Ribber Fabrics – Page 9 – alessandrina.com

Racking 2: vertical chevrons/ herringbone +

Here again, half fisherman or full fisherman rib is be used. The zig-zag happens at the top and bottom of the fabric. In half fisherman, the setup is once again for full needle rib. If knitting in one color the sequence is: knit one row, rack a space, knit one row, rack back again (X and Y below represent the 2 racking positions involved

for 2 color fisherman, the sequence is knit 2 rows with col 1, rack one space, knit 2 rows with color 2, rack one space back again

this fabric is produced in conjunction with a pattern repeat using the principle that black squares knit (pushers up, needles preselected), white squares tuck (pushers down, needles not selected), the repeat is 12 stitches wide, 2 rows high; it is possible to have 6 stitches tucking side by side because this is an every needle rib, and there will be a knit stitch on the opposite bed anchoring down each tuck loop

one color half fisherman side one one color half fisherman side 22 color setting, color changes every 2 rows, side 1, thinner yarn
side 2

2 color version, changing color every 20 rows; racking interrupted with plain knit rows at top and bottom creating horizontal pockets

This type of repeat became popular in Passap clubs for use in their Passap ripple afghan. The racking first to the left and knit a row, knit to the right and knit a row, was interrupted after 36 rows, followed by a color change and a no-racking knit row before resuming the previous racking sequences.
When single or multiple odd # of rows with no racking are introduced at intervals the zigzags once again happen at sides rather than top or bottom, with the knitting after the no racking row(s) reversing direction. The yarn used in these swatches is a random acrylic, presses flat, not the best if aiming for any 3D textures; the color difference is due to photos being taken at different times of day

side one side two

what happens when multiple odd numbers of rows are knit changing back lock set to N (all knit), no tuck stitches. The fabric still swings in opposite directions, and in addition, the all knit rows produce areas that “poke out”, beginning to create scales of sorts

side one side two back to vertical: full fisherman with color changes every 2 rows, side one side 2, with a few stitches knit off issues

it is a matter of personal preference whether the extra effort with full fisherman rib is worth any difference in appearance or result in the final fabrics. Changes in tension, yarn fiber content, and machines used add to the variables. Good notes in trials help one determine predictable results and to choose whether the effort may be worth it or not. Using laborious techniques for borders rather than whole items is always an option.

1/22/2016: half fisherman racked rib knit in thinner yarn, wider # of stitches and more rows in pattern group before single N/N row, no blocking

same fabric with color change every 2 rows

Ribber pitch, a bit on racking 1: chevrons/ horizontal herringbone

A “how might this be done challenge” of late re this fabric brought to mind racked patterns for chevrons, both vertical and horizontal, and the possibility of producing them on home knitting machines. To review some of the principles in racking in both Brother and Passap knitting machines: the pitch is the distance between each needle groove along the needle bed is sometimes also referred to as gauge. The size varies between machine brands and types of machines. For example, the Brother bulky has a 9 mm pitch, the Passap a 5 mm one; the larger the pitch number, the thicker the yarn that may be used.

Full pitch lines up needles and gate pegs (or channels) on both beds directly opposite each other. To knit patterns in full pitch, the rule is that for every needle in the working position on the main bed, the corresponding needle on the opposite bed must be out of work, and vice versa. This setting is never used when groups of all needles are in work on both beds. Stitch patterns using this setting are designed to have opposite needles in work on either bed at any one time, but not both at once. The number of maximum needles in use for ribs on both beds will usually total 200 (4.5 mm machines), and the setting accommodates yarns thicker than when every needle is in use.

In half-pitch both bed needles are now offset by half a position, centering them between each other. The full complement of needles for possible use now is potentially 400 (4.5 mm machines); the setting accommodates thinner yarns than one might use on the single bed.

The half pitch lever on Brother may be moved from P to H to change alignments. In Passap the racking handle may be used in an up or down position to do so. The racking or swing lever allows the ribber bed to be swung one full pitch to the right or to the left in a series of stepped moves. The racking handle on Brother machines is located on the left-hand side of the ribber bed. Racking swing indicator positions are numbered 0-10. When the racking indicator has been moved over to the next number, this means the ribber has moved by one full pitch. With the swing indicator at 5, both beds will be centered opposite each other, the usual position. Starting points may vary when racking is used in patterns. Beds cannot be racked with needles in holding, as needles will then crash into each other. It is always a good idea to check ribber alignment before tackling more complex, double bed fabrics. In Passap the racking indicator is situated above the racking handle, and arrows indicate the direction of the last movement. The scale at the top of the front bed shows the possible racking movements from a center point of 0 to 3 to either to right or left of center. I chose to place numbers below the factory ones on the machine from 0 to 7, finding that method easier to follow, since I do not rely on built-in patterns and racking prompts from the console. For the purposes of these swatches, I am reverting to the factory indicators.

In the Passap system, the racking handle has 2 main positions: up, and down. When the racking handle is up needles are directly opposite each other (P pitch in Brother), when it is down the needles are between each other on opposing beds (H on Brother). There are some racking handle positions at different parts of the “clock” that are recommended when using some of the Passap accessories.

Regardless of machine brand needles have 3 basic functions: knit, slip (do not knit), tuck (gather loops). Passap pushers have 3 positions: work, rest, and out of work. When a pusher is in the up position the corresponding needle will knit no matter what the setting on the pattern dial. This is the equivalent of having needle pre-selection on Brother, but forgetting to change cam buttons from the normal knit setting. When a pusher is at rest it will slip or tuck depending on lock setting to AX, DX, or FX (in Brother these would be needles not selected, in B position). If locks are set to C, E, or G, the pushers have no effect on the needles. Pusher positions may be changed manually, automatically by arrow keys (back lock Passap, lili buttons, and lever Brother ribber), automatically by readers whether electronic or punchcard on both brands in the Brother main bed or front bed Passap are in use. NO pushers are used in N (double or single bed plain knit), CX (tubular), EX (double bed, tuck).

I personally find racking easier in terms of the numbering in Brother brand machines. For these samples, however, I chose to work on my E 6000. Adding tuck to the mix creates more textured surfaces, and a half or full fisherman’s rib where every needle tucks, then knits as the carriage reverses direction on either single or both beds, is a place to start. I have written previously on tracking brother racking sequences using a punchcard numbering system. If no other pattern is used on the main or front beds, needle and pusher selection might be used to track the racking position there as well. These fabrics require concentration. In terms of chevrons, both horizontal and vertical may be produced. Some published sources include a youtube video by Diana Sullivan, knit on a Japanese machine, and a baby blanket in full fisherman rib knit on the Duo 80. The version below is my half fisherman adaptation of the latter. The photos illustrate both sides of the fabric. The racking is done by moving a single of each of only 2 positions to the right or to the left. Single (or multiple, odd-numbered) rows at the end of each sequence place the carriage at its start on the opposite side, rather than altering the numbered sequences as in the Diana video. I began my fabric on Passap racking position 2, to the right of 0, locks set at KX, N, first and last needle in work on the front bed. The back bed tucks every needle right to left, knits them left to right. There is a slight difference in texture between the 2 sides of the fabric.

activate row counter after CX rows in the cast on, with locks on left, so knitting the racked pattern begins with locks on Right, RC on 1. Below is my working “cheat sheet”

cheat sheet settings

For scales and chevrons on Brother machines please see 2018/07/19/more-scales-and-chevrons-in-ribbed-racked-4-fabrics/

Thread lace and punchcard knit carriage use on Brother 910_2

A short while ago there was a Ravelry thread discussing reversible, double bed knits. I recalled a demo from eons ago that I saw at a machine knitting seminar and decided to explore my memories and share them. The result approaches a “reversible” fabric, with imperfect results depending on the yarns used and other factors. There is a group of knitters that are presently experimenting with “glitch knits”, where the intent is to purposely create patterns with what some people might consider “mistakes” as purposeful parts of the design. For one example see a video of the technique. The “imperfections” in the fabric below may be seen as a positive by some. It is not the result of any aberrations in the programmed pattern, but rather a result of the way the threads get pulled through each other as the carriage moves across each row knit.

My samples were knit using equal-weight yarns. The fabric may be better served by using different weights, approaching the usual recommendation for plaiting. See the manufacturer’s directions for plaiting feeder use.

Cancel the end needle selection on your knit carriage.
Cast on for full needle rib with both yarns in place.
Hang comb.
Knit 2 circular rows followed by one more all-knit row.
Change to a rib tension that has been tested for yarn combination.
Several rows may be knit for a “solid” color edging.

When the first pattern row is selected, one need not set the KC carriage to slip. N is king in Brother, regardless of pattern/ needle selection as long as no cam buttons or levers are pushed in/ selected, everything knits, whether single or double bed.
After the first row of the pattern is preselected on the main bed, use a tool to push both buttons in as seen below, and proceed in the pattern. Even though end needle selection has been canceled, if the end needles on the main bed are selected, they need to be pushed back to the B position or those stitches will be dropped.
Plenty of weight is required.

my punchcard carriage with the added magnet set up on one of my 910:

when testing motifs it is always good to begin to do so using a simple pattern, making needle pre-selection easy to view and check. I began with “checkers”. They can be viewed at the bottom of the image below with the machine set for double length, at the top as drawn on the mylar; most such fabrics are well served by double-length on any machine, electronic machines could easily vary the repeat size or color reverse at the flip of a button, using lili buttons on ribber may add to the mix of results as well.
a familiar stock Brother punchcard, knit on my 892, double-length Review of the use of plaiting feeder from Brother ribber manual

Picot cast on for every needle rib

Depending on the sort of rib, the beds need to be aligned in most instances so that the needles on opposing beds line up between each other. For this ribber cast on the beds start at full pitch, as you would for EON knitting. Every other needle is brought in to work. A first “zigzag” row is created at the tightest tension possible. On the second row, the alternative needles need to be worked. On Passap E6000 BX, LX with pushers under new needles only will help do the job. On Japanese machines: bring the new needles out to hold, set both carriages to slip. This will result in only those “new” needles knitting on the next pass. The outcome will be one zigzag crossing over the other (red over blue in the photo). Prior to the third knit row, reset the carriages or locks for circular settings (CX/CX, opposite part buttons). Because all stitches will be knitting on each bed, loosen the tension to about three-quarters of the rib stitch size, knit two rows, change racking handle/lever and needle positions to half pitch at their completion. Adjust tension to desired rib stitch size, knit a closing “zigzag” all knit row at tension used for the remaining knit, and proceed in rib
The method may be used both for every needle and for every other needle rib.
The configurations for each, colors are in reverse order from photos that follow

first zigzag rowsecond zigzag row (contrast color for illustration purposes)hang comb, knit 2 circular rows change racking position and needles alignment change tension, continue in rib, knitting all sts both beds detail close up

Racked ribber cast on and rib configuration tips

This cast-on (on any ribber) is capable of giving a softer, looser start and is good for fabrics that stretch. It is described in most machine knitting manuals.
When experimenting, check the alignment of needles physically before proceeding for knitting ribs on all needles. In Brother machines, the racking grip handle is used in creating “racking patterns”. By turning the grip handle the ribber bed is moved to the right or to the left. The racking position is indicated on the racking indicator. Usually casting on is begun with the indicator in the center position, #5. As indicator numbers rise the ribber moves to the left, and as they decrease the ribber moves to the right. The two cursors can be moved and set to use as an index of the racking range. I prefer to track racking positions in other ways ie. with punchcard markings when possible. The arrows L and R indicate the racking movement and will change position after each handle turn reversing direction is completed. The pitch is set to accommodate rib configurations. In the P position needles on each bed “plain and purl” are directly opposite each other and in a collision course. If EON (every other needle) on each bed is in use, then this position is used to center needles on opposite beds between each other. In position H the ribber needles are centered between two main bed needles.
If observing a suggested needle rule, set up needles using it.
Rack one full number to put the needles out of the rule, and knit one row at about 2 numbers tighter than the final setting.
Hang the comb and wights, and rack again to the original position. Add any edge stitches that may be needed for the specific knit fabric. Knit one row across stitches using the final tension setting.
For every needle rib cast on in my sample I began with the racking indicator on 6, COR, knit zigzag row to Left. Note: at the start of the process, on the left side, the first needle is in work on the top bed. The ribber is then racked to position 7. The first needle on the left is now in work on the ribber. A row is knit from left to the right. The ribber is then racked back to its original position (6). The first needle on the left will once again be on the top bed, and the first needle on the ribber to its right Continue in the planned rib.
Often manuals give suggestions as to the “needle rule” for each type of rib. The sequence below is knit on a Passap. It, in theory, would produce a 2X1 “industrial rib that could transition to every needle or main bed knitting without any holes at the transition point. Note here there is a needle in work between each pair of needles on the opposing bed.

“zigzag” row, normal needle position: work slowly, make certain all needles have picked up yarn
hang comb: the first needle is in work on the back bed on the far left rack one full turn to the right: the first needle in work on the front bed is now on the far leftknit one row rack back to the original position, and continue plain rib There are sources online including videos that recommend circular rows at this point, they are actually unnecessary. The other recommendation made by many after any ribber cast-on is for 3 circular rows. There is no need for the third circular row. It will actually create a visible line across one side of the rib, that is noticeable, and may not be wanted if it is on the “public” side of the finished garment.
To fill in potential holes produced when empty needles are brought back into work, bring all empty needles into work, and tuck one row across both beds, making certain loops are formed on each needle knit 2 rows circular slowly, some needles hold 3 loops of yarn, switch to ENR rib
the result at rest
rib stretchedGoing for a rib with more of a 2X2 look: set up needles for rib pattern, there are still 2 needles in work, one not, on each bed. The empty needle space is now at the center of each pair of needles on the opposite bed

rack one full turn to the right, and knit one row hang comb and weights rack back again to “needle rule” position Knit one row at final setting, proceed for ribat the top of the rib knit 2 rows circular, proceed on EN rib

tension adjustments may make a big difference, my samples have been knit at the same tension throughout, and single-ply throughout

the first rib at rest stretched Both instances produce a reversible rib
Some experimenting is required to achieve cast-on rows in the rib that is not too loose or too tight. In this instance there has to be enough slack in the loops so that there is room for racking one full turn, too much will leave loops. Loops created by cast-ons with deliberately large stitch sizes may, in turn, be chained off with a latch tool. The stretch factor and weight of the resulting rib also need to be in balance with the remaining knit fabric. If “improvising” it is always advisable to keep good notes. Most publications and how-tos are really guidelines, starting points for investigating what may be the best method to use in any one piece.

A variation: a racking cast on at a large stitch size can be chained with a latch tool after the work is off the machine to make an edge that nearly matches a chained-off bind-off. It is useful, especially in rib tuck fabrics.
Set up needles in the needle rule and rack out of the needle rule.
Knit one row at a large stitch size, moving slowly to the opposite side. Testing will determine the tension the specific machine will tolerate with the yarn being used.
Check that all needles have picked up loops.
Hang the comb and weights and rack back to the needle rule.
When off the machine, use the method described in the post Ribber cast ons: breaking the “rules”

Transitions in ribbing from EON to FNR fabrics

It is always helpful to use a familiar yarn when testing techniques and to have some idea what baseline tensions produce each desired fabric before combining fabric types, structures, and techniques. This will ensure that the knit result will be both manageable to produce, and will match your desired concept.
Any time an empty needle is brought in to work, the first knit pass will create a loop on the empty needle; the second pass will form a full stitch, resulting in a hole. This is seen in lace transfers or when bringing empty needles into work closes single ladder spaces.
Use garment yarn double thickness in the EON needle rib if the aim is to produce DBJ, which will yield a different thickness knit. Test for other fabrics ie patterned English rib, etc. Swatching is worth the effort, avoids producing whole pieces where combined results are disappointing.

EON rib set up for your brand machine
Knit 20+ rows
End and begin the test with COR; trim off one yarn end, to be woven in using your favorite method
Racking handle at half pitch
Bring all needles into work both beds
Observe the needle rule appropriate for your double bed fabric Set both carriages or locks to tuck
Reduce stitch size tensions by one whole number, knit one row, which will produce a “zigzag” across all needles, with a loop on each needle, both beds
Set both carriages to knit circular; this will be a slipstitch, tension may need to be loosened by one number to accommodate the added yarn, knit 2 or 4 rows
Set both carriages to knit, enlarge stitch size one or 2 numbers if needed, knit one row
Proceed as required for pattern

Depending on which direction your first row of “garment” fabric needs to be selected if using a color changer, planning for that may affect which side of the machine needs to be your final location before knitting the first row of pattern.

The swatches below illustrate the transitions, are in their “just off the machine” state. I used the same tension throughout. The EOR rib was knit single strand, the resulting difference in width is easily seen, though the density difference is obviously not observable in a photo. The yarn used is one of my “throw-away” acrylic/ wool blends.

side 1 “holes”
side 1 “no holes”side 2 “holes”side 2 “no holes”

Unconventional uses for punchcards 1: tracking racking positions in ribbed fabric

In a long-ago post I shared the punchcard image below. The card is used double length throughout. Cast on in your favorite method. “Memorize” the first row of pattern, set card to advance EOR, set KC to tuck in both directions, set RC (ribber carriage) for normal knitting throughout. This is a racked pattern. The numbers to the right of the card are for the racking position on each visible row (takes into consideration your eyes can view card 7 rows above card reader teeth). There are only 2 positions in this card as written, 4 and 5, so the results are vertical columns in a textured rib

the corresponding swatch, both sides are shown

The tracking for the racking sequencing may be created for any punchcard, whether punched holes are required in the card for patterning or not. The image below is taken from the Brother Ribber Techniques Book. If KC is used, no holes are punched, and the carriage is set to plain knit, though the card advances, all needles knit. End needle selection is not a factor.

the racking handle movement repeat isolated

In the card, for use on Brother, the first row of the repeat with the machine on racking position 10 would be placed on row one pre-marked position found on stock brother blank cards. Always check markings for your machine. I have a roll purchased for Brother kms specifically that actually are stamped for Studio, with # 1 two rows below where it should be on right. No holes need to be punched in this instance. Needles are brought into work and filled as illustrated on the ribber book page. Knit one row across stitches with the card set to advance normally. In this instance marking row numbers in preferred colors will indicate when the racking sequence changes direction. Green rows rack to left, orange to right. The racking handle position repeat is 20 rows high (shown on left), a minimum of 36 rows for the card to roll properly) is met by repeating it twice, and the “motif” is broken up to accommodate the fact that the reader is working on 7 rows below the row number visible on the machine exterior. Rows 34 and 35 would become the 2 every square punched rows always placed at the top of pattern cards. The blue numbers on right reflect the racking handle position for that row before the next row is knit. They can be marked on any blank square if the card is blank, or alongside existing row numbers as seen in the punchcard for the checkered swatch. It is helpful to have consistent habits if one needs to stop for any length of time ie. always knit row, rack to position or stop after knitting, rack upon return.

The machine can be set for double length for racking after every 2 rows knit.

Using the method for cables and crossed stitches (3 posts)

Lace cards on 260 bulky PDF

Working with generated mazes: GIMP charting 2

My previous posts on using gimp to generate charts and images suitable for knitting: 1, 2, 3, 4. I am working in Mac OS 10.10 now, so there may be some variations in results from earlier OS or for Windows versions users.

the edited repeat from the previous post

It is possible to knit this design in DBJ with the same separation as for knitting it as a maze, both are 2 color slip stitch patterns, the maze separation is less laborious. To process for use in DBJ, the image needs initially to be doubled in length. The easiest way to achieve this is to create a new gimp document, several times the size of the repeat, select and copy the corrected repeat, in turn pasting it in the new, larger canvas. I used 40 by 60; color 1 is red, color 2, white, most of my charting is done at 1,000 times magnification

drawing a vertical line in nonpertinent color to border areas having several rows with no second color present, as seen below, may help define end or start of selections when attempting to invert colors. Color invert may be achieved in RGB mode, not indexed. Below the inversion occurs on “even-numbered” every other row. The program in my OS now showed the previously red squares in blue, the alternate squares in black.

After using color invert, nonpertinent color (blue) may be erased (using the pencil tool, each square on the grid is a single-pixel) as well as those yellow “border” squares. In the image below the black squares on the left represent all holes that will be punched out in the card. One drawback of this program, because of the scale using single pixels, is that no text to include row numbers etc. is possible. The final repeat is 10S X 44 R.

If one wants to avoid using double length in the automated machine settings, the image of holes to be punched may be doubled in length. To do so color mode needs to be changed to indexed (4 colors) to retain image clarity. screenshot_19

fabric knit in DBJ, long stitch on left, bird’s eye backing on right

Maze and mosaic knitting, my previous posts: drawing motifs, from design to pattern (Excel), from pre-punched cards, and references and pubs. The repeat worked out for slip stitch and edited down to 2 colors. Again, the black squares on the left represent all holes that will be punched out in the card.

To further mark the repeats in blocks, making charts easier to follow in absence of numbers, the subject of drawing straight lines comes up. Most of the online tutorials for using gimp are for its Windows version. The pencil tool may be used. Normally, tool options are displayed in a window attached under the Toolbox as soon as you activate a tool. If they are not (Mac), you can access them from the image menu bar through Windows â†’ Dockable Windows â†’ Tool Options, which opens the option window of the selected tool. In theory “Ctrl: this key changes the pencil to a Color Picker. Shift: This key places the pencil tool into straight line mode. Holding Shift while clicking Button 1 will generate a straight line. Consecutive clicks will continue drawing straight lines that originate from the end of the last line.” On my Mac, I worked out this method: first select color and pencil tool. Place a pencil dot where you want the line to start. If you press the shift key, a crosshair will appear, press the command key in turn as well for straight-line mode, click where you want the line to end. Consecutive clicks will continue drawing straight lines that originate from the end of the last line. Pressing both the shift and the command one at once after the initial pencil mark will call up the color picker and require a color selection and an OK.

windows: dockable items

separation for maze knitting 10S X 22R, elongate X2
knit as a single bed slip stitch, changing colors every 2 rows as dbj

The dropped stitches were a problem when using the ribber on one of my two 910s, that adventure can be the topic for another post.

Working with generated mazes: GIMP charting 1

Laura Kroegler shares an online generator for “mosaics”, unikatissima offers them for mazes and cellular automata. Representations of such patterns have cropped up in relation to hacked knitting machines and electronic downloads such as those seen in the Claire Williams blog, and in published information by Fabienne, who of late also has a Kickstarter project. Such patterns may be charted for hand knitting or for use on punch card machines once the size of the repeat is taken into consideration. Mirroring either vertically or horizontally can make the image far more interesting, but that has to be a consideration in planning if the stitch repeat has a constraint of a 24 stitch limit. A beginning unit 6 stitches wide will allow for the horizontal mirror to be repeated twice on the punchcard. The minimum punchcard length is 36 rows. The maximum scroll down to height in the Kroegler generator is 20, so for the least punching, an 18-row max would “fit”. The caveat here is that if the generated pattern is to be knit as DBJ or as a single bed slip stitch, those 18 rows need to be color separated accordingly. For the design to be charted out easily, it may be saved, and then in turn gridded in Photoshop or Gimp with the grid matching stitch size in the generated pattern preview (ie below note X and Y values are 5 X 5, so grid used would be 5 X 5 pixels as well).
After reviewing the tiled generated pattern, the image may be carefully captured from the screen and saved. I worked with an 8-stitch repeat for my tests. Below are screen grabs of the resulting patterns after some of the various options offered were tried. Mirroring this repeat horizontally makes it too wide for a punch card (16 X 2=32).

using a 5X5 grid after capturing a portion of another generated image, using a simple 8X8 repeat, outlining single repeats, thinking punchcard machine

checking the result tiled to predict possible knit “look”

If working with a 6 stitch repeat, horizontal mirroring becomes possible for punchcard machines, perhaps making things more interesting; the program can generate a single repeat as a png, and punching holes is a drag so maybe length remains on the short side in anticipation of the punching holes and color separating for knitting the motif as either DBJ or single bed slip stitch, so here goes: having the generated image produced so each stitch and row is represented by a single pixel allows one to work within any program preset to superimpose a 1X1 grid:

my saved png, supposedly for an 8X12 repeat gridded in gimp, revealed as 11W X 23 H

testing tiling: oops!

the trimmed repeat, eliminating double lines, 10 St W X 22 Rows H

tiled, looking closer to original, and then there is the knitting of it if one chooses to do so as single bed “floatless fair isle” as opposed to double bed dbj

For the latest version of gimp for Mac OS, version history may be found at the gimp website, for Mac Yosemite and Mavericks’ latest information on version 2.8.14.

2020: latest Gimp update for Mac, my Mac OS: Mojave 10.14.6, now swatch testing on a 930 with image2track cable and software, which allows for easy use of larger repeats. Newer thoughts and observations: the maze can be generated using only black and white. If all boxes for options are checked as seen below, there will be shifts in the overall design. A small, working BMP may be saved for download, but only part of the overall repeat will be selected by the generator. Quitting the generator, and opening it once more entering the same options will generate a new image, so saving and naming each is a good habit to form the BMP in Gimp, explored in two renditions, eliminating double lines The proof of concept swatch for the version on the right and knit in tuck stitch the double-length BMP ready for knitting, 14X68

One more, using different option selections the BMP in Gimp, explored in two renditions, eliminating double lines My latest process for the required color separation

Carpet or pile stitch knitting on Passap and Brother KMs 2

Trial swatches do not necessarily require a permanent edge. The main bed cast on with all open stitches is familiar to knitters accustomed to using a single bed Brother cast on comb. A quick version of the same type of cast-on is also doable when both beds are in use, and the goal is to knit all stitches only on one bed or the other. The broken toe cast on for rib is so-called because if comb and weights are hung in the wrong location on the needle bed when stitches on the opposite bed are dropped, so will the comb be along with weights, heading for your feet. If the ribber is going to be the bed doing the knitting that anchors dropped stitches or pile in Brother kms, please note prongs of ribber comb line up directly in front of main bed needles (blue arrow) and to each side of the loops on ribber bed needles (red arrow). The ribber comb wires will anchor down loops on the needle bed where plain knit rows will be formed. As mentioned above, this method will result in stitches all being open, does not produce a permanent edge, is suitable for quick swatching or for waste yarn at the bottom of the weighted fabric. It is possible to perform this cast on with ribber comb with wire already inserted in both brands, but the broken toe method is potentially less hazardous to needle health. brokent_toe_arrows Analyzing what is required to move between km brands with the goal of achieving 2 color or isolated pile motifs: in Passap with the back bed set to FX, one arrow key, EON pusher/ needle selection changes every 2 rows. In Brother, this may be achieved on the main bed by pushing in one tuck button and programming a repeat. The alternate, adjacent cam button, left in its normal position, will knit every stitch when knitting direction is reversed regardless of whether any needle selection is happening. On the ribber, lili buttons may be used for alternate needle selection. Its levers determine whether tucking or slipping, in one direction or both, occur. The number of stitches on the ribber must be even. An easy visual check is to check markings on needle tape, which consists of what I refer to as dashes and blanks. For an even number begin with one, end with the other. Passap will automatically revert to the alternate pusher for patterning on the subsequent 2 rows. In using lilis this is not an automatic function, and some handwork is required to obtain the same effect by changing the first needle selection every third row as seen in this post.

If the ribber is chosen as the loop making the bed, the needle selection on it needs to be manual for any pattern other than across whole rows. In my swatch, to knit across all needles the ribber carriage is set to slip in one direction, knit in the other. The all knit rows in pile knitting need to follow the ones with tuck loops on the opposite bed. Extra needles are on the main bed, which creates fabric backing. The ribber carriage can be disengaged and used to drop stitches after all knit rows on the main bed.

In the actual knitting, if a plain one color pile with plain color backing is the goal, some rules may be broken. The thickest, most stable pile is achieved when the yarn anchoring the loops is as dense as possible. If the goal is to knit every stitch across each row to create loops and in turn drop them, one is, in fact, working an every needle rib. This makes it possible to create tuck loops on either bed creating the backing across the whole row because in fact there are stitches on each side of the tuck loop on the opposing bed anchoring it in place. Normally when 2 or more needles tuck side by side, rather than the stitch formation usually seen in tuck patterning, the loops do not get anchored, drop off, and create a float like those seen in slip stitch patterns.

In my first sample, the fabric is cast on the main bed, the loops are formed on the ribber. The carriages are set for the main bed to tuck traveling to the right, knitting to left. The ribber is set to slip to left, knit to right. The ribber is used to drop the stitches, simply by disengaging it from the main bed and running it across from one side to the other. Dropping stitches occurs (on either bed) after all stitches have been slipped there for one row (no needle selection if patterning). The starting side for my swatches was on the left of the machine. It is helpful to have a ruler or tool to help push loops down between the beds after dropping each row of loops and also to occasionally drop the ribber in order to check whether any loops may be caught on gate pegs.

In this swatch, I had some problems (blue arrow) on the right side related to changes in tension while determining what might be the best. Section 1 has every needle tucking on the main bed. Section (2) begins to try to emulate the Passap pusher selection using an EON 2 row tuck repeat on the main bed, resulting in things going awol and loose, even at the tightest tension possible on the main bed. Any time patterning is used on the main bed, end needle selection is canceled (KCII). The tuck repeat

the settings (here lili buttons are not in use

To create every needle loops for pile on the main bed: CO is on the ribber. With settings on the image below left (no lili buttons in use), the ribber tucks loops on every needle traveling to the right, knit all stitches moving to left. Moving to the right the main bed knits on every needle, slips the whole row moving to the left, giving the opportunity to drop stitches off. With settings on below right, lili buttons are in use, and the ribber now produces an EON needle selection, every row. Left alone the selection is what would be seen using the 1X1 card on the main bed, its repeat The yellow yarn is a 2/8 good quality wool knit at 4.2 on the main bed, 3.2 on the ribber. Switching to a rayon twist of similar thickness created instant havoc. The dark grey was a mill end, tighter twist 2/8 wool. Red arrows show what happens when loops are caught up on gate pegs and not immediately noticed. The green arrow indicates longer loops that can happen when knit stitch on either side on the opposite bed do not knit off properly. The result is a dense wool fabric, so the tendency to roll at the top and bottom of each piece toward the “knit” side of the fabric needs to be considered at the top and bottom edges of finished pieces.

knit with no lili buttons in use

In 2 color knitting, or creating isolated motifs whether on one color or striped ground, anchoring loops by tucking on every needle is no longer possible, making reverting to EON needle selection on ribber a necessity. The results are dramatically different. These swatches were made using lili buttons or hand selection on ribber, loops on the main bed. If things don’t work in one color, they will not in 2, so one color, every needle pile is a place to start evaluating the results

1X1 lili selection left me with “where are the loops?”

In the bottom section here I tried 1X1 hand selection for 2 consecutive rows, the narrow band in center back was back to 1X1 to separate areas using lilis, at the top I used lili buttons and brought an extra needle into work on ribber before traveling to the right every third row (making needles in work on ribber an odd number), returning it to out of work before knitting back to right. Dropping stitches every 4 rows makes tracking the sequence easier. The resulting pile is far more “subtle” than samples worked with every needle tucking on the bed creating the backing

So far I still have had no luck with getting anything that does not look like a variant of drop stitch lace when attempting patterns separated for 2 color knitting, either in embossed one color, or in striped 2 color versions.