opposite bed rather than to the right, allowing for the color in use to knit first on the ribber, then in turn on the main bed. It may not matter with patterns with shorter spans worked between the 2 colors. The dropped stitch issues below were resolved by using different yarns, no other changes. 
The needle set up in colored squares and on my needle beds showing matching selections on both beds (different design rows). Some of the floats may be seen created by the blue yarn in the bottom photo. If the first and last needle on each side were not selected on the main bed, the needles at each end on the ribber were added to hand selections for the next row (blue squares)


better results with the different yarn choice

For DBJ that reverses ground and pattern colors, opposite needles are selected on each bed. Color 1 knits the design on one bed and the background on the other at the same time, while color 2 knits the reverse. There are no floats. I knit this fabric as well at half-pitch. The ground color created pockets (white squares), with the pattern color (black squares) locking the layers of fabric together. Here again, first and last needles on the ribber were worked on each row. I began pushing needles up on the ribber beginning to the right of each needle in work on the main bed. Needle selection on ribber matches unselected needles on the main bed (pink). All needle positions in each bed are mirrored.

needles actually selected on both beds (pink), different design rowOne design row, 2 different angles

Since ribber fabrics are not visible for a large number of rows, I frequently scrap off after short distances to proof technique before committing to longer pieces as well as to assess whether the effort is worth it in order to produce the fabric in that particular technique or yarn.

Moving on to a self-drawn pattern, the technique proved to be sound. On inspection, however, I saw I was actually missing a pixel in the .bmp I downloaded, and on the reverse, the green arrow is most likely operator error in needle selection. The orange dots highlight the missing pixel/contrast color stitch, and on the color changer side, I had a really sloppy edge that needs sorting out (red dots). A possible added factor: I knit the motif using KCI, and later recalled end needle selection does not always work with the carriage I am using. Here I filled in the missing pixel, and drew a single-pixel black line along each side, testing a “border”. The first and last needles on each side were now cast on and in work on the main bed.

That single stitch solid color line does not add to the design in my opinion, so back to the drawing board: side “border” pixels are eliminated. The first and last stitch are now in work on the ribber. This fabric is the best by far, at the very start I forgot to cancel end needle selection (KCI), then switched to canceling it, KCII on electronic. The how-to in summary: first and last needle are on the ribber. On the electronic choose KRC for the built-in color separation for the fabric to be worked in DBJ. KCII (no end needle selection). With a free pass to the right, both carriages set to slip <– –>, select for the first row of knitting to be worked in color represented by white squares in the design chart. Both carriages remain set to slip in both directions throughout. On the ribber bed, bring up to E/hold position first needle on the right of any needle selected on the top bed, then continue to push needles up into work to match the number of not selected needles on the knit bed. As needles are arranged, there will be a space between the last hand selected needle on the ribber, and the next needle in work on the main bed Now that there is that extra needle in work on the ribber on the color changer side, to match selection as seen above, needles are hand-selected to E beginning on the far left, still keeping that space just before the next needle selected by the pattern reader. Remaining selections began to right of needles on the main bed as described above.when selection begins on the main bed on the left Getting back to working the same pattern on both sides of the knit:  the first needle on the left is on the ribber, the one on the far right on the main bed. On the electronic select KRC for the fabric to be worked in DBJ. KCII. With a free pass to the right, both carriages set to slip <– –>, select for the first row of knitting to be worked in color represented by white squares in the design chart. Both carriages remain set to slip in both directions throughout. On the ribber bed, bring up to E/hold position first needle on the left of any needle selected on the top bed, then continue to push needles up into work to match the number of selected needles on the knit bed. Small selection errors are seen on the left image, ie on the second row on its right, may be easily repaired by duplicate stitching. The stitching yarn may be fed easily through layers of double knit for short distances before and after the “mistake”. With all settings and yarn being equal, there is a difference in size between this fabric (larger of the 2) and the one with color reverse on its other side 

A similar setup, working in full pitch. Here needles line up directly below each other. If the wrong needle is selected it will be point to point with the needle immediately above it and is an added clue the wrong needle is being pushed up into hold/ E position. My first swatch had a distinctly different side / vertical edges. Cast on was for every needle, half-pitch (top image), the first needle on left on the main bed, last needle on right on the ribber. When completed, it was followed by a change to full-pitch prior to pattern knitting, lining up needles point to point, directly below each other (bottom image). I prefer the edge obtained on the half-pitch throughout, seen in the previous  sample 

Still, pondering those edges, and what about repeats with large areas of a solid color? The image on the left is 25X26 rows in height, the one on the right adjusted for an even number of solid color rows, and a total row repeat divisible by 4, 25X28. The single black line at the top is a marker for returning the carriage to all knit when the top of the repeat is reached. When using full pitch, solid areas remained open at both edges with carriage set to KCII. A wooden tool handle is actually inserted through from one side to the other at the bottom of the swatch. Because the needles are point to point, no extra needles could be brought to work on both ends as a workaround. KCI will select end needles on the main bed. I tried that as the first workaround to seal the edges. I paid no attention to whether needles were selected at each end every row, and got another creative pair of edges.

Returning to half-pitch I brought up to work the first needle on the left every row (too many rows at seen at R top edge compared to the other side) and pushed the last needle on right up to work if it was not part of the group to be brought up to E.Analyzing the fabric structure in those areas of solid colors on alternating beds: at first full pitch makes sense if one has knit tubular stripes or solids which have closed edges, with the yarn making a single pass on each bed, traveling back to the color changer, with the option to stripe every X, even number of rows. Such stripes occur evenly spaced and identical on both fabric sides. Here the goal is to knit the fabric with large blocks of solid, alternate colors on each side. The main bed knits color 1 on selected needles on the top bed only, the alternate color is knit with the ribber needles being hand-selected up to E while the main bed is slipping, with none of its needles selected. Other than that first set up row with preselection from the left, 2 rows are knit in color A, followed by 2 rows in color B. There are no stitches traveling between the beds to seal the fabric together in those areas, creating open sides, so if the goal is to have the edges seal. other steps need to be taken. A single-pixel solid line along either edge of the repeat did not create a good edge. Full pitch is easier than half pitch to manage. One possible solution to both issues is to alter the side edges of the design repeat so there will be alternating needle selection along those side edges, thus sealing the fabric.

I decided to cast on with white and to continue with white as the first color used in the pattern (white squares in the chart). This swatch was knit in full pitch. Edges are sealed throughout. The only hitch was when the top was reached and that all black squares row was reached. I was on the right at that point, with my dark color in the feeder. The row toward the left would have knit in the dark color instead of the white on the top bed. I cut the dark yarn, made a free pass to the left, continued in plain knit in white to right, and then transferred stitches and bound off. Top and bottom edges /borders in terms of the number of rows, whether to add pattern there as well, are all subject to personal preferences and taste.

For an off-topic reversible double bed fabric using thread lace setting, see post

More dragon scales and chevrons in ribbed, racked (4) fabrics

Over the years a variety of fabrics have been named dragon scales or crocodile stitch. Here dragon scales have referred to shapes created using a lace technique and resulting in a pattern such as this

that was followed by hand knit samples and an investigation into possibly creating a ribber fabric with auto shaping resulting in similar protrusion

ribber-pitch-a-bit-on-racking-1-chevrons-horizontal-herringbone/

vertical chevrons/ herringbone which eventually led to this, where a reversal in racking periodically shifts the lean in opposite directionsautomating the pattern in half fisherman rib/ mylar repeat tracking shown. Any repeat in a factor of 24 may be used on punchcard machines as well. The start of a series in varied colors and fibers: sometimes I enjoy getting back to the simplicity and predictability of punchcard machines, though punching those cards can be slow and a bit tedious. I am presently curious about striping again, and creating a wider “scale”, with a crisper fold. The chart is for the working idea, the punchcard typical of what some of my cards begin to look like as my work evolves. When marking cards for any action, the fact that the eye is not on the same design row as the reader needs to be taken into consideration. Here racking numbers begin to get marked on what would normally be row one on a factory marked punchcard, 7 rows up for Brother KMs on any other brand punchcard, or card roll # position. Though the final repeat is an even number of rows in height (42) note that each half repeat is not (21). The color changer sits on the left, so the first preselection row is left to right, cam button on KCI to insure end stitches knit. Any color changes happen every even #X rows, so they will technically be in a slightly different spot on the alternate repeat. some of the trial and error, random yarns. The white is a 2/15 wool, the yellow a 2/12, the blue an unknown, also wool. The best of  the lot, but not “there ” yet, going back to one color knitting So then you go for a yummy alpaca and silk, make a racking error and manage to correct the pattern, and lo and behold the yarn breaks halfway across the row a repeat up from there! “They” do keep talking about how relaxing knitting is ;-). Yarn specs: Fiber Content: 80% Alpaca/20% Silk; Weight: Lace; Gauge: 8 sts = 1″, 1/2-lb cones/3472 YPP (1736 yards/cone)This yarn is an English import, 2675 yards per pound. It felts into a lovely fabric (not the goal here) and knit tolerably well. The fabric is quite stiff, however, and the surface change is minimal and nearly completely lost 2/18 Jaggerspun wool-silk: worth a shot at a scarf. Starting ribber cast on left, followed by 2 circular rows, one closing row right to left, and first KCI row from left to right will set up patterning in tuck so that the direction of the arrows on the left side of the card, lines up with the racking number appropriate for that row prior to knitting it. The fabrics below are as they came off the machine, not blocking of any sort

I have some lovely cash wool in 3 colors, 2/48 weight. Using 3 separate strands fed through the yarn feeder separately resulted in uneven feeding, loops, and too many problems. Using 2 strands “worked” easily, but the fabric was nearly flatCautiously winding 3 strands onto a cone prior to knitting gave far more predictable results, and there now is a scarf in progress. The difference in color is due to the lighting at the moment My best advice to anyone attempting this is to knit slowly. The most likely spot for errors in my experience is at the point where 1: no action is taken for a row (or more in later swatches), so racking position remains at 10 for 2 rows, and 2: for racking position 9 the knit carriage position is reversed in each half of the repeat. One can get also reach a left-right rhythm, and without realizing it, begin racking between positions 9 and 8 as opposed to 9 and 10, throwing the pattern off. Another look at racking positions: the numbers reflect racking position before the carriage moves to the opposite side, the arrows the direction in which the carriage will be moving. Once the knit carriage moves the card advances, so glancing at the card after that move will show the action for the next row at eye level, which can be confusing at times. A finished piece, 9.5″ X 64″, in the coned 3 strands of merino. Occasional single strand caught on ribber gate pegs, no yarn feeding issues as such. The fabric has not been blocked in any way, but allowed to “relax”. I like the larger scale of the “scales”, would still like to introduce striping in a way that pleases my eye. The knitting is slow thanks to all the racking but is probably faster than using single-bed holding for similar shapes, with a very different finished look. Future of the fabric TBD. 8/16: interestingly enough when the fabric relaxed, it became quite a bit less 3Dand back to introducing stripes in contrasting color An act of faith after lots of trial and errors and a punchcard redesign, that this may have been worth the effort when done. I am choosing to cut the yarn and weave in ends for longer solid areas, and am giving myself permission to only knit while I feel focused on manual changes in color and racking. It may take a very long time to get to “scarf length” and here is the fabric in a completed piece, about 54 inches in length when off the machine. The top right photo shows reverse side of the piece, the bottom right is how it might appear when worn  Next up was a test on how to use 2 carriages or changing settings, allowing for the turning stripes to help the scale shape bend more outward into a “point”. I found to get the width I needed, along with striping it was simpler to change ribber settings to slip <– –> for all knit rows and retain the use of the color changer on the left.

It is easy to share successes. There are also those days however when one should not be anywhere within range of a knitting machine and perseverance does not lead to anything positive. The above scarf was knit in charcoal, using 3 strands of cash wool. Two strands of the blue created a nearly flat fabric, 3 strands did the job. So I now turn to true black and white. Knitting 3 strands of the black was impossible at any tension for any length. Then I noticed the ribber on the right was lower than it should be. It turned out the bolt used to adjust the height of the ribber was loose, and the slightest turn of it loosened it completely. So then it took way too long to get it back in place. Got things back together and set up, and with each movement of the racking handle the ribber dropped on the right. After a lot more fiddling that got me nowhere, I decided to use the ribber for another Brother machine that had not been used for years. That was dry, the grease on it had turned black, and time flew cleaning and oiling and waiting. Back on the machine, the right ribber bracket of the alternate ribber will not allow it to drop on that side so it’s back to grease and patience and yes, I finally got up and running, only now the smell of the oil and lubricants makes me want to leave my apartment. Outdoors the temp is a dozen degrees warmer than inside it and grossly humid. I don’t want my knitting to smell like the solvents either, so the remainder of the day is called in as a period of rest and recreation mixed with a touch of, hopefully, amnesia.

Moving on to the next day: success in one color with no major problems or errors, have a black scarf, 64 inches long with lovely bumps, here as it appears immediately off the machine 8/16: 3D shapes held up very well So what would that true black in the thinner weight do with those stripes in a true white? I found myself forgetting completely to set the carriage to tuck for several tries, then messed up the color-changing sequence. Time for more R&R.

8/7 after several tests with minor variations in the pattern, sorting out yarn weights preferences, I decided to “go” for a version of the same stitch type as the charcoal and white in true black and white. Again, I am not able to use 3 strands of the black Got a third of the estimated desired length knit, and whoopee! about 10 stitches dropped off both beds on the color changer side. Oh, the joys of unraveling several rows of sewing thread weight black yarn, in racked tuck stitch, down to an all knit row in the white to make certain the proper number of stitches are in work on both beds. Got that far, and am ready for more R&R.

And 8/8 this is the last in the series, at least for a while in true B&W. The 3D pattern is reduced by the weight of the piece as it is worn Just a reminder: the service manual http://machineknittingetc.com/brother-kr120-kr710-kr830-kr850-kr230-kr260-service-manual.html provides information on ribber adjustments. The part in question I believe, is #24, the “slide plate guide stud”. In the image below b= the bolt that became completely loose. I discovered after getting things back together that a, which secures the ribber bracket, is actually directional with a barely perceptible difference in shape, and if accidentally rotated 180, it will keep the ribber bracket from changing height positions and working properly. Rotating it restored expected actions, so now I have 2 well-functioning ribbers to work with.  

Still at it, 8/16 I now have a lovely, equally bumpy fabric in all 3 colors using 2 strands each of the cash wool at the same tension. The single difference in my execution is that I am now using my alternate KR 850 ribber. The height and other adjustments appear identical to my eye. I am reminded of my teaching days in a Brother punchcard lab, where at times the same model machines might be side by side, and fabric would work perfectly on one machine while not on the other supposedly identical model. Students were not allowed to swap off machines, the one exception being if that was the only way to get the stitch types in their final projects completed after I attempted to work out other possible issues. “They” do keep talking about how relaxing knitting is, but with machine knitting, there are lots of opportunities to wonder about that suggested fact.8/17: complete a royal blue scarf in the smaller scale repeat, previously executed on my 910. The punchcard below it image may be used to achieve the same fabric. 8/18: trucking on, planning a couple of more pieces with the large-scale repeat. It seems I have been having more drat-it moments than one might ever want, resulting in having to discard hundreds of rows of knitting for any number of reasons including racking operator errors. I have also encountered another problem. In the past, I have used cello clear, or a variety of tapes to seal off holes accidentally punched in the wrong place. I very rarely produce multiples of any of my pieces, and my limited edition items were usually knit on an electronic due to its increased ease in adjusting the repeat width and height to suit. Transitioning from the solid repeat to the striped one, I decided to punch out holes on my original card to test my ideas, and when returning to the large scales I was too lazy to punch yet another card, and taped over sections I wanted to eliminate from the selection. Hundreds of rows into yet another piece I began to notice odd behavior in needle selection, which was fully remedied by investing time into punching a new card, and yes, starting over yet again. Note to self: do not do this sort of taping over in the future, no matter what the tape, and especially when knitting multiple pieces thousands of rows in length! 

8/21: I am working on a final series of large-scale, single-color scarves. As has often been my experience in knitting long pieces of ribbed fabrics (most of my scarves are 1200 rows or more in length), I have a talent for developing problems after the ¾ point. Two factors that can have an effect on stitches not knitting off properly “suddenly” can be the result of 1: the slide lever setting being changed accidentally when moving ribber sinker plate ie to correct patterning errors and bring it to the opposite side, and the ribber alignment for needle positions relative to each other on opposite beds changing slightly from all the side to side motion in racking nearly every single row.

The slide lever has 3 positions. I have out of habit gotten used to simply leaving it in its center setting (lili) for my knitting, and used to teach students to keep that constant if possible. Sometimes when knitting ribbed cuffs, bands, or collars, I have seen the differences in length and width of them changed for separate pieces and not noticed until one was ready to join pieces.  

adjusting needle bed positions (for more see https://alessandrina.com/2015/01/13/a-bit-on-ribbers-japanese-kms_-alignment-and-symbols-1/)

The last piece produced by me was in a charcoal color, using the same yarn brand and weight as the black. All things being equal, using the same tension (required to avoid knitting problems), the charcoal version stitches were considerably looser, and longer, also due to changes in gauge. I think the charcoal scarf will put this fabric to rest for me for a very long time. This was my final, pre-punched card, and its markings

Some Passap patterns 2016/01/13/racking-2-vertical-chevrons-herringbone/
and 2016/01/09/ribber-pitch-a-bit-on-racking-1-chevrons-horizontal-herringbone/

Ribber fabrics produced with 2 knit carriages selecting needles

There are a number of ribber fabrics that are produced by altering the settings on the ribber’s carriage to slip for an even number of rows in both directions. This requires manually changing the ribber setting from slip to knit and back for the length of the piece. In electronic machines, where the pattern advances with every pass of the carriage, there is another option. For example, to produce DBJ with the backing in one color, settings would be changed manually every 2 rows, using the color changer on the left

Some things to remember: when 2 carriages are selecting, each carriage needs to move far enough at the end of the needle bed so as not to be locked onto the belt. Extension rails are required. On the Brother ribber bed, there are stops that keep the combined carriages from going off the beds. There is one on each side (magenta arrow on left, the blue arrow on right), and to remove the ribber carriage off its bed, it, in turn, needs to be tilted forward prior to reaching the stops in order to clear them on either side.

Altering the KC sinker plates and arm: remove 6 small screws from the sinker plates, leaving only their arm

The carriage with the altered sinker plate in place, in turn, will then be used to replace rows that were to be knit with the ribber set to slip in both directions <– –>. In my sample, it operated from the right, with the combined carriages (KC2), from the left. 

For consistency, I am editing the original post and will continue to refer to the coupled carriages= KC2, the altered single bed one= KC1. KC is the abbreviation commonly used in publications for Knit Carriage. The change knob, which affects end needle selection, is marked on the KC as for I (end needle selection, indicated by black arrow) and II (cancel end needle selection). Initials KR in publications are often used to refer to ribber carriage in setting discussions. My beginning swatches were knit using ayab software’s ribber setting, which matches the KRC (2-color double jacquard separation) function in the unaltered 910. With my first try, I made no effort to consider which color gets chosen first in the color separation (ayab = black, 910 = white). There is a limit as to how far the single carriage from the right (KC1) can travel on the needle bed to the left because the combined carriages on the left (KC2) are held in place by the pin.

It would be possible if needed to separate KC2 and push further out on the extension rail, but perhaps not practical, so there are some constraints on the fabric width able to be produced.

My first swatch has some manually created pintucks on the knit side (white only knitting extra rows, joined together by all knit rows with pink). The reverse, purl side, is knit by the ribber set to N/N, all in one color. The stitches held on the ribber while the white only knits on the top bed are visibly elongated (left swatch bottom). There is some color confusion on the knit side on the first couple of rows of DBJ, solved in the second swatch. My repeat for the planned width using Ayab:

Knitting on 910 a single repeat may be programmed, start knitting with color intended for white squares, which will also serve as the solid backing color. For more similarities and differences between the original and the altered 910 see ayab diary post.

To knit using Ayab: begin the knitting with the color intended to be used for areas marked in black squares, which will also serve as the solid backing color. Preselect the first row from left to right with ribber set to knit (N/N), it will remain set that way for the remainder of the process. When on right, set coupled carriages (KC2) to slip <– –>, knit one row to left, both carriages stay on left. Knit the next 2 rows for DBJ using KC1 with altered sinker plate operating from the right, using color intended for areas marked with white squares. The main bed only will knit. Set change knob to end needle select (KC I) to ensure first and last needles in use knit. Return the KC1 to the right, on the extension rail, and knit the next two rows with KC2 operating from left. Repeat, changing carriages and consequently colors every 2 rows.

Blisters or pintucks are created when one bed knits more rows than the other, whether as simple knitting or in the pattern. Periodically the knitting is sealed by at least one-row knitting across all stitches on both beds. In this version, sealing rows must occur in pairs to allow for color change. The first chart shows a tentative repeat, planning for black squares to create the blister shapes, drawn in 2-row blocks to allow for color changes every X even number of rowsThe image color inverted, so white areas will create the blisters in slip stitch (col 2) while black squares will knit (col 1)Most published patterns for these fabrics will also include an all knit rows to seal the shapes knit on the main bed only

By using 2 carriages to select needles, one (KC1) may be set to slip <– –>in order to knit X number of rows on the top bed only, while the pairs of carriages (KC2) are set to normal knit on both beds, its cam button set to select needles, KCI. Selection will continue, but no patterning occurs as a result. A proof of concept swatch knit on only 24 stitches, the pink knits for 4 rows, the white for 2; the pink yarn is a cotton, the white an acrylic/wool blend:

An expanded pattern repeat is planned for a larger test swatch. Here there are 2 black squares added at each end of the repeat to ensure that those stitches on the top bed are knit on all slip stitch rows. The new color is wool, this time knit for 6 rows in slip stitch prior to sealing with 2 passes of the combined carriages with the contrasting color.

Single bed slip stitch rows appear on the knit side in color 2, the reverse, purl side is in a single color (1), and formed by the all knit rows. Its stitches are in turn elongated, since they are held and not knit while the opposite bed knits for multiple rows. In the sample, the first and last stitch on each side were on the ribber, creating a single white slip stitch edging. One can adjust such details to suit. The first preselection row was made after cast on with both carriages(KC 2)set to knit, moving from left to right with color 1, where they stay. KC 1 with altered sinker plate was threaded with color 2, and begins from and returns to the left-hand side.

A detailed shot of the edge: note the white, single, elongated stitch uppermost, and the pairs of contrast color ones in the “border” Designs with the deliberate placement of white blocks representing each blister can be created. It is a good idea to test tolerance for each of the yarns involved as a hand tech or repeat such above before planning significantly longer repeats. All black rows are required at intervals if the fabric is to be knit changing ribber settings for all knit rows. The same rows could be left blank if using carriages in the above manner, and lack of needle selection would be an indicator for switching to the double carriages for the 2 sealing rows, while not having to track the count for the slipped ones.

I am always interested in automating stitches to facilitate as many details as possible in creating fabrics that imitate hand techniques, without relying on row counts and a lot (in this instance) of “hooking” stitches up manually. The swatches below were part of a series of posts on ruching as a hand technique

The hand tech chart mirrored, as the springboard for my automated fabric Both led to my exploring the possibility of a cousin, working on the double bed, and using the 2 carriages. The process began with a proof of concept swatch. Two colors were used to highlight what the stitches knit with each of the 2 carriages are doing. Both KC1 and 2 were set to knit in both directions. I began with KC2 knitting the needle set up for the fabric in a dark color, on a small number of stitches

KC2 operated from left, KC1 from the right. With KC2 returned to left, KC1 knit 8 rows. It is best to work out the limit for how many rows will knit on the top bed without stitch problems prior to any automation of functions. *Two rows were knit with KC2 in the dark color, 8 rows with KC1, ribber racked to proper position**, * to** were repeated. The elongation of the stitches on the purl side results from the fact the ribber knits far fewer rows than the main bed, and in addition, the stitches on the row knit on its second pass in the pattern are pulled on across the bed at distances matching the racking positions. The plan is to automate the texture, knit it in one color, and find a way to track correct racking positions: cast on may be in any preferred method. With the pitch set to P, it is easier to transfer stitches between beds to the desired configuration. Every needle is in work on the top bed, for a multiple of 10+6ribber needles with stitches that will be moved with racking

placement of stitches on respective beds
change pitch after transfers, ribber moves slightly to right final configuration prior to patterning and racking sequence begins

The starting racking position is 5. Racking handle markings for Brother begin with 0 on left, 5 at the center, 10 on right. The ribber is set to half pitch since part of the needle bed will be knitting every needle rib. An often-overlooked clue as to what is happening or is about to is found in the arrows just below the racking position indicator. The red arrow indicates the direction in which the bed was racked on the last move. Since racking for my experiment will only be to 3 different positions, I began by choosing to use 5 pixels center, left, center, right for the full repeat sequence, but later amended the repeat to numbers of pixels equal to specific racking indicator number. The needles will be selected prior to the next row knit, a reminder of racking selection. Sequence will actually be 5, *0, 5, 10, 5,** 0, 5, etc. The racking indicator

My first Ayab repeat was planned for use with 2 carriages: KC1 (single carriage) is set to knit but to not select end needles (KCII), and will be producing the multiple rows gathered to create the blisters/ hems. KC2 (coupled carriages) are also set to select needles, both KC (knit carriage, cam button also on KCII) and KR (ribber carriage) are set for normal knit. They will create the sealed stitches joining up the blisters/ hems. The same color yarn is threaded in both. Blank squares will knit because a carriage set to knit overrides needle selection or lack of it in stitches on needles in the work position. My repeat is 46 stitches wide. Because the knitting is started with the ribber already in racking position 5, the first move in the pattern is turning the handle to the right, toward 0. The concept illustrated

set up and ready to go, racking position 5

4/19/18 As is true in any knitting, things can go quirky. I began to have a single needle on the main bed not knitting on rows knit with the combined carriages, then ran into dropped stitches in racked groups. The problem was initially not with the software but appeared to be a ribber issue, which after checking and balancing was resolved.

4/22/18 And today’s problem is the software, with persistent, intermittent selection errors. I did achieve a sample by manually pushing wrongly selected needles out to D by hand on problem rows, which tended to be 5 and 7 in all black areas. Some reminders and observations: ayab auto mirrors all images. If this repeat is entered (I added a single square as a marker for racking position 0), the software will actually be knitting this, the “image as it would appear on the knit side of the fabric”. What to program? anticipating the above getting mirrored by the software I entered this resulting in this

That said, remember that turning the racking handle to the left is toward increasing numbers on the indicator, to the right is toward decreasing numbers. For me that is counterintuitive. Mirroring the image again, and working with the repeat below can help with tracking racking movement even more. With the single dot on right, turn the handle toward it, to the right, and the movement will be towards 0. With the movement of marking row to left, turn racking handle to left, toward 5, and so on.

Next on the drawing board: a fabric using the same technique, but that I might like more. This image was a portion of a greyscale pin of a pattern book from a Russian pinI tested a concept for recreating it as a hand technique, trying to sort out how many rows I could knit before racking and the racking sequence. The best result was with a single sealing row, which in turn required changing the ribber slip setting for one row only,

so it’s back to the drawing board. I think any automation is best done using the ribber to do the all knit rows, the main bed to needle select racking positions. Results will be added to the post on combining KC patterning with racking

The present set up with 2 carriages may be used for solid color backed quilting. Using the altered KC1 operating from the right with no yarn in feeder should work to drop stitches in drop stitch lace where the repeat is altered to allow for the knit carriage with no yarn to do the stitch ditching while selecting needles as well. Related color separation and swatch may be found in the last segment of the post: revisiting-drop-release-stitch-lace/

 

Double jacquard using punchcard machines

Each row of double jacquard consists of at least 2 rows of patterning, one with ground yarn, the other with contrast.
The rows knit per design row vary with the number of colors used in the design. The appearance of the designs and their backing vary based on settings used ie, tuck, slip, or normal knit, and their consistency or combinations in the same piece.
Punchcard knitters are not excluded from producing such fabrics, but the color separation is done by hand or using software, marking matching squares to pixels on the card, printing traceable templates, and then the cards are punched. The size of the repeat is less important in creating interesting knits than the choice of yarns, colors, and technique choices.
In early art-to-wear days, pre-electronic home knitting machines, large, non repetitive images were created by breaking down the large images into several vertical panels the width of the punchcard repeat plus seaming allowance. Upon completion, the panels were joined side by side to create the final image.
Ribber settings for DBJ apply across models in principle and may need adjustment depending on the age and brand of the machine.
If working on a bulky machine, consider using the ladder-back method.
The common method for the color separation suggested in instruction manuals for Japanese knitting machines is used in these samples.
The repeats for punchcards have a maximum width 24 stitches. Factors of 24 ie 2, 4, 6, 8 also apply.
Each group in the total 24 stitches in each design row is repeated in fixed locations across the needle bed.
A charted view of an initial design:
One design row of pattern requires 2 rows of punched holes in the in the card, each representing two carriage passes from and back to the color changer.
The step-by-step separation for the design on the left repeated across the 24-stitch card width follows.Helpful tools: on one blank card color each section of the card, representing color change sequences. This may be used later to check color separation.
Box the edge numbers in pairs, beginning with numbers 56 and 57, skip two rows to numbers 60 and the factory-marked row 1, the first visual row when the card is in the reader, and so on. as seen on the right.
This separation splits the first and second row of color 1 between the first and last row on the punchcard.

On a second blank card, prepare a master. The first row is left blank, then 2 rows are punched out, followed by 2 rows left blank, repeat, ending with a blank row. Again working upward, number each row you have punched out on the left-hand side starting with number 54, then 55-56, 57-58, etc, ending with a single row, 23. This will result in number markings matching both sides at the bottom of the card, below the #1 factory mark. My own master began on the left with the # 53. I also added corresponding design row numbers for each row on the far left. (1 and 2, 3 and 4, and so on). Written notes on right: an even number of rows need to be knit in each color, so in this method, the pattern must be an even number of rows in height, boxed numbers represent rows knit in ground color.

1: In this method, each color in each design row knits only once, reducing the elongation of the height to width aspect ratio in the knit.
The initial design is rendered in color, twice as tall.
A minimum of 36 rows are required for the card to advance properly in the reader.
Take a blank card to be marked with 2 colors, and put the master card on top, fastening the 2 cards together with snaps.
You can now mark holes to be punched. Copy the first 2 rows of color 2 on rows marked 54 and 55 (or 53 and 54 in my case), and repeat in pairs for the required height.
I like to mark the card to be punched with colored pencils that differ sharply for each color. They have the benefit of being erasable and can help with keeping each row distinct when punching.

When the completed repeat is marked, unfasten the snaps and move the card down by one row. You will now see the marks you have made through the top row of each set on the master card. Mark through each lower row any blank squares in the row above.

Again, after completing the repeat unfasten the snaps and slide the master up by 2 rows. The card will now be back to its original position, and up by one row. Now you will see the marks you have made on the blank card showing through the bottom of each row of the master card. Mark through each upper row on any square opposite the ones marked in the row below. After the repeat is completed, make certain to punch across 2 final rows for the card to create the overlaps for a continuous pattern, as with any other stitch type. Punch out all marks, and you are ready to knit. To check your design visually lay the finished card over the colored master, and correct any errors if noted. Your card is now ready to knit DBJ.
The first preselection row is from left to right with color 1, which will knit in pattern from right to left, moving toward the color changer where colors are changed every 2 rows. This color separation will not work for fabrics that require the same needle selections repeating for pairs of rows throughout.

2: A second master that may be used with the same approach, for a different type of color separation: This separation works with any number of rows. The design will be elongated X2 in height because each design row knits twice in each color, with 4 rows completing it.
The finished knit will be thicker as well, so use thinner yarns when working it. Draw shapes in colors that are chosen for clear contrast, not because they are to be used in the finished piece.
Here I am back to those triangles used in earlier posts. The choice of which color you begin with, whether in the separation or in the knit is ultimately up to you.With the masked card, the first row is marked on the very bottom of your new design, I began with the red, which would produce the equivalent of thisRemove the mask. Beginning with the second row from the bottom, mark any square not colored in the row below in a contrasting color  Punch all colored squares and you are ready to knit. I prefer to not rely on built-in elongation if I am making a garment or a long piece of knitting. If errors are made or correction of dropped stitches, loops, wrong color selection, etc. is required, unraveling rows is complicated enough without having to also sort out exactly where you need to be in relation to where the card did or did not advance. Black squares represent punched holes, a segment one separated by the red line in repeat width could be used on mylar or for electronic download.  3: Another master for the elongated design, advancing every row, numbers represent rows being filled in, beginning with odd in this orientation, and even with the card rotated for marking even # rows in color 2This is the same repeat, color-separated, and elongated X 2; proceed as with the directions above, but in this instance, each row in each color is marked twice. The expanded repeat:The first preselection row is made from right to left toward the color changer, where colors are changed every two rows.
I have used these images to illustrate color separations in far older posts.

The reason the resulting separation here looks so different from the one above is simply that in this latest series of charts the color selections have essentially been inverted. The inversion creates a mirror mirrored back to the original orientation with the inverted colors in place, and the color reverse is now recognizable

As a matter of course it is helpful to be consistent in the choice of starting color when separating motifs. Any single repeats isolated from above are usable in electronic machines, reduced to black and white squares. Electronics vary in the built separations in terms of choosing black or white squares for the first row knit, whether you download an original image or work with built-in ones. With the preselection of needles in Brother or pushers in Passap, with an easy-to-count color repeat and some air knitting, planning starting color of choice and needle placement can be sorted out for more confidence when actual knitting starts.

If you would prefer to work on graph paper that matches the size of your punchcard, there is a downloadable PDF and word doc with some guidelines in my previous posts more-low-tech/ and creating knit graph paper. The posts were in 2011 and 2014, with illustrations drafted in earlier versions of OS and apps. Working in Pages I was now able to print an image just about to perfect scale to part of a blank factory card. Here is part of the first repeat in this post traced through the punchcard holes onto it:

I then exported 2 documents, one to Word, and the other to PDF. The first printed image and the PDF one (opened in Preview) were printed to an identical scale using my Epson Printer. Here are the new docs for you to try, they may need tweaking. My measurements, adjusted in Pages were 11 cm by 18.2, for 30 rows in card height: PDF no numbers card, Word doc exported from Pages no numbers card. I have found squares of the blank card BMP provided may be filled in either GIMP or Paint, using the paint bucket tool, but the printed size is not in scale to the printout of the original in the pdf.
If the scale does not matter and you prefer convenience, this is a numbered “full” punchcard template as PDF scaled to fit on a single page punchcard numbered, and as an editable Excel document exported from Mac Numbers: punchcard templates_ excel

 

 

Quilting using Ayab software


My last post reviewing the quilting on the machine topic so far. Ayab does not allow for the first preselection row to be made from right to left. In any fabric where preselection needs to occur from that direction, with pattern instructions written with that requirement, in order to match the fabric the solution lies in shifting the last row of the repeat down to the first. If you are working on an odd number of needles and set up matters, pay attention as to whether the program places the extra needle on the right or the left of 0 before you commit to placement on your needle bed, the software is not consistent in this. Here the odd # is placed on the left, in a later swatch on the right. From Adrienne Hunter the tip “I think you are expecting that the odd number will always be on the left. But that’s not it, the rule is that the larger number will be on the left, which may be even or odd. ”

Ayab settings: 
I began with this partial repeat from an older post

To avoid any confusion with which KC (Knit Carriage) slip buttons to push, simply push in both. The selected needles that should knit in slip stitch will knit, and the ones that should slip (not selected) will slip. Knitting starts COL, prep the interface, travel to right. With COR proceed to left. Machine can be set to knit those first 2 rows, or to slip both beds if you do not wish to have the extra 2 knit rows. Now with COL set main bed to slip <–  –>, ribber to slip <–

My first repeat for a “square” pocket was wrong. The total number of rows in height needs to be an even one. It takes 2 passes of the carriages to complete one circular row. The first repeat below is 17 rows high; so I got as far as one series of pockets followed by mis patterning that was the fault of the design, not the program. The software gives one the opportunity to easily check for stitch and row counts. Though I loaded images 60 stitches in width, my samples are knit 40 stitches widethe amended repeat, now 16 rows in height 

I had a problem when I first paused to stuff pockets with the software advancing a row even though I was outside the left mark, but no issues after I restarted the process and continued. Because the pockets are knitting stitches separately on each bed except for where shapes are joined, the resulting knit approaches stocking stitch qualities and tension settings. It lacks the stretch of every needle rib, where twice as many needles are in work. The joins on the knit side (L) nearly disappear unless the fabric is stretched, while joins on the purl side (R) are more visible. 

A “diamond” 12 stitch repeat as it would appear across the bottom of a punch card with the option for first preselection from either side, followed by appropriate cam settingsThe repeat adjusted for preselection from left, illustrating row shift on right
The repeat adjusted for knitting across an Ayab 60 stitch swatchThe bottom of swatch, with absent pockets, shows what happens if wrong slip/knit combinations are in use. Knit side is shown on left, purl side on right, with a bit of cotton ball “stuffing” poking through  
While trying to work with the circular and other settings I found an easier way to achieve one color quilting, still working with that “diamond” from my early post 

I use GIMP to create most of my images for download to either the Passap or now also the 910. In order for the elongation not to be muddy with an image outline in multiple colors, or to cleanly tile it, the image will need to be converted. To draw or paint, begin in RBG mode, then change image to BW palette for scaling or tiling 
 make certain the number you wish to remain constant is highlighted
click on “chain” to break aspect ratio
change the second value to desired one click on scale, here is the single repeat, without the necessary last row shiftto tile the image across the width of your swatch make certain the value you want to remain constant is highlighted 
“break the chain”change width to stitch count of your swatch

the tiled image will appear in a different part of your screen, it will be the repeat usable for the first preselect row from right to left. More on using GIMP.

For use with ayab with a repeat that is already tiled but needs “correction”, using snap to grid, dot to dot, copy and paste all but last row onto a new image at the top of a new canvas with the same pixel width and height. Then copy and paste the last row from the above tiling to the first, blank row of the new image. You may also simply work on the original image if you are comfortable with moving the larger cropped image around, pasting it in place at the top, and then editing the first row by hand.  Finish with “export as” in your preferred format for download The smaller diamond would also be workable, but resulting shapes would be very small. The initial, unaltered tiling:for use with Ayab:
Ayab setting is for “single machine type”. The carriage settings: opposite part buttons, right on KC, left on ribber, are set after the first 2 preselection passes, with COL

the resulting elongated diamond fabric, knit and purl sides respectively

Thickening the outlines of the “diamond” varies the joined outlines; solid geometric  shapes may also be created and used as seen in other posts. I like to work with same or similar shapes to understand what the different settings do to their knit structure and scale

Working in more than one color: using the color separated repeat double height. The first chart below illustrates it as it would appear on the bottom of a punchcard. Here first preselection row would need to happen moving from right to left, toward the color changer, with subsequent color changes every 2 rows  
adjusted repeat/ top row shift to bottom for use with Ayab’s preselection from left This fabric requires changing ribber settings manually every 2 rows, thus creating a solid color back. Set the ribber to slip /levers up when most needles are selected on the top bed, set ribber to knit / levers down  in both directions when a few needles are selected on the top bed. The latter selection forms the “stitching” lines on “quilt”. The first color to knit after preselection toward the color changer knits the black squares on rows 2 and 3 in the chart above, so it will create the dominant color in front of the fabric, the second color change will knit the background / white squares on rows 4 and 5 above, and seal the edges of the diamond / black squares 
Reminders: no matter what stitch type, if you forget to select proper cam buttons after N/N settings you will only get plain knitting (stripes at bottom of my swatch). If you are working on a Mac make certain to set your energy saving preferences to insure it stays “awake” for the duration of your knitting time. I happened to knit my samples with cam button set to KC II. KC I is the better setting, giving a slightly different seal along the edge away from the color changer. 

What of using the ayab circular setting and letting the software do some of the “work” for you? The setting was developed for tubular fair isle, so the main bed  with slip stitch <–  –>  knits alternating colors. When the one color knits on the main bed, it skips and forms floats in front of needles not selected for that color. The process is repeated with each color change. There will be a pair of  floats on the inside of the knit for each completed design row. For some how-tos to achieve color separations involved, and more info on tubular knits including Passap techniques please see previous post

The goal is to had been to use the ayab circular setting to produce quilted fabrics, joined at intervals rather than as an open tube with a different pattern on each €œside€.  When attempting to utilize anything “off label” for a use other than intended, lots of trial and error can be involved. Ultimately the choice needs to be made as to whether the final technique is worth using simply because you can. I habitually double check my settings and fabrics at least once, a day or more after I knit my samples and post. The work in progress posts actually show some of the editing as it happens, with corrections and mistakes included. The heading goes away when I think I am done with the topic. A day after my pink and white adventure I tried to reproduce the fabric with absolutely no success. This was as close as I got, with different carriage cam settings, the knit side is shown. 

After quite some time and a collection of expletives in 2 languages it appears the solution to my inability to produce the fabric is because the ayab setting I used for knitting it was not the circular one. After a software patterning error and a program restart, I apparently selected ribber rather than circular machine type and proceeded happily to success. To produce the fabric in my re do: the ribber “machine type” setting was chosen 

the green yarn is thinner than the pink, so the bleed through of the white on the reverse side is greater. The remaining information applies. My first samples using a single stitch outline, length X 2 for the €œdiamond€ were a disaster in terms of stitches falling off, the fabric being a squishy, shortened mess.

Back to the drawing board: I thickened up the outline of the shapes, grading up and down in 2 rows in height sequences, needed for getting to and from the color changerI chose to continue to test on a narrower repeat. An added consideration: in knitting fair isle, the first and last needle on each side is normally selected whether by using change knob on KC I in 910, or adjusting knit under carriage in punchcard machines. One can program black squares on either side of the full pattern repeat for the width of the fabric to insure that any number of edge stitches knit every row on each side. Working on a smaller repeat, now 47 X 24note: the odd # and even number needle positions for this new repeat are in reverse order from the one at the top of this post. Here the odd # is placed to the right of 0, not the left
If for any reason you choose to work in color reverse, the black border on each side will be lost.The amended repeat to keep that knit border (black squares/ pixels filled in; this was my working repeat It takes a few tries to sort out what may work. These were my first effort switching ribber settings around until I reached  creating pockets.The color choice needs to be made re solid color for backing and sealed areas of the fabric; for me it was the pink. This is where things get a little fiddly. The fabric settings once the first design row is preselected: KC is set to slip in both directions throughout (remember to change main bed to slip if preselection row have been with KC set to knit). I began with pink for my “sealing” stitches/ solid backing color.

After return to left, change color (white),  no stitches are knit on the ribber, only on main bed

here the floats become increasingly apparent the ribber  now dropped a notch on the right side 
stuffing pockets with cotton balls the ribber is returned to up position, knitting continues 

A: setting operator error creating solid color row. B: same, ribber not set to slip in both directions, resulting in white joining all selected needle. C: stuffed pockets, tending to make fabric wider and shorter   A, B: extra sealing rows (2 in white). C: stuffed pockets and a bit of peek through cotton. D: points to bleed through backing color of white floats on the inside of the pocketsA helpful tune: pink down, white up in reference to right ribber slip lever.

The question now follows: which color separation does Ayab perform automatically for DBJ?

 

Revisiting machine knit “quilting”

In 2013 I shared my first post on the topic, covering single bed quilting as a hand technique, with the aid of a punchcard to pre-select needles only, and with an intro to a simple ribber repeat in a single color. It was followed by a post explaining the color separation for 2 color quilted fabrics. 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 post on ribber-fabrics-produced-with-2-knit-carriages-selecting-needles/

one color experiments using monofilament 

In my swatches below, the red stars mark the spots where one fabric surface separates from the other. All use 2 color patterning, with a single color only appearing on the reverse side. In Brother machines to achieve this result, the ribber settings are changed manually every 2 rows. The ribber is set to knit when carrying the backing color, which is also creates the “stitching/ joining” sections, while it is set to slip when the color creating the pockets is worked. The settings on the illustration on the left create the foreground color pockets, and the ribber slips for 2 rows. The settings on the right will knit every row on the ribber. Two rows of each color are knitted alternately, the same as in DBJ. Since there are as many “blister” rows as there are rib rows, the blister/ pocket design will lie flat against the backing. If the goal is a lined Jacquard, the yarn tension must be evenly balanced to produce a fabric that lies flat. The texturing of the quilted surface is produced with uneven tension, knitting more loosely on the main bed.  The looser surface may be left as is, or wadding may be inserted between the beds as knitting progresses while dropping the ribber partway. Commercial versions of these fabrics are sometimes referred to with the terms eightlock or interlock, and double jersey. The punchcard instructions for the first swatch, from Brother Ribber Techniques Book, 

reverse of fabric (black) folded over on the bottom

Passap Technique 181

here the large areas are obviously “stuffed”

Pockets  may result as a part of  any larger, DBJ design, when monofilament or thinner threads may be used for the second color

Possible problem areas: stitches may be dropped along areas where fabric is joined (A), sealing side edges (C) will keep them from separating (B). The end needle on each bed must knit the opposite selection as its neighbors in order to close the selvages. The last needle at the side opposite the color changer may require pushing needles to E manually if not selected by the KM at regular intervals. 

Blister fabrics and pintucks are cousins.
Quilted fabrics are sometimes referred to as “single blister”. Both rely on one group of stitches knitting more rows than another and can occur both in a single color, or multiple colors. The ribber slips while the main bed knits X number of rows in pattern, and pleats/ pockets are created, eventually sealed by knit stitches on both beds. The number of rows for which this action may be taken in Brother machines is far more limited than in Passap, where the strippers help keep the fabric in place.
Single-color pintucks/ blisters began to be addressed in my post, which reviewed Brother ribber techniques suggestions. A multiple-row blister sample executed on Passap, in turn, programmed from an ancient DUO 80 magazine, eliminating hand selection on the back bed, and programming it in terms of black and white squares on the front bed.

its reverse side 
My E 6000 manual is annotated extensively, and my scribbles make a good argument for keeping better notes. I immersed myself in learning the machine when first purchased it.
Knitting techniques 250-255: when using even numbers the pin tucks are formed on the back bed on the needles which are opposite those with pushers selected down and according to black squares on the card. The corresponding odd number techniques select pushers down according to white squares on the card.  

The technique for solid color backing, tubular FI illustrated in the manual, is a workaround to create “quilting” “automatically”. A bit of translation and a different setup from my working notes are offered after the scanned image. The circular setting in Ayab software performs the same automatic color separation. With this arrangement, pouches will be formed on the white squares of the card. If you think in terms of the colors of the squares, then it is not important which color is determined as the background color by the console.
The setup may be different in your copy of the manual.
Knitting four consecutive rows with either color reverse the position of the colors in the pattern.
Every 4 passes of the locks complete one design row.
Reversing the BX <– pusher selection (manually, on the right, prior to color change), will reverse the areas quilted.
The first pushers on both left and right are aligned in the opposite position to rest.
Floats are created between the layers by the color not knitting on the back bed, and the altered pusher position will keep them from jumping off. Depending on the size of the pockets you may want 2 pushers in that position rather than one. Always swatch before you commit to a large piece of knitting.
The identical design methods as those offered for Japanese machines and the associated fabrics may be reproduced by entering the separations as a pattern and then in turn entering technique 129. The PDF suggests a method for using Japanese designs as drawn on the punchcard knitting machine in an E6000.
My scribbles from my Passap manual. The console and manual recommendations are only guidelines.
Any and all technique lock settings may be altered to suit planned fabric, and if the machine offers beeps and reminders for the factory program, simply disregard them.

It is recommended that pushers not in use for any pattern be kept in the rail.

Double bed work requires at least 80 stitches by 100 rows for gauge testing for finished garments. Any machine: for blankets or warm jackets, the pockets may be filled with padding every X # of rows, and the front bed may be dropped to make this easier. Monofilament and /or fine wire may produce structures that have objects dropped into pockets i.e. marbles, sequins, sponges that will expand into space when wet with fluid, etc.

While working on a later post on knitting this fabric using Ayab software in a hacked 910, I found using a simple single pixel height per row diamond shape outline, elongating it X 2, and working in the circular setting produced the single color quilted fabric with no other fuss ie. a color separation. Below is the working repeat for use with the first preselection row from right to left, knit with the right slip button on the main bed, and the left slip button on the ribber throughout. The same settings and approach should work in punchcard Brother machines.