Ribber trims 2 presented a series of ideas for edgings I meant to return to. Rather than adding more to that post presently, I am expanding on the topic here.
Scalloped trims are popular in single-bed knits. Preventing any needles from knitting for any number of rows will form a wave. If automatic needle selection is used, they may be formed using both the tuck and slip stitch settings.
This version from the Brother Ribber Techniques, with knitting directions included in Ribber trims and edgings 1 
If there is a problem in double bed versions using loops formed by holding stitches or tuck patterning, try completing a tubular cast-on before starting either sequence.
Using tuck stitch rows created manually way can work as a cast-on method:
Begin with a familiar yarn and tensions to form the usual zig-zag row from right to left
Set the ribber to slip in both directions
Bring every 6th needle on the top bed out to hold, and set the knit carriage to knit. 
At that point the yarn will be knitting solely on the top bed, so tension needs to be adjusted closer to what may be normally used in knitting it in stocking stitch.
Set the ribber to slip in both directions.
Make at least 4 passes on the main bed, 6 will yield more of an effect but may be hard to manage on Japanese machines while in Passap, the strippers facilitate the process.
My first swatches were knit using 2/8 wool, which pushes the limits for smooth knitting in every needle rib on the 4.5mm machine. After knitting 5 rows the top bed stitches began riding up. 
The next row needs to be knit across both beds, sealing the scallop.
Bringing the top bed needles all the way forward can help with that, but to ensure gathered loops will knit off properly, a bit of fiddling may be required, any tool can be used to push down lightly on alternating sides of the loops to keep the stitches to their side from unraveling. 
Release the hold lever on the top bed, set the ribber to knit in both directions, and continue in every needle rib to the desired length
The top images show the result of forgetting to set the ribber to knit, so there are 2 extra all-knit rows on the top bed, the bottom images were knit with the proper setting transition 
Since the top bed only knits for several rows, the ribber stitches can be seen elongated on this side of the knit 
Switching to a 2/20 wool, the same needle spacing, and holding stitches for 6 rows: 
One last fiber switch, a different 2/20 wool shade.
Here the detail is used at the bottom of the stocking stitch swatch rather than a ribbed one.
Watch for loops hung up on gatepegs, seen below in the top swatch.
The scallop shape wanted to turn toward the knit side but did set with some steaming.
Upon completing the holding sequence, transfer all ribber stitches to the top bed.
The tension in the swatch remained the same throughout, but in the bottom views, a loose joining row (perhaps too loose) was knit after transferring all ribber stitches to the top bed, as is often done for smoother transitions in single-bed hems. After the single loosely knit row, the tension is adjusted set to a number appropriate for the specific yarn in single-bed work. 
This information and pngs expand on the knit charts in the 2019 post. If the pngs are copied, check that mode has not been altered to RGB automatically, and index back to BW mode prior to downloading them to machines for knitting.
Though, in general, starting side does not often matter, when testing techniques consistently beginning on the same side and leaving a yarn end will help identify which surface is knit facing or purl facing and whether that is of implications in the specific design.
Designing the repeat tiled for the width of the bed when working on electronic machines allows one the opportunity to add all knit borders in specific widths and to program the result as single motifs without concerns about needle placements on the knit bed or how to influence edges.
Punchcard knitters are faced with fixed 24-stitch locations on the needle bed, all knit borders would require manually bringing the needles involved out to E before each carriage pass.
As always, white pixels/unpunched areas tuck, and black pixels/ punched holes knit.
These repeats can make for interesting all-over fabrics as well as serve for edgings that flair and form bottoms that are wavy to different degrees.
12X18
Knit using a superfine 2/18 merino: the tension on either or both beds may need to be adjusted repeatedly for stitches to form and knit off properly, reflected in stitch size variations here. 
What happens when one is so engrossed with watching stitch formation that the fact that the cone has just run out of yarn is completely missed 
12X24 
Switching yarn to 2/18 silk wool at the same tension produces knit with a very different density and drape. Light bounces off this yarn interestingly, making it harder to photograph in sharper focus. 
Here the same brand and weight yarn, steamed and pressed lightly, resulting in some flattening of the tuck texture’s 3D effect. Different colors or even different dye-lots of the same color in any yarn can behave differently with all else being equal. The relaxed and stretched view 
and an attempt at showing its ruffling effect. 
A very interesting surprise: a few years ago during one of my temporary obsessions I developed racked scale-like 3D patterns, this series reflects some of my first attempts 
One of several illustrated repeats designed for assistance from needle patterning preselections 
I wondered whether the triangular repeat for the trim above modified to a diamond shape might produce similar results. The proof of concept swatch was far easier to knit, with no racking, and no critical tracking of all-knit row locations than the every needle rib version.
12X24, rendered suitable for punchcard use 
The tiled repeat for a sense of resulting pattern movement 
10X24 is missing the single all-knit vertical column seen above 
also tiled for visualizing the pattern’s movement 
12X12 knit using the tuck setting, 
or the slip stitch setting, making for more subtle results 
Category: Short Rows, Holding
Working with diagonal patterning in machine knitting
After a slow down in my blog posts for a variety of reasons I find myself playing catch up with the eternal list of knit fabrics that I wish to explore out of my own curiosity and the attempt to answer questions from knitters who contacted me directly via the blog or have asked them in the online forums in which I am a member.
Stephen West is a prolific designer of colorful hand knits in a variety of techniques and complexity. This honey-striped scarf is an example. 
Slip-stitch patterning is a likely way of knitting a similar effect combined with
the use of the concept familiar to many when making bias cast-on rags.
A fixed number of stitches is cast on and positioned as far to one side of the machine as possible. They are then decreased on a fixed side and increased on the opposite one.
The strip moves across the needle bed, when far enough on the side opposite to the starting one, it is returned to the original needle bed position and the process is repeated until the desired length is reached.
If the moves to and from are performed on solid color rows matching needle selections may not be an issue. If the repeats in other cam settings are to match, then proper needle placement can be assisted by marking the metal bed, the factory-supplied needle tape, or a custom-printed one, and hand-selection for the first design row may be required and planned.
This chart attempts to visualize the proposed movement using colored stripes. Stitches are bound off on one side and cast-on on the other to maintain a fixed width with shaped edges. 
If the goal is to maintain straight bias edges, the design repeat would need to be rendered wider in order to compensate for the shifts on the needle bed in turn modifying increases and decreases at a different rate The black cells represent the adjusted stitch counts needed for each pattern band. 
When an item such as a scarf is worn, both options will appear as diagonals. 
If any picture knitting is included and the direction of it matters when the piece is worn, appreciated particularly in representational fair isle, such accessories are best knit as 2 pieces knit from the bottom up, and grafted together at their center after the fact.
Increases and decreases are calculated based on the knit gauge carefully for garments. The approach to accessories may be more casual.
Stripes heights are varied to accommodate any specific design motifs or cam settings and in turn, are added to the base visualization charts.
Here an attempt at 45-degree striping is made by beginning on a 3-stitch tab. Increasing on the carriage side creates loops, while those opposite the carriage form knots.
Increases and decreases are indicated by arrows.
Increases are made on alternating sides, opposite the carriage, to produce matching edges.
The red cells in the chart represent the carriage side prior to each pass.
Table cells have been rendered rectangular in a 4 to 3 ratio, estimating the difference in gauge between stitches and rows.
Striping for an even number of rows matters if color changes are made on a fixed side ie if a color changer is in use. 
Yarn ends at color changes may be cut or the yarn can be carried up the side depending on preference and the number of rows involved. If carried up for long stretches, the alternate color yarn not in use may be secured by e wrapping it on the end needle periodically. Care needs to be taken that the float up the side is not so short as to have an effect on the swatch length and having an effort to remedy that will leave yarn ends too short to be secured.
The result is not going to produce a proper square, garter stitch is the only knit stitch that results in approximately true square shapes.
If the center of the machine is always used for swatches, keep an eye on the stitch formation. If loops are formed repeatedly on specific needles akin to tuck stitches or problem areas such as those in the center of this swatch are encountered, they can be caused by damaged needles or sticky latches that may result from frequent use. 
Diagonal lines in knits that maintain straight sides are also achieved using short row/holding intarsia techniques. Segments are planned in specific orders 
which can be varied to form added shapes. 
Chevrons would be more easily created by knitting separate strips and seaming as you knit or after the fact. 
The addition of small-repeat fair isle patterns is also possible. Keep in mind when bringing needles back into work to reverse shaping, needle preselection for accurate patterning in Brother machines needs to be maintained by hand selection. 
Some of the published punchcard patterns can serve as a source for diagonal lines that may be tiled and programmed for the full design in addition to being used for their original intent. Numbers 52, 384, and 328 (published with error), are suitable for tuck, slip, and FI with moderately wide floats, while 335 would fail as a tuck stitch.
Tiling as in any patterning will reveal errors, such as here for 328. 
The latter was edited to a 22-stitch wide repeat, becoming suitable for only electronic machine models.
The charts with the red grid on the top row were rendered as tables in Numbers. Since their end use is different, they are the color-reversed version of the cards, whose screengrabs were in turn processed in Gimp to create knittable pngs.
The smallest repeats suitable for electronics are given in the center row of images, the amended 328 cannot be reduced in size. The last row illustrates tiling for all files as BW images that may be opened and amended to suit the size of the pieces planned.
Files in png formats for the group: if pngs generated by me in BW indexed mode are downloaded and opened in editors such as Gimp, they will open in RGB mode. To make them suitable for download programs, convert them to indexed BW mode again and save the result. There should be no loss of data.
384, 12X24
12X48 
144X144
328, 22X44 
176X176
335, 12X24
24X48 
144X144 
52, 8X16
24X48 
192X192 
The black lines formed by units 2 rows in height can be followed or erased to establish short rows shaping a stitch at a time every two rows, in a view of at least 2X2 full repeats to check color placement as seen here. 
The method was used to isolate the previous ungridded color illustrations. Another instance of a published diagonal tuck card, in this case, incorporates a combination of 2 and 4-row tuck patterning. The repeat is 24X48 
The previews may be used to replace color selections with those matching yarn colors used in the project to develop some idea as to how color shifts might affect the final piece.
EON diagonal patterning surrounding blocks containing other shapes may be maintained with slight variations in the size of the shapes used to fill those blocks 
Taking diagonal patterning to the double bed for creating pintuck effects using the slip-stitch setting, this 24X48 repeat explores some of the potential spacings and the resulting ridges. 
The next 2 repeats tested, both 24 stitches X 48 rows: 
The red line is a reminder that the slipped stitches are being held for as many as 8 rows. It is best to use thin yarn that does not break easily and to watch for the knit stitches riding up.
Slipping in one direction produces a very subtle texture, 
while the color-reversed design produces even-sized identifiable folds 
Adding lettering or small shapes and maintaining the diagonal can result in distortion of the motifs.
One option to add such motifs is to form the knit by beginning on 3 stitches as in this shared swatch and planning the stripes to heights and widths that accommodate adding designs or fonts. 
Short-row intarsia will also produce diagonal striping, from simple to complex as seen in this chart, with knitting sequence numbered for each segment. 
A limited number of rows may be knit in stocking stitch in areas following shapes not simply to travel to the opposite side and reverse shaping, but also to add small rolls or hems.
Another use might be to add small vertical motif details or patterning in their usual orientation.
The limit appears to be a maximum of 8 rows of alternative patterns, in order to keep the short-rowed areas from developing into distorted edges, which may be variable depending on the yarn and pattern used.
This first swatch was knit using progressively thinner yarns, wool, wool rayon, and a 2/24 acrylic in the FI segment. FI is a slip stitch that narrows the knit. The dark acrylic color stitch definition here gets lost. The band is seen pulling in the short-row segments on both sides. The shaping in both the top and bottom segments is by 2 stitches at a time. 
The result in different yarns of equal thickness, with the FI band knit at a tension one full number looser than the stocking stitch areas, with the top and bottom solid color segments now shaped 3 stitches at a time. 
There is a trick when making A-line skirts to change the triangles that would poke out normally at the bottom if shaping were to begin immediately used as a design feature in many runway knits recently. If between an inch or 2 are actually knit up straight before shaping starts, the problem is eliminated. Depending on the design this may be a solution or it may read as a patterning error.
There are some conventions and “rules” for short-row techniques, but they do not always apply.
Keeping good notes helps to make successful experiments reproducible.
Two more tries began to experiment with working on the first and last groups in the holding techniques on a different number of stitches than the remaining shapes, noting differences. In the first an all-knit row is made across the short-row eyelets, reducing the planned FI band from 6 rows to 5. A rough spot in maintaining even stitches on one side is noticeable. 
Progress: holding happened at the start of the bottom wedge, the FI was knit at 2 tension numbers looser than the stocking stitch, for 6 rows. 
The goal in the short row shaping for the triangles is to maintain vertical edges that appear as straight as possible to the eye. One need not work on large swatches, small ones can provide clues as to differences resulting from variations in the starting side of the short-row shapings. 
Studying the results can lead to many variations. There are student theses and careers based on exploring limited techniques to the max.
Building a theoretical true square or other predictable shapes is subject to the yarn and tension used. Beginning with a small sample, this shows the order of knitting 2 triangular shapes with the carriage beginning to knit each shape from alternate sides. In this case, 2 stitches are to be brought in and out of holding at a time. 
Because each color knits for 2 rows, small slits happen in the fabric resulting in eyelets. They may be used as design features, or attempts can be made to reduce their size. One way to do so is to have plain knit rows between holding selections to keep the small slits from intersecting and becoming double height. On the left swatch, one yellow row was knit to the left before reverse shaping in the same color. In the swatch on the right, in addition, 2 rows were knit in the blue prior to reverse shaping. 
Reviewing the concept and developing a chart for larger swatches: the cyan color cells represent stitches in the hold position and the white cells stitches that will be knit.
At the top of the first wedge, most needles will be in the hold position, return them all to the B position manually before knitting the next row.
With the carriage on either side, set it for KCI with the cam buttons to slip for a free pass to the opposite side, the first FI pattern row will pre-select. Holding need not be canceled, since no needles are brought far enough out for the technique.
Cancel the slip setting, change the cam setting for FI knitting, place the pairs of colors in their corresponding feeders, and knit 6-8 rows of pattern.
Bring all needles out to hold except for the first desired group, if the holding lever has been canceled, reset it and commence reverse shaping. 
Merrily knitting along and you forget to loosen the tension for the fair isle stripe: 
And what if the FI were to actually follow diagonal colored stripes? The approach is the same. I am right-handed, my default is often to begin on the right. Left-handed knitters can mirror charts as needed to make them easier to follow.
The first triangle is shaped from right toward left, subsequent ones begin on the left, then to wrap or not wrap becomes the question. 
Review of wrapping, which does not disturb the stitch on or the position of the wrapped needle: 
I obstinately use random yarns at hand, sometimes too thin for the task at hand, true here. Any type of intarsia, of which holding is one, will be accompanied by lots of yarn ends that will require weaving in. Some of the stitches were wrapped here, some not, and maybe the eyelets could be considered a pleasing design feature. The 8 rows of FI, knit at 2 full tension numbers higher than that used for stocking stitch, minimizes the size of the eyelets all on their own on both sides of its stripe. Errors in bringing an added group or not into work may not always be immediately visible, frogging this type of knitting can be painful.
I would not use the last 6 stitch modification in any future swatches. 
Elizabeth Zimmermann published many patterns for hand knitting utilizing garter stitch and striped diagonal wedges for garment shaping.
Multiple colors per row patterning may be maintained by beginning planning with diagonal straight lines, seen here in a 32X32 repeat. 
Opened in img2track 
The design will be elongated, and 256 passes are required to finish a single repeat 
Each color may be edited to suit. Quick visualizations of a few of the possible repeat arrangements using the file as is 
Avoiding lots of extra knit rows by eliminating one of the colors. 
The larger designs may need to be knit in sections depending on the available memory in the knitting machine model being used.
Machine-knit stitches do not form as close to square ones found in garter stitches. Rendering the full-scale garment on a knit leader would make knitting to gauge while avoiding tons of math calculations possible.
DIY is a bit like assembling paper cut-outs that are required to fit together, first attempts at planning do not always succeed. One may begin at different parts of the piece and seam two halves together if necessary in order to keep matching stitch formations in both directions. Stripes may be added to form secondary intersecting shapes. 
On the left is a simple one-piece vest concept with no miters in the back panel, which may be knit from the bottom up or as two pieces with a center seam.
The bolero style is repeated in 2 separate pieces with mirror shaping in the second and would be joined at the center back.
The knit gauge is easier to maintain in short or small wearables. 
Many garments may be made following the concepts for creating “pies”.
Decades ago batwing sweaters based on a sideways circular knit concept were standard presentations at knit seminars. Short-row diagonal graduated wedges were followed by varying amounts of all knit rows.
This idea for a short sleeve garment is from a Japanese magazine. In creating such illustrations because of the scale of the publication, the aspect ratio is distorted. In the final garment, the bottom circumference can in fact be far narrower than it might appear to the eye in the sketch and may be gathered or left released depending on design goals. The neckline diameter at the end of the project, after joining one shoulder, is gathered with evenly distributed decreases to the desired measurement prior to knitting the collar. 
A way to form a long sleeve item, using binding off and casting on stitches in addition to shaped wedges followed by all knit rows. 
Knitting a garment on the bias at 45 degrees will produce a knit fabric that drapes differently.
Horizontal patterning can turn into diagonals and chevrons, and fancy decreases may be used in the center shaping of the garment.
Pre-computer programs and knitleaders, an easy way to sort out shaping for garments, was to begin by drawing on large sheets of graph paper. An all-square grid is fine.
Calculate a 10 cm/4 inch knitting gauge to the second decimal point before any rounding off. For example, if the gauge works out to be 5.728, and the measurement needed is 19.5 inches, the multiplied value result is 111.696, which can be rounded off to a 112-row line on the graph paper.
Working in cm can actually lead to easier calculations and is required when using a charting device.
Each cell in the graph paper grid equals one stitch and one row.
For knitting on the straight grain, based on gauge, draw series dots placing them on the beginning and the ending pots for each measurement, and connect them with straight lines.
Curves such as those necessary for necklines may be composed of short straight-line segments.
When knitting from the bottom up, continue with a colored pencil, filling in squares as they jog in or out, maintaining the new outline as close to the first as possible.
For the bias knit, whether on graph paper, the computer, or a charting device, begin by drawing a 45-degree line.
Rotate and trace the unmodified original straight-line image in place, follow the lines, and mark in and out jogs once more in color for contrast.
This is a very small chart so outline jogs in far larger pieces cannot be reflected. They would produce edges not as straight as in standard knitting, which will need to be considered when joining finished pieces.
As the piece is rotated, a wider grid base is required. Consider that the motif images as they are worked on the purl side will be mirrored horizontally on the knit side, a particular consideration if any text is introduced. 
Comparing theoretical purl as opposed to knit views on the left, two purl views on the right. 
Fonts in various stitch and row counts are useful when planning knit text.
The point at which the text or pattern is introduced needs to have enough stitches in work on the machine to contain the intended words, ie for the above, a minimum ground, independent of shaping, would need to contain more than 9 rows if solid color stripes are to be added above and below it, and 26 stitches in width in this case.
A proof of concept swatch with arbitrary shaping on every other row illustrates the need for shaping based on a calculated gauge if a square is indeed the aim.
I knit on a 930 where mirroring is automated for programmed designs, so the text was programmed as drawn.
Sometimes less information is more. It became evident very soon that the placement of the text on the left was wrong if the aim was to have it centered in the final shape, and that more rows were needed at the top of the design.
On the right, the purl side as it faces the knitter is shown, with black pixels used to represent increases and decreases. The center red line separates the needle placements on either side of 0, and the text is shown in the default mirroring. 
The respective swatches after their rotation preview one of the potential results 
A true diagonal repeat may be planned for motif patterning knit from the bottom up. The drawback is that for executing a fair isle using more than 2 colors or with multiple color changes, partially illustrated on the far right, the 32X32 repeat would need to be rotated and knit as above. 
From the Brother machine knitting techniques book, a suggestion for dividing a sweater front into diagonal halves created by using the holding technique 
The idea of chaining the eyelet areas to reduce the size of the slits is an interesting one that up to now I have not tested.
Building more textures in needles out of work spaces
A collection of previous posts exploring some variations on the topic:
Ladders with lace, (leaf) “making things work” 1 3/15
Ladders with lace, (leaf) “making things work” 2 3/15
Ladder lace 8/13 Instructions reviewed in 2022, one of the accompanying swatches: 
Ladders and Lace 8/13. MK ladders, and a bit of crochet 12/16
Tuck “lace” trims (and fabrics 1) 6/17
Tuck “lace” trims (and fabrics 2) 6/17
Tuck “lace” trims or fabrics 312/17
Automating tuck stitches combined with “lace” 2 6/17
Combining tuck stitches with “lace” 1 3/15
Many fabrics other than the traditional ones familiar to hand knitters and machine knitters that create eyelet patterns by transferring and combining stitches with yarnovers often include the term lace in their name, one such is ladder lace.
No matter what machine is in use, charts may be developed and followed that include row-by-row directions for needles out of work and any movement of stitches to alter the look of the floats created in the resulting spaces.
Knitology offers endless video inspiration for lovers of hand techniques including ones relying on patterns including ladders.
There are several aids in maintaining the desired repeat in NOOW (needles out of work). When establishing the initial needle configuration, punchcard knitters can punch a single row to match the required needle selection if the repeat works within the 24-stitch constraint, and use locked preselection to make transfers in base knitting.
Electronic knitters may use the same concept, I prefer if doing so to plan for programming the width of the stitches in use on the needle bed, adding pixels for knit borders on either side. Punchcard users may need to disregard some needle selections to form them.
Another option for hand technique tracking in addition to marking the needle tape or even the needle bed is to print custom needle tapes created in a spreadsheet. 
They can be marked as needed to guide hand technique selections, with colors added if preferred, and are easily swapped out if corrected or additional tapes are needed for different segments of the same technique.
A variety of printable tapes for multiple gauge knitting machines is offered by Claudia Scarpa in her blog post.
A series of printable sheets for tracking row counts at even intervals may be found at the bottom of this post.
In laddered fabrics, the edge stitch on either side of the float may widen and grow in size over time.
The 8/13 swatch uses lace transfers that produce doubled-up stitches to help with stitch stability.
Adding hand techniques serves a similar purpose in wide or varying ladder space designs created on the knit bed.
The length of the item produced combined with the added weight in the finished piece as it is hung or worn may quicken any lengthening and narrowing of the piece, requiring blocking again or at the very least pressing and steaming.
The fiber used makes a difference in the retention of the blocked shapes, in this case, man-made fibers may serve better than wool with its spring back.
If a needle is emptied, if left forward or brought back to the B position, it will pick up a loop on the next pass, and when followed by a second knit row, an eyelet is formed in the loop location.
If a loop on a previously empty needle is dropped after it is formed, the resulting ladder grows in width.
Latching ladders while on the machine creates knit stitches on the purl ground.
Stitches may be removed and returned to the needle bed, cable crossings may be involved.
Picking up the heels of specific stitches on designated rows below and placing them on the knit stitches to the right or left of the ladder space is a way of adding non-vertical shaping.
If experimenting with the number of rows knit before adding hand techniques, keep good notes in order to be able to reproduce segments in an all-over pattern. Beginning patterning with simple transfers in stocking stitch ground, here the needle configuration shifts but remains constant throughout. My proof of concept swatch is knit in 2/8 wool. 
Visualizing the necessary actions: 
The proof of concept:
Adding 2X2 cable crossings: this repeat is 12 stitches wide.
A chain cast-on allows for dropping the 2 chains in the location of the starting ladders, with some weight applied to the starting rows one may proceed to the first cable crossing.
On row 6, and then again at 10-row intervals from there, the designated pairs of stitches are crossed consistently in the same direction. The needles aside from the crossing are pushed back to the A position.
Knit 4 rows.
On row 10, and then again at 10-row intervals from there move the left stitch of the pair of the center needles to its left, and the right stitch to its right, restoring the empty column at the center of the chart. Return the remaining empty needles to the B or E position
Knit 6 rows.
Repeat the process, ending with 6 knit rows. 
This variation uses transfer lace stitch crossings to produce larger eyelets than seen in the above swatch. Row counts for specific hand techniques can be tracked in a written or printed document if preferred. 
The knitting in progress: the initial needle spacing: 
Emptied needles are in the process of being returned to work after the transfers to restore the initial setup, the first knit row will create loops on those needles, and the stitch is completed with the next knit pass from the opposite side 
The growing pattern becoming apparent 
After updating the 8/13 post, these experiments continue exploring the above concept. The yarn now used is a wool rayon, which appeared not to split, and retains blocking if it is used.
The samples use an 8-row repeat with different transfer methods. The first uses two-stitch transfers. The 24-stitch version is suitable for a punchcard, 48 rows in height. 
the smallest electronic repeat 
tiled to a 28-stitch repeat for the electronic, in the width of my planned swatch, only for the required 8-row height 
The now familiar double loops 
Beginning ladders 
A partial row view of stitches moved 2 at a time toward the higher end stitch count, treating the loops as one would stitches 
e-wrapping one of the two loops consistently in the same direction at the top of the piece will form equal eyelets on the next pass 
Working with multiple loops held in hooks of specific needles: the following swatches were actually the beginning for what became the above thread
I tend to web surf in the early morning hours. Sometimes that includes coming across YouTube videos where contributors show fantastic dexterity at handling tools while developing complex fabrics using only hand techniques.
This is one example:
https://www.youtube.com/watch?v=IoJbbInlxck.
As usual, I attempted to automate as much as I could and failed to be able to execute a truly similar fabric.
In my first modified version, I introduced knit rows as seen below to make tracking of hand techniques easier and to facilitate knitting stitches/ loops groups.
The result is of course quite different from the swatch in the video.
To knit: begin with a permanent cast on over the planned number of needles. In this case, 2 needles are included to form vertical all-knit borders on both sides.
I knit most of my proof of concept swatches on an electronic machine and download a plain design repeat with a stitch count equal to the entire width of the number of needles in use on the bed.
On a punchcard model, the all-knit border needles would have to be brought out to E on every row for them to knit with each carriage pass.
Using provided repeat pngs as shared may require mirroring the repeat horizontally depending on the download program and the knitting machine model used, as well as changing the image mode back to indexed BW since downloaded designs from the posts may be converted to RGB mode as they are copied.
If working on a finished piece, knit several rows of waste yarn, followed by a row of ravel cord and a permanent cast-on, otherwise simply knit enough to hang a comb and some weights, required for most tuck knitting.
I happen to have a 2/20 wool as my go-to for most experiments that result in 4 or more loops building up in the needle hooks.
The beginning concept: hand transfers and automated tuck patterning
The programmed repeat is planned for two rows of knit stitches between sets of loops 
After the cast-on and base knit rows, program the machine and preselect the first pattern row. The starting side does not matter unless the use of the color changer is planned, in which case, the first preselection row would need to move toward it.
Because some needles are taken out of work, end needle selection is canceled.
After the first preselection row, the machine is set to tuck in both directions.
My test repeat was programmed as a single motif on the 930, with the image mirrored horizontally.
Each pattern segment is 6 rows high, the full repeat is 12 rows tall. Color changes could be introduced every 6 rows.
Following the chart for the first segment, transfer the A marked nonselected location needles to the adjacent preselected ones on their left, push the emptied needles out to A position, OOW after each transfer, and its adjacent needle with the combined stitches/loops out to E position.
After 4 tuck stitch rows, push any needles previously placed out of work to A position out to E so they will knit appropriately on the next pass as part of an all-knit row.
As the carriage moves to the opposite side, the second all-knit row will preselect. As the carriage again moves once again to the previous side, it will knit the whole row, while preselecting for the first hand-technique row once more.
Prior to the next carriage pass, transfer each of the marked B location nonselected needles to the adjacent preselected ones on its right, push the emptied needles out to A, OOW after each transfer, and its adjacent needle with the combined stitches out to E.
Form loops for 4 more rows, and push any needles previously placed back to A position out to E so they will knit appropriately on the next pass, forming an all-knit row. As the carriage moves to the opposite side, the next all-knit row will preselect, followed by preselection for loops and transfers again as the carriage moves again to the previous side knitting every stitch.
Repeat the process for the desired length.
End the piece with at least 2 all-knit rows after a full or half design repeat. Cast off loosely to compensate for the widening due to the type of stitch formation. 
This fabric is executed as a hand technique/ short rows with no automated tuck patterning assistance. I have found when using the tuck automated setting in Brother models there is often a limit for accumulating no more than 4 strands in the hooks of the needles, while in using holding, manually pushing needles out to hold and back to work can be far more forgiving.
In this instance, loops are formed for 6 consecutive rows.
There are no all-knit rows. The color changes were made every 6 rows prior to knitting across the newly adjusted needle positions.
“Crochet” meets machine knitting techniques: working with short rows 2
Some previous posts exploring hand techniques that might be considered to fall in this family of stitches:
“Crochet” meets machine knitting techniques: tuck lace trims and fabrics 1
“Crochet” meets machine knitting techniques: tuck lace trims or fabrics 2
“Crochet” meets machine knitting techniques: working with “chains”
Search for “wisteria”
“Crochet” meets machine knitting techniques: working with short rows 1, June 2017 began to explore some of the fabrics presented in this category in a Portuguese language publication 
I do not speak or read the language, so my swatches are best guess efforts at producing similar knits.
2022: In the latest Mac OS 12, an interesting feature is available now, but not at the time of the original writing of this post.
A: choose the design, in this case, #2, screen grab the image, import it into photos
B: open the image, position the pointer over the text, left click and drag to select the desired text
C: control-click on the selection, choose translate text, and then choose a language. If a specific language selection is not made, the mac translates automatically into the preferred language for your region
D: click and choose copy translation to copy it to clipboard for saving into a document ie Text Edit so that it may be saved for later use or printed if desired
The result offers a starting point but is in need of added editing
1% Career: You weave from right to left.
A)Side of the Car, leave 4A at work and rest at rest. Tecer 6C.
B) On the opposite side car, put 2A to work (the 2A next to those that are
So at work). Weave 1C.
C) On the opposite side of the car, put 2A on rest. Weave 5C. Car is saying-
Ta.
D) Continuously repeat items B and C until the carrera is finished. Do you want to di-
Zer: until the last 2 points are left at work and, with these 2A weaving
6C, instead of 5 (car will be left).
28 Career: weaves from left to right,
C) Continuously repeat items A to D, or soybeans, after the career or
The car will be on the right, fI
Continuously repeat the 19th and 28th career,
Guidelines at the beginning of the pub for #1, translated more slowly with added editing:
CLARIFICATION FOR THE EXECUTION OF THESE POINTS
A: in crochet stitches, the scheme is repeated across the entire width of the machine
B: in the “crochet ends”, braids and flowers, thread only the needles. Islands as indicated by the symbols in the scheme. Alternative: in crochet stitches of gallons and flowers thread the thread only on the needles as indicated in the diagram symbols
C: when starting to weave the car must always be on the right side unless the symbols in the scheme indicate otherwise, for example, crochet stitch #9
D: in crochet stitches count a career whenever the tip of the wire stays at the other end of the machine
E: the tension must be adjusted according to the stitch and thickness of the thread to be used, in general voltages 1-3 are used.”
Some familiarity with larger-scale patterns in this family can help visually with duplicating them independent of the written original language directions.
These fabrics share common hand technique movements across rows, singly, or in pairs. Similar structures are not presented in numerical order in the pub but will be here.
The yarn choice makes a critical difference both in managing the knitting and in how blocking, or not, affects the finished fabric. The knit carriage travels many times across each stitch as the technique is worked, with possibly pilling, so softly spun yarns should be avoided.
Clean the machine of any leftover fibers, while avoiding over-oiling which may leave dark streaks in the finished product.
Cast-ons and bind-offs need to be very loose to compensate for the fact that the completed knit will have considerable sideways stretch. 
Chain cast on 2 in work, 2 out of work, end with 2 needles in work
bring all stitches out to hold except for the first 2 stitches on the right
COR knit 8 rows
push adjacent pair of needles away from the carriage into work position, knit a row to left
COL bring the previously knit pair of needles out to hold
knit 7 rows, end COR
bring adjacent pair of needles opposite carriage into work, knit a row to left, end COL
COL when the last pair of needles is returned to work knit 8 rows
reverse shaping: bring the second pair of needles on left into work, knit a row, push the first pair of needles out to hold, and continue the process for the desired length
The yarn used is a 6X18 rayon, a “no memory” yarn that changes considerably with pressing. The arrows mark an operator error in tracking the sequence, the top and bottom edges are obviously narrower than the resulting mesh. 
Number 11 is a close relative but worked on every other needle 
The rayon used in the previous sample, and a 2/8 wool, were less successful than a 2/11 acrylic in knitting the swatch. The stitches need to be as tight as possible while also needing to be able to knit off properly
make a very loose chain cast-on on an even number of needles, then drop every other chain, taking every other needle completely out of work, and ending with a needle in work
bring all stitches out to hold except for the first stitch on the right
I believe the directions are given for knitting only 2 passes, I preferred the look with the count doubled to 4, so, COR knit 4 rows
push adjacent needle away from the carriage into work position, knit a row to left
COL bring the previously knit pair of needles out to hold
knit 3 rows, end COR
bring adjacent pair of needles opposite carriage into work, knit a row to left, end COL, knit 3 rows
COL when the last pair of needles is returned to work knit 4 rows, continue with
reverse shaping: bring the second pair of needles on left into work, knit a row, push the first needles out to hold, and continue the process for the desired length
In the top part of the swatch I knit 8 rows at starting and ending sequences, feeling the sides were tight, 6 may be the best answer
bing off very loosely after the last stitch is worked for 4 rows
The same directions apply in this instance, the first sample worked with no needles out of work 
I added 3 chains between cast-on and bound-off stitches, making for a better top and bottom edge. The difference in width is highlighted on the bottom right, where I missed doing so between two stitches. At the end of each row, prior to reversing direction, I knit 6 rows rather than 4, ending with 4 rows only on the last needle prior to binding off. The swatch was not steamed or pressed.
This knit begins on every needle 
I cast on chaining over 2 needles, followed by two extra chains where the ladder is expected, cast-off also with two extra chains in ladder spaces. The knit sequence is similar to the previous swatch, but needles are now moved in pairs
COR work first 2 stitches for 2 rows
push two needles on left into work, knit one row to left
COL *push the first 2 stitches to hold, knit one row to the right
COR bring the next two stitches on the left into work, knit one row to left
COL push previous 2 stitches to hold, knit one row to the right**
bring 2 stitches on left into work knit one row to left,
repeat across the row
when the last pair of stitches are left, COL knit two rows on them, and reverse shaping. Ending each sequence with two knit rows will produce fairly straight sides, knitting four rows on end stitches, except prior to binding off, may echo the movement of the in-between spaces and make the ladders at the sides more visible 
Eliminating those ladders or floats, here eyelets are created where stitches are held for two rows. 
Care needs to be taken if stitches are dropped or other patterning errors are made in order to retain the correct pattern. Cast on and bind in this instance were executed with single chains added in between those on needles in work.
Version 1:
COR with the first 2 needles in work, knit 2 rows
COR bring one needle on left into work, knit 1 row
COL bring one needle out to hold opposite carriage, knit one row
COR bring one needle on left into work, knit 1 row
COL bring one needle out to hold opposite carriage, knit one row
repeat until there are 2 needles left in work, knit 2 rows
reverse shaping
end with 2 rows knit on the last pair of stitches before binding off 
Version 2 adds 2 rows knit on every needle between holding pattern reversals, the fabric grows in length far more quickly
Cast on from left to right on every needle
COR knit 2 rows, bring all needles except for the first 2 on the carriage side out to hold
COR with the first 2 needles in work, knit 2 rows
COR bring one needle on left into work, knit 1 row
COL bring one needle out to hold opposite carriage, knit one row
COR bring one needle on left into work, knit 1 row
COL bring one needle out to hold opposite carriage, knit one row
repeat until there are 2 needles left in work, knit 2 rows, end COL
COL push remaining needles into work, knit 2 rows on all needles
COL bring all needles except the first 2 on the left into work, knit 2 rows
reverse shaping, ending with 2 knit rows on the far right
COR push all needles into work, knit 2 rows on all needles
COR bring all needles out to hold except for the first 2 on the right
repeat all
end with 2 rows knit on the last pair of stitches before binding off
chain cast on 2 in work, 2 out of work, end with 2 needles in work
worked in 2 pairs, 4 needles at a time
COR knit 6 rows on the first two pairs of stitches on the right
push pair of needles on the left into work knit one row 
push first 2 of needles out to hold 
knit 5 rows COR
push next pair on left into work, knit one row 
push the third group on its right into hold position, knit 5 rows across remaining 4stitches bring a new group on left into work, knit one row
bring the pair to the far right out of work
repeat process across row
when the last pair of needles on the left is pushed back into work, knit one row
COL knit 10 rows, bring the third pair of needles into work, knit one row
Push the first pair of needles out to work, knit 5 rows, continue with reverse shaping.
If the pattern is to end on the right (or left), knit 6 rows on the last 4 stitches and stop, otherwise when the opposite side position is reached, knit 10 more rows before reversing and continuing in the pattern.
Tracking rows worked: 7 ladders are created in each space, 12 on each end. Depending on yarn and stitch size watch to see that even tension is maintained particularly on the first 2 stitches worked on each side.
The swatch is shown before and after some light pressing, the arrow marks some looser stitches on the side edge. 
Latch tool cast on from left to right, chaining 4 in no needle, future ladder spaces
COR with the first 2 needles in work, knit 2 rows
COR bring the first needle on left into work, knit 1 row to the left on three stitches
COL bring the first needle of the previous pair on the right out to hold, knit one row to the right on two stitches
COR bring the closest needle on the left into work, knit 1 row on three stitches
COL bring the second needle of the previous pair on the right out to hold, knit one row on two stitches
repeat working on 3, then 2 stitch sequences until there are only 2 needles left in work, end COL
COL knit two rows, begin reverse shaping by putting one needle into work on the right, knit one row on three needles
COR bring the first stitch on the far left out to work, knit one row on 2 needles
continue reverse shaping, ending with 2 needles in work on the far right
COR knit two rows on 2 stitches, repeat and continue the process until 2 stitches are left in work on the left, and reverse again
end fabric with 2 rows knit on last 2 stitches in work
latch tool bind off with chaining X 4 in ladder spaces
keep an eye on sequences, the floats are created in series of three, with experience knitting similar patterns, errors become easy to spot during is knitting 
Shell shapes: #4 and # 20 directions are given in the 2017 blog post 
Some of the trims in this pub may be far more easily and quickly executed using tuck stitches.
Interlock explorations 2; adding needles out of work
Most variations using tuck settings will loosen the fabric structure, slip stitches will narrow it. The behavior is consistent in working on both single and double beds. Color changes may be added.
There are only very short descriptions and schematics for the more complex tuck interlocks online, making attempting them a puzzle, where efforts at piecing it may not necessarily lead to correct answers, but still produce interesting knits. The ISO (the International Organization for Standardization) is a worldwide federation of national standards bodies that draft international standards for subjects including knitting. My charts for the tuck interlocks were personal interpretations based on a few of their illustrations, among which is this for cross tuck 1, which appears to be the most straightforward, with every needle knitting on one bed, while the other works the basic 2X2 stitch alternating repeat on either one of the 2 beds 
translated for knitting, patterning may be used on either bed, with the opposite bed set to knit every stitch. If patterning is on the ribber, have the first and last needles in work on the main bed. 
The top bed is set to tuck in both directions, the fabric is shown lightly stretched 
and could conceivably be used to create a ruffled edge when followed by narrower stitch types ie. every needle rib or Milano variants 
Changing settings: with the knit carriage set to slip in one direction, knit in the other, the ribber knitting every row
Needles may be taken out of work to create pleats in every needle ribs, alternating their placement between the 2 beds. Knit stitches stabilize tuck ones. Here every other needle is taken out of work on only one bed. The tuck loops are more visible in any open spaces between the vertical rows of ribbed stitches. The ribber will knit every row on the same needles aligning directly above each other, thus ruling out full pitch.
The needles are set up so that the first and last are in use on the ribber, ensuring that a knit stitch will be on the side of any tuck stitch selected on the top bed, 
on the top bed the every other needle tuck selection reverses as the direction of the knit carriage does, needles brought forward knit, the ones skipped hold tuck loops in their needle hooks, 
the resulting fabric 
Other explorations with needle out of work:
Milano waffle: single color, 4 passes with every needle knitting, 4 passes tubular, more passes of each may be added to distribute color changes. The number of needles in work on the main bed remains fixed. 
Choosing spacing between needles in work on the main bed 
A working repeat with 4 circular rows, 6 full rows knit 
My first swatch in the technique was in response to a Ravelry member share describing the stitch pattern used in a finished garment 
The main bed is programmed, set to slip both ways after the first preselection row. After 2 rows knit on both beds, the ribber is then switched to slip in one direction, knit in the other in response to needle selection on the top bed. Main bed needles out ribber slips, main bed needles in B, ribber knits. After 4 circular passes, the ribber is again set to knit for 2 rows. The appearance during knit rows 
followed by float formation when only the top bed knits 
The resulting grid may be used as a guide for hand techniques off the machine in isolated areas or all over 
Repeating the experiment with 2 stitches on each edge, this time disengaging the ribber and knitting 2 rows only on the top bed only rather than knitting circular rows and changing ribber settings. The floats are brought closer together, the fabric is far quicker to knit. 
Needle arrangements may be varied to accommodate thicker yarns, or alter the texture by varying both the number of knit rows and circular ones 
Windowpane bourrelet: beds are supposedly at full pitch, I had better success at half-pitch. The same bed is used for single bed rows as for basic bourrelet, a color change to try: every 6 rows 
Because the top bed needles are in pairs, the EON selection remains evident, each of the first 2 passes completes one row of knitting.
When only the top bed knits, floats are formed between the needles in work 
Knitting went more smoothly when 3 needles on the top bed were used on each end 
The ribber carriage was disengaged to allow the pattern to knit only on the top bed. When there are needles out of work, floats will be created between the needles in work. The length of the swatch was determined when I noticed the yarn was not properly placed in the feeder, and I had already begun to drop stitches on the left side. It is one of the things to watch for, and which may merit a small preventive hack to keep the yarn from accidentally slipping out of its proper place. 
Half Milano with tucked long stitch: the main bed needles will tuck one row, then slip one row. The ribber needles will first knit a row, then slip a row while the second bed knits both rows. Then the ribber needles knit one row then slip a row while the second bed knits two rows. 
I have had no success with trying to execute my interpretation of the directions without getting floats on the top bed, and the photo in Machine Knitter’s Guide to Creating Fabrics is not clear enough to distinguish if there indeed are floats on the surface of the fabric. The experimental repeat 
Having the ribber knit every row produces many more rows on the purl side than on the knit, so the vertical all knit columns do ripple a bit. In this stitch version, with pattern knitting beginning from the left, the main bed is set to alternately tuck and slip using the half-pitch setting 
row one preselected for knitting 
the first row has been knit, the second knit row preselected 
the second row knit, no preselection for tuck or slip
the tuck row is formed with the knit pass to the right, no preselection 
the row of stitches is skipped on the way to the left, preselecting for the next first knit row, tuck loops visible on top of the hooks of the selected needles 
the process is repeated. The resulting fabric: 
Tucked pique: knit the same as for pique, but with cams set for tuck on the top bed, set beds at half-pitch.
In DIY the potential for exploration is endless. As always, if needles are out of work on the main bed, end needle selection is canceled. Here slip setting in both directions is used, along with needles out of work on both beds, the 1X1 needle repeat is programmed.
Set up is with ribber needles in work between needles preselected for knit stitches on the top bed. 
Beginning patterning on the left after the initial preselection from the right, the ribber setting:
the result has floats on the purl side, a slightly pleated look on the knit side. 
Playing with color and texture: use 2 or 3, change colors every 2 rows, every 4, or at the end of each full pattern repeat.
Change one or both cams from slip to tuck.
Try adding racking when using tucking on the main bed
Vary working needle arrangements with interlock settings.
The ISO illustrations gave clues as to whether the same number of needles are at work in any pass on each bed. The intent with the second pass in each pair of passes is to create a slipped, tucked, or knit stitch in between the alternate needles on the opposite bed.
Cross miss interlock: in this instance, tuck loops alone with no in-between knit stitches are created on the top bed, in the same spots where stitches were slipped on the previous pass. Starting side does not matter, but being consistent makes experimentation easier to understand and follow. The lili buttons, set to slip in both directions remain unchanged on the ribber carriage throughout. The knit carriage is set to slip in both directions as well as to hold. My swatch began with a knit stitch selection on the top bed, marked with a red line the length of the repeat below, and needles were arranged accordingly. The tuck loops are created using a hand technique and holding combined with patterning
This shows the elongated stitches between ones that will be knit on the next pass. On rows 3 and 6 of the pattern, there will be no needle pre-selection, but the elongated slipped stitches will still be identifiable. 
After both no preselection row bring alternate needles out to hold using any EON needle tool. In my case, COL, I began with needle 1 on the left on row 3, alternating beginning with needle 2 on the left on row 6. The number of rows in between hand techs is an odd one, so sides for the hand tech will alter as well. This shows the tuck loops formed EON as the carriages travel to the right.
Prior to resuming pattern knitting, needles with loops on them need to be returned to the B position, maintaining the EON needle preselection for the next pass
Repeat the process when design row 6 is reached, beginning with needle 2 on the left. The texture appears on the purl side of the piece, shown on the left
This repeat uses 6 passes as well. The tuck loops on the top bed occur above slipped stitches in the previous pass, which may be replicated, but the real problem is that every third row on the ribber is also having to tuck on specific needles with no knit stitches between them. The tuck loops happen directly above knit stitches formed in the previous row if the tucking lever is changed manually from R to P on those rows. That is a lot to juggle, a no. 
Here the eon tuck would fall on slipped stitches in the previous pass, so that is doable. It is possible to fool the lili selection into believing there are extra needles in work on each side of the ribber, which can “make” the first stitch on either side knit rather than slip or tuck. The method is used in creating a striper backing in Brother DBJ and would require fiddling with needles on the ribber in an irregular selection repeat as well as the hand technique on the top bed. Another definite no. 
This pattern repeat is a short one, the changes are more regular on the ribber. The hand tech tuck stitches could be formed for 2 rows with all stitches getting worked back to B position in between those preselected for the next pattern row. The lili buttons need to get fooled after alternating pairs of rows, the start of several nos for me.
From automated lace edging pattern to doilies and ruffles
This information follows that provided in lace edgings on Brother machines- automated with slip stitch 2 and lace meets hold and goes round
More on holding techniques: back to that pie,
Revisiting miters, spirals, going square, round, and more, and
Holding/short rows: hand tech to chart to automating with slip stitch 1
These repeats are designed for use on electronic model knitting machines. Because of the mechanical difference in the way that 2 carriage selection works on punchcard machines, though some are presented as 24 stitch repeats, the designs would need to be modified prior to use on punchcard models. For a discussion of the required differences please see the post Doilies: Lace meets hold and goes round
Plotting out changes to a randomly selected previous repeat
The process can also be worked out directly in GIMP, ie in the orientation in which the repeats will be used for download to my 930. The original repeat was mirrored (A), eyelets created by transfers to the right were considered (B), 4 stitches in width were added to the 24 stitch width, transfers to the right began to be eliminated (C). The final repeat D, with all transfers to the left, was used to knit the sample. 
The test swatch in progress 
I used a short cast on comb for weight across the piece, moving it up cautiously on a regular basis 
It is helpful when starting in waste yarn or simply using plain knit rows at the bottom of a test swatch to choose a clearly contrasting color. Here I did not do so, the drawn line is to help define the start of the shape formation created by the holding sequences and eyelets. The eyelet on the outermost edge of the circumference “disappears” as that edge gets stretched to the max. Two eyelets in the diamond shapes are not formed properly
Switching to a rayon yarn for knitting the “doily”, made for easy and quick knitting. The comb used for weight in the wool swatch was not necessary. A single claw from a small weight on the edge stitch a few rows below the knitting and moved up frequently helped insure that the last stitch on that side knit off properly and maintained its length 
knitting without a knit gauge can be dangerous, here a guess is made as to how many more units might be required to make the final shape go round
I committed to 8 wedges, another attempt at a check for size prior to seaming the shape.
Before joining the stitches permanently, a quick look to see if there was enough knitting to form that pie 
With the knit side as the expected public side of the piece, the work was scrapped off the machine after some wast knitting, one end was rehung with knit side facing and the waste yarn was removed
and the process was repeated with the open stitches at the other end of the piece
The least satisfactory and most visible join is the latch tool bind off. Grafting by hand off the machine is the least so. For the sake of ease in identifying open stitches easily, both methods would benefit from a couple more all knit rows between each segment as seen in the repeat in the original doily post in spite of the fact that the shape around the very center opening will change.
I choose to remove waste yarn before binding off, some prefer to wait. One row was knit across all the stitches. Things were in great shape until the yarn snagged on the far right in my closing knit row, so there is a bit of added bulk there from the rescue attempts to correct the problem.
The center opening was gathered. The stitches on its side knit together so infrequently the opening beside them is larger than in any other held areas. 
The ladders in those spaces were latched up to get rid of those holes. The doily after a very quick and casual press:
Not a doily person but fond of ruffles? they will be shaped with added all knit rows. The first test for adjustments in a spreadsheet 
The resulting pattern and reject:
A: if the design is programmed in the wrong direction, the eyelets for the outside circumference should appear on the right of the purl side, not the left
B: the last pass by the knit carriage preselects no needles moving to the right, LC makes its first pass consistently on a row with no needles selected
C: remember to set the knit carriage to slip in both directions, or knitting will continue across the whole row and “holding” is lost
D: keep an eye on the resulting shape and consider if worth pursuing
Planning for diamond rather than bow shapes, the repeat was changed from a 28X68 one to a wider, 32 X 64 
The extra knit stitches on the “held” side make for easier joining of the ruffle to the body of the piece. The “diamond shape” is restored. Its shape has some distortion as the spiral is created. The test swatch was lightly pressed after its removal from the machine, just enough to help it stay flat. In yarns with “no memory” (possibilities other than wool) stitches will be set permanently with pressing and steaming. 
If the basic principle is understood, other stitch types may be combined with slip stitch rows including tuck stitch, slip stitch, and 2 color patterning, seen here in some seam as you knit ruffles I added to some of my shawls and garments 
Machine knit leaves using slip stitch with holding
In 2012 I had a sort of leaf obsession, which led to my exploring a range of shapes created in both hand and machine knitting, including a series of shawls that were machine knit, using the lace carriage, intended for both gifts and sale.
Online resources were not as abundant back then, searches are more productive now via browser searches, pinboards, and Ravelry.
I have always been interested in holding techniques and automating them on both punchcard and electronic machines. In recently revisiting shell shapes I was reminded of leaves once more and thought I would return to working with them.
An early abandoned effort in trying to construct leaf shapes automating their shaping using holding in combination with slip stitch followed other earlier posts is shown below. In all honesty, I have been blogging long enough so I often do not recall previous writings on a recent spark of interest and execute a personal version of reinventing the wheel, starting from scratch, or executed poor note-keeping which in turn requires it.
A variety of lozenge and “leaf”-shaped forms may be found in previous posts on holding intarsia, some are strictly hand-selected, others are automated. There is a series of 5:
2016/06/21/a-bit-of-holding-1/
2016/06/29/a-bit-of-holding-2-moving-shapes-around/
2016/07/12/a-bit-of-holding-3-shape-variations-and-more/
2016/07/24/a-bit-of-holding-4-intarsia-and-more/
/2016/08/13/a-bit-of-holding-5-intarsia-and-more-2/
Checking the repeat for a single shape 
Adding a second color and reversing directions of shapes brings lots of yarn ends and its “price to pay”
Some handknit large scale inspiration to begin my revisit to MKing them: Garnstudio 1 
and Garnstudio 2, which introduces lace transfer stripes between leaf forms 
A free hand knitting pattern, “Papagena“, that takes similar shapes to a triangular layout for shawl shaping 
Stitch Maps is an online source for hand knitters with interesting graphics that include some for held shapes, such as this 
The chart is actually rotated 90 degrees counterclockwise, could serve as inspiration for an electronic pattern.
Returning to a possible far smaller repeat that may be executable on a punchcard machine as well. The central vein in the forms is created by having held stitches with no wraps along and up to its center in height, creating 2 continuous shapes that mirror horizontally and repeat
Automated holding sequences may be planned for single or multiple stitches in width, as well as for single and multiple rows in height. For the new initial test, which proved to need editing, this was my repeat
A tiny test in too thin a yarn 
I am knitting on a 930, the image needs to be mirrored in order for it to appear in the direction I intend on the knit side. The above repeat did not work properly when knitting a whole row of shapes. With some patience, a final, edited, and mirrored repeat was developed that enabled a completed a full row of shapes using the slip setting and holding, and starting with working it from right to left. Sometimes differences are subtle, especially in designing using single-pixel units. The new repeat proved to also work for rows of shapes in the reverse direction after horizontal mirroring and restarting the pattern or design row 1. When working from right to left, the initial preselection row is from left to right, while when working from left to right, the first preselection row is from right to left. After a full row of repeats is completed, the pattern is rolled back to row 1 and mirrored. Punchcard knitters could turn the card over and start again on the proper row. I used contrast color knit rows initially in between rows of shapes to help me note transitions more clearly. The “leaf” is not pointy enough for me, but at times what was not planned may lead to a pleasing result of a different sort.
The amended, corrected repeat is shown on the right 
To knit: cast on with a multiple of 12 stitches on each side of the center 24 on the needle bed
Cancel end needle selection
COL: first preselection row from left to right
COR: set machine for both slip <– –> and hold
all needles will have been preselected, knitting every stitch, knit 2 rows, return to the right, as the row is knit, patterned preselection occurs
COR: bring all needles to the left of the first 12 on the right into hold position, knit until all needles in the group of 12 are preselected again, the carriage will be on the right
*COR: bring a group of 6 needles to the left of the 12 stitch group just completed into work, knit one row to left
COL: bring 6 stitches from the completed shape on the right to hold, continue in the pattern on the new 12 stitch group until all 12 stitches are once again preselected, stopping with COR***
repeat * to *** end working the full last group of 12 stitches on the left, including the last 12 stitch preselection
At the completion of a row of shapes COL: make a decision about the transition, whether any extra rows knit are a problem or not, and whether added rows in contrasting colors are wanted. To proceed with no changes in cam settings and 4 rows of knitting between the rows of shapes remembering that the first preselection row needs to be made from right to left.
COL: manually return all needles to upper work position (D). They will knit row 1 of the stripe
COR: manually push all needles to D again, return program to design row one, check settings, as the first design row pattern is preselected an all knit row 2 will be added. As patterning resumes from the left another 2 all knit rows will be produced before selective patterning occurs.
If any extra all knit rows are wanted cancel patterning on the knit carriage, set it to N, knit the extra rows, remember to end on the proper side for the first preselection row, and what options may be necessary to complete that row correctly.
To reverse patterns without extra knit rows:
COL: store yarn. The carriage can be removed and brought to the opposite side, or stitches need to be manually be placed in the B position for a free pass to the right. This involves placing the cam selector button on N, returning the cams set to slip in both directions.
COR, all needles also need to be in work in B position, no yarn, in order to make a free pass to preselect from right to left, ending COL
COL: pick up yarn and continue in pattern. These textures require a lot of carriage passes, which tend to fuzz up the yarn on the purl side of the knit a bit. The shape I created was not very leafy to my mind, but still interesting, especially on the purl side. The yarn used in a 2/15 wool, knit on Tension 5
Moving on to a wider version, using 24 stitches in width to allow for using the pattern on a punchcard: this repeats works both as-is and mirrored, the groups of stitches moved in and out of work is now half of the new design repeat = 12. 
Making the repeat work in any number for this shape involves lining up the needle selection in each group of needles and constant counts for holding sequences. Punchard knitters would need 2 separate cards. 
The lovely mess in the swatch happened when I stopped paying attention to everything but what was happening on the needle bed and missed the tangle of yarns in my yarn mast. There is enough knitting, however, to note that the repeat is sound and that the edges on both sides are formed by the narrowest part of the shapes in each direction. One way to solve that is by casting on and binding off along tops and bottoms of shapes as seen in the yellow and green swatch at the top of the post. 
Planning things out to release those edges as seen at the top of the post
Working on outlining the shapes with contrast color: 
Problems to solve: maintaining an even number of rows in-between shapes and a straight edge along both sides. The latter could happen with triangles prior to knitting full shapes at either or both ends, the first sample failed on the left side due to both triangles being knit in the same sequence; 
that may be solved by beginning shaping on 2 stitches on the left rather than the full 12, mirrored. The proper sequence for actual knit stitches for the first, bottom set, and mirrored for the second, top set 
still only partway there 
I am presently knitting with my left hand in a splint that has exposed velcro teeth, which has caused some interesting issues with actual knitting and with yarn snags. To end this latest effort, in yet another knitting aaargh! moment, it appears my iron is now overheating and burned the wool! From observing the above swatch on the purl side it looks as though each row of shapes needs to have a triangular shape at each end. Also, the contrasting color line thickness is not constant. The purpose of automation should be to make things easier, not confounding. After yet another trial, I decided to give up on attempting to use the automated repeat to produce an effect that was consistent and made me happy.
Setup for a leaf in each color is far less fiddly and simpler to execute. A tentative layout and knitting sequence:
Begin on waste yarn, decide on the color of the cast on, and any additional knit rows prior to beginning in the pattern. Each of the side triangles is shaped using manual holding techniques over 12 stitches. If starting on the right, the first preselection row needs to be made moving from left to right as above on the first 24 stitches. With knit carriage set to both slip in both directions and holding with COL make certain the first 24 stitches on the right in B position make a free pass to the right.
COR: cut yarn, change color, knit the first shape repeat, end COR
COR: when all needles in the group are preselected, push the first 12 needles on the carriage side out to holding position, push 12 stitches on their left back into upper work position as you would in any holding pattern, they will knit in the slip setting as well. Cut the yarn, change color, repeat across the row of shapes
COR: when the last group of 12 needles on the left is preselected with all needles out to hold or removing the carriage and positioning it on the other side, begin knitting COL.
COL: manually knit triangle at top of the previous row of shapes
If a contrasting color stripe or any other pattern is intended between a full row of shapes, execute them and end COL
COL: shape the second triangle for the start of the reversed row of shapes, get the carriage to the right side by a pass over all needles in holding position or removing the carriage and bringing it to the opposite side
COR: the second pattern is programmed. Punchcard knitters use the second card, electronics mirror the shape. With the first 24 stitches on the left in B position and the knit carriage set for holding and to slip in both directions, make a preselection pass to left.
COL: change color, knit shape, and continue on as described above reversing shaping
As with intarsia, there will be lots of yarn ends to weave in and clean up those eyelets at the start of each color change. The swatch after a quick pressing
The possibilities could be endless. Electronic machines do not have the limitation of working within the 24 stitches maximum design width. Shapes can be fully automated using only slip stitch setting, no holding, but repeats become exponentially wide and long. The technique merits its own post.
Revisiting automated shell shapes
My original posts on exploring automating shell shapes were written in my 910 electronic days using mylar sheets in early 2013: 1, 2. The repeat produced a visually successful fabric. I received a question on FB about executing the shells on a punchcard machine, and another on how I “come up with these things”, so here I am going to attempt to share some of my present thought processes.
Since the time I wrote my original posts my approach to my explanations has changed. I have become increasingly familiar with the software I acquired since then, and now have cable connections that allow for download to 2 different model Brother electronic machines. iPhone cameras make it far easier to “shoot and share”. Initially, I used to often start at step 10 of any technique, now I explore the basics and logic in more detail.
My original mylar repeat entered as separate programs in days when each mylar sheet was precious. 
The 910 in my default setting produced the “image’ as drawn on the knit side of the resulting fabric. The post was written prior to my tiling the repeats as a matter of routine to check their alignments. Doing so would have shown a couple of missing pixels, and pointed to any other errors in filling in mylar squares.
All transfers were made in the same direction, which now leads me to wonder whether biasing might result in a long piece of knitting. My leaf lace post illustrates modules created manually by holding with the direction of knitting reversed after the completion of each row of leaves. The start of the same concept being applied to the shell shapes with errors later observed and resolved: 
As always, ideas need error-proofing and refining, easier done in a chart if possible prior to any actual knitting. This type of design would be required to achieve a continuous, uninterrupted repeat on the electronic, whether all in a single direction or reversing every other row of shapes. It is applicable to joining several punchcards, but only on single 24 stitch widths.
There are a number of changes to make if it is necessary to get the pattern to reverse direction in alternate rows of completed shapes. My first tests were planned with knitting moving only from left to right. To execute such a pattern on a punchcard KM, the repeat needs to be altered from 14X2 to 12X2 in width. This is the start of sorting that out:
Attempts to visualize holding can happen in spreadsheets, documents, image processing canvases, or even simply on graph paper, moving/ “drawing” back and forth across the cells mimicking carriage movements and marking them accordingly. Large staggered repeats can be programmed in electronics. All shapes are limited in terms of the width of the repeat occurring across the number of available needles on any machine. Some previous posts on electronic knitting such repeats: 2014/02/24/holdingshort-rows-hand-tech-to-chart-to-automating-with-slip-stitch-1/, 2018/05/20/ayab-short-rows-automated-with-slipstitch/, 2019/08/03/a-return-to-short-row-shapings-bumps-and-slits/
As mentioned, my long-ago swatches were knit on a 910, which by default produced the knit image as programmed on the knit side. On the punchcard machines, the image-as-drawn effect is achieved on the purl side. Lettering is likely the most familiar instance where mirroring is required for punchcard machines to produce it correctly, a consideration here as well. 
For the moment I will work drawing the shapes in the direction I wish to have them appear on the knit side. The beginning goal was to establish a continuous 24 stitch repeat, with the same technique applicable to electronics thus avoiding programming 2 different repeats. This proved to be a fail.
If the color changer were to be used for changes every 2 rows the complete number of rows would need to be a multiple of 4 in height for each segment. With larger gaps between changes, the yarn may be changed every X rows manually, making an easy fix to breaking that rule. The next step is working out 12 stitch repeats with patterning needles to be brought in and out of holding position as well. The options on a punchcard would include 8, 12, and 24 stitch motif widths. The machines will be set to slip in both directions throughout, end needle selection must be canceled. This method is not executable easily on km models that do not offer that option, electronics use KC II. Note that machines sold in Europe in some models may have different names for the same functions, ie. SM in some instances is the equivalent of KC II, whereas ours is for a single motif. Punchcard settings: 
I do not have any blank punchcards to test a repeat on at the moment. I do have a 930 that essentially behaves the same way by producing the entered pattern on the purl side, so I planned on that fact. Adding arrows to my tentative chart reflect the direction of the next movement of the knit carriage 
the starting 24 stitch brick repeat,
reduced to black pixels/punched holes and mirrored horizontally to have the result planned above on the knit side 
The bottom, curved edge fo each of the shapes is created first. That said, the above used as a continuous repeat is not executable to achieve 2 rows of different consecutive shapes.
Other shapes have previously been explored using slip stitch, and later, slip stitch combined with holding. A brief return to previous turns at holding and slip stitch used to create alternating color shapes: in 2013/02/12/an-entrelac-pretender/, a continuous slip stitch only card was used. The result on the knit side,
while on the reverse floats between alternating shapes are the norm 
Results with no floats are found in the swatches in the posts: 2013/02/21/entrelac-pretender-2/
and a larger motif: 2013/04/11/entrelac-pretender-3/
Both were knit using pairs of punchcards for each.
Returning to the goal of the moment: to knit the shells in a floatless way, using a technique executable on a punchcard machine as well. The repeat in question so far is 28 rows high. If the punchcard or the electronic advance every row with each pass of the carriage, the alternating shifting blocks of the repeat will be selected in full with every 28 passes. In this instance, one returns to the start of the same repeat every 28 rows. Identical shell full shapes are created across the knitting rather than the shifting shapes desired in alternating full row repeats.
Separating the 28-row repeat into 2-14 row ones. The 12 stitch repeat is tiled X2 horizontally. If programming two separate repeats were the only solution, the bottom shapes, 14 rows high, would need to be punched X 4 in one card. In electronics half of each repeat would be adequate to program only once and entered as an all-over, repeating pattern.
Here the repeat for all full-size shells is planned, the black squares would also need to be punched X 4 on a second punchcard, to be programmed separately.
Marking up the needle bed with water-soluble markers or pencils helps track placements of repeats across the desired number of needles in work: dark lines indicate placement beginning with the mark for half a repeat to maintain straight side edges on the finished piece. Red lines mark the placement of the stitches when they are moved to the left in order to knit the full shells across the bed. 
On a 930, the image will be knit in the direction of the pattern as drawn on the knit side, as it would be on a punchcard machine. I intend to begin knitting the shells with COR. Since the pattern is fixed on the needle bed, one option is to move the work in one direction or the other on the needle bed using a garter bar, so that the knitting is in the proper place for the desired anticipated needle selection. This was easier in my own mind than reprogramming the pattern repeat for each full row of shells whether by entering a new download or altering placement using the position option at the start of each row. One of my first working repeats amended later in several steps is shown here mirrored in black and white
Visualizing the process on the needle bed
Scaling the image to render it a bit more legible:
The machine will be set for both slip stitch in both directions and holding. End needle selection is canceled.
The first preselection row is from left to right. Every needle will be preselected and will knit every stitch for the first 2 rows in the desired shell color.
Color changes are made manually.
At the completion of a row of shells, its corresponding color ends on the left side, a free pass is made, returning to the right. Knitting with the new color for the alternate groups of shells begins again on the right side.
After the first 2 all knit rows, as the carriage works its way back to the right on the following pass, preselecting will occur for a decreasing number of stitches. This is the first-row holding selection when using the above repeat:
Beginning piece with half a shell on each side: all but the first 6 stitches are brought out to hold. When more than the single needle is selected at the top of the first half-shell (6 sts to start, 1 at the end), COR: bring the next group of 12 stitches to the left into work, knit to left.
COL: bring original 6 needles out to hold. Bring into work any needles not selected in the group of 12 into work as well.
Continue knitting, repeating the process across the bed.
On design row 14 of the last half-shell remove work on a garter bar.
To execute full shells across the next row of shapes: move the work 6 stitches to the left.
Return emptied needles to A position (out of work, OOW).
With all remaining needles in B preselect the next row (1) from left to right. Cam settings need not be changed.
Change color if desired, knitting 2 rows across all the stitches.
Bring all needles out to hold except for the first group of 12 sts between red marks, and repeat the process previously described across the bed.
When the last shell is completed, design row 14, remove the work on the garter bar again, shift it 6 stitches to the right.
Push back the now emptied needles back to A (OOW).
With all stitches in the B position, make a free pass to the right, row 1 of the half shell row will be preselected, change color, continue across the pattern row as described. This yarn is far too thin but makes stitch formation easy to identify.
The last tweak eliminating having to bring any needles into work by hand when working at the start of each shape is reached. Punchcard knitters will need to punch the black squares, repeating the 24 stitch pattern 4 times in height, to a total of 56 rows.
I used two repeats side by side on the electronic as well to eliminate having to consider and choose the position option on the 930 needle bed, resulting in having the pattern centered in each 24 stitch fixed segment of needle selection. I am in the habit of using a needle tape for punchcard machines on my electronic models since I so often transition usings designs for the former in the latter. It is possible to add all knit rows or even patterned ones between shell rows. On an electronic KM with 2 carriages available, adding a FI band would be simpler than trying to manage to change cam buttons in addition to the other number of steps already involved with the slip stitch and holding combination along with moving the knit on the needle bed. Contrasting color row stripes can be programmed by adding 2 or more/ even number rows of all black squares (or punched holes) at the top of each 14-row segment of the final repeat. Reverse shaping of shells appears to not be necessary to avoid biasing on my limited tests. The proof of concept swatch:
I was too aggressive with clipping yarn ends on the left side, especially while in the process of changing colors, not ever a good idea. Automating the pattern fully on electronic models using only slip stitch patterning is possible. The length of such patterns grows exponentially in proportion to the size of the repeats. Reviewing errors in the beginning concept 
An attempt to visualize the placement of the shape variations in the finished piece using the shell motifs beginning with the shapes created in order to create a straight side edge
Redrawing the pattern for a 36 stitch test. On the left is the drawn image of the pattern, on the right the mirrored image for downloading to my machine to produce it in the desired direction. Much of the time is invested in developing and testing the final and correct image for download, the knitting that follows that is fairly quick. My repeat is 36 stitches wide, 98 rows high
COR: knit a base row in color one from right to left
COL: KCII (no end needle selection) to right, the only needles preselected will be those corresponding to the programmed black squares, the remaining will be in B position. Knit to the right.
COR: set the machine to slip in both directions. Knit slowly and evenly. All needles in work on the bed must be cleared with each pass of the carriage.
Continue in pattern across the bed, checking that all stitches are knitting off properly.
When all needles are preselected, change colors for the next set of shells. These rows create the base for the next group of shapes. If a stripe or other pattern is wanted regularly, those rows are best added to the programmed pattern itself.
The automated test swatch: 
Preserving the 3D texture relies on using yarns with “memory”, ie wool and avoiding aggressive blocking. Using thinner yarns makes the stitch formation more evident. Hard pressing, in this case, knit using acrylic yarns, flattens the fabric considerably, and often, permanently. Both the hold/slip (top) and fully automated swatches (bottom) are shown.
Isolating like modules and looking for any differences in each to prepare for a larger number of repeats in each row of shapes across the needle bed
There are several methods for securing yarn ends both during and after knitting in the final pieces using these techniques. Testing such methods on swatches is the best way to determine what works for yarn and colors used as well as our own personal preference. The pattern width may be adjusted to create considerably larger shells if desired. Punchcard knitters are limited to 8, 12, and 24 stitch repeats. For them, this would be the maximum size, including an added number of rows for contrasting color stripes, in this instance 4. 
A return to the original 14 stitch repeat, illustrating a way to begin editing for an extra row in width at the bottom of the shape and ending on 2 stitches rather than a single stitch at the top
Imagining adding increases and or decreases for shaping at sides, which in turn could lead to an evaluation of switching to entrelac approaches when creating large shell shapes for similar effects. The 3D qualities and distortions are obviously missing from these illustrations.
A Prada sweater using similar shapes 
If you are interested in any large size clamshells, and intarsia appeals to you whether in hand or machine knitting, Cheryl Brunette has thorough directions for many such shapes, including 2 videos on shell shapes Part 1, and Part 2
More online inspiration using large shapes:
from a Russian blog
a hand-knit blanket from Garnstudio 
the common illustration for shaping triangular shawls using such motifs 
Similar pattern repeats are at times also referred to as scallops, fans, or scales. A “scallop” design 
a “fan”
A return to short row shapings: bumps and slits meet entrelac
My recent revisiting of holding techniques led to my coming across handouts and notes from the late 1980s and early 90s, including the working notes below for an entrelac fabric. I sometimes read instructions I assembled long ago, and they seem to be in a foreign language at first. Entrelac was referred to as basketweave as well. On the knitting machine, it is usually executed removing part of shapes onto waste yarn. In these shared instructions it is knit completely on the machine. Blocks can be any size, knitting is started on a multiple of the stitches planned for each shape repeat. The number of colors used is limited by imagination and patience for weaving in yarn ends and dealing with issues at the start of each new shape, familiar to anyone who has tried intarsia. Weaving in those yarn ends may be performed during the knitting of larger “diamonds”. It is helpful to understand the basics of short rowing prior to attempting this technique.
In a post in 2011, I shared a link to excellent directions found at howtoknitasweater.com , written by Cheryl Brunette. Here are 2 of my teaching samples, executed on 4.5 mm machine. In my teaching days, my demo yarns were in distinct colors, easily spotted, and not often preferred or even liked by students. They could be instantly recognized, so no one ever tried to use them in their class assignments, and colors were out of range for the comfort level of attendees at my workshops, so swatches tended to remain mine for the duration of those sessions and far beyond.
a rearview with ends woven in
It is best to start with a few rows of waste yarn, and the choice can then be made as to whether to cast on and go immediately into pattern, or ribs, stocking stitch, or other beginnings and endings may be chosen.
The blocks will appear square to rectangular depending on yarn choice and gauge, some writers refer to them as “diamonds”, they are joined together as you knit. My test swatches are all executed on Brother machines. My own working notes: 
Visualization: here pattern rows II and III are shown in repeat, along with the direction of the carriage movement, and the lean in the shapes created with the purl side facing 
This attempts to identify the shapes by assigning numbers, in their order of knitting. As mentioned, the fabric may also end with added rows of knitting on top of the last row of shapes as they are formed
These photos do not document each step, are meant as an aid in parts that may be a bit tricky when starting to experiment with the technique
The set up for starting triangles: note the similarity to some of the surfaces created in the last post. When using short rows, part of the stitches in work will knit many more rows than others on the machine. Accessories such as the cast on comb will tend to ride up on one side and drop off 
When the end of the first row that row is reached, as contrast color is added, stitches need to be cast on on the far left in order to keep the work on the bed a constant number of stitches. The usual method suggested is e wrapping, this is picking up from the row below. I found either method produced looser, longer stitches on the far edge 
continuing across the row:
reaching the far right: 
binding off across the row by transferring stitches when moving from right to left
The colors were chosen for contrast, the yarns are slightly different thicknesses, the white is a 2/24. The latter is usually used double-stranded when knitting on the single bed unless intended as a “thin”. Bleedthrough at joins and some of the other features ie eyelets at corners might be reduced simply by making a better yarn choice. As for those “wisteria” eyelets, they could become part of an intentional pattern between bands of basket weave. Once the principle is understood many other variations become possible.
Many details in any technique wind up relying on personal preference for use of or added editing. Studying results on swatches can help one determine whether larger pieces are worth the effort, and what habits and their results may need to be changed. Contrasting colors help with evaluating edges in patterns such as these. This method relies on transferring groups of stitches by hand on the needle bed. The process could get far slower and impractical if the “diamonds” increase significantly in size. At the intersection of the shapes, there will appear an eyelet (1), also seen in hand knits, which disappears if the fabric is not stretched or pressed. How stitches are rehung in any part of the process can change the look of what is happening there as well. Picked up finished edges if tight will draw in the shape on that side (2), holding happens in 2-row sequences, and small eyelets happen there as well (3). Consistency matters. Though the shapes lean diagonally in the finished piece, they are picked up along straight edges, forming a square to a rectangular piece of knitting, with the usual grain, allowing for the addition of other techniques within the blocks
Trying to imagine where stitches may need transferring to waste yarn or “off label” tool?
Alternative shapings at sides: what needs to be cast on or bound off?
Troubleshooting ideas: a small weight might be enough to elongate those shorter closed edges to make them easier to rehang and to be a bit longer. Claw weights usually available with machines may be far too heavy, then DIY ones come into play. A common suggestion at MK seminars used to be that of purchasing fishing weights, which commonly come in a variety of sizes often with openings or wire eyelets at their top, and using bent wire or even paper clips so one hooked end can be inserted into the hole on the weight, the other is used to hang it in turn onto the knitting. This is an example
Such weights are made of lead. That is a concern, there are products on the market that may be used to coat them. This one is easily found in home improvement stores and online
This round sample in the absence of the paint was covered in heavy-duty duct tape. It weighs 2 ounces, just half of one of my factory-supplied claw weights
It does a good job of weighing down those straight edges along the bumps, making the stitches easier to pick up. When rehanging those stitches, uniformly hanging the loops, not the knots along the edges involved will give a smoother join. Here a paper clip is used as the “hanger”
It is easy to get into a rhythm and think you “have it”. A reminder: the shapes at each side are triangles, not the full shape. Row II starts on the right, begins with decreases followed by rehanging, row III starts on the left, involves increases and working stitches in hold to its right. Losing track will produce the start of an extra shape, which may perhaps be a “design feature”, but not a good thing if the goal is a straight edge on both sides. Unraveling is easy if the problem is noticed soon, but is problematic if more rows of shapes have been completed. 
Lastly, a swatch ending in all knit rows. The only remaining issue is the fact that those side triangles are formed by stitches that are looser than across the rest of the piece. This yarn is thin and a poor choice, but fine for getting the technique down and beginning to understand what happens to stitches, how one needs to move from one side to the other, and what happens along the edges of each individual shape 
In switching to a thicker, space-dyed yarn, the effect is lost to a degree because of the length between color changes. This sample begins to address keeping some slits, but the repeat needs further sorting out 
Following the same idea in visible colors: the yellow wool is another too thin wool (2/20), which makes the edge that will need picking up slow and tedious to deal with because of very small stitches. If I were to make a piece, I would work on the partial shapes in the magenta to make for a smoother color transition start. I used the foundation triangles and row II, with 2 rows of knitting when they were completed to help close the spaces at the top of the eyelets in the magenta. Some striping between repeats at the end of row II is worth considering in alternate colors, for more rows, or even in a thicker yarn. 
It is possible to develop shapes,
to consider the number of stitches required and whether the fact that other than garter stitch knit stitches are not square,
Then there is the world of making each section /shape as large or as small as desired, shaping them by increasing or decreasing stitches adding and subtracting them as needed by casting on and binding off, partially joining them, knitting and joining them when completed with seam as you knit techniques, changing color within each shape or at the end of every row/section of adjoining ones, working the piece in one color only or using a space dyed yarn for random color patterning. Quilting diagrams can be a boon for inspiration for seam as you knit.
I found this on Pinterest, it strikes me as masterful use of related techniques
Lots of hand-knit inspiration and free patterns: https://intheloopknitting.com/entrelac-knitting-patterns/#freepatterns
This book explores the technique to the max
Some of its swatch images are shared in this review of it , there is also a sequel 
Three slip stitch entrelac pretenders using slip stitch patterning and holding
A return to short row shapings: bumps and slits
One is limited to imagination, skill, and patience when working short-rowed fabrics. The techniques may be used in borders, on isolated areas, symmetrically or not, and the yarn, in turn, may be able to be pressed, stiffened, felted (which minimizes any slits), or otherwise processed to achieve desired effects. The scale of the shapes affects both the final look and purpose. Development for large sculptural pieces is very different from that used if one is aiming toward a comfortable, perhaps even flattering variable in a garment, but both can blend for interesting one-offs or even collections.
The usual conventions apply: stitches are brought to hold opposite the carriage side, or floats will be created, indicated by yellow curved lines 
That is a rule that may be broken when planned angles require decreases every row, and a decision is made that such floats and their respective width are acceptable.
There are many more variations of the patterns I have previously referred to as “wisteria”. This is one, using different (2) width repeats in a systemic manner across a piece. I find myself going to a spreadsheet prior to any actual knitting nowadays. Low tech can achieve the same, and be as basic as colored pencils on graph paper. Representing actual rows knit would make for a very long chart. This is a compressed version with red representing rows knit on that portion of the needles in work, the other colors for each of the 7 and 9 stitch repeats respectively 
some sense of how repeats would line up, again not to proper scale 
To knit: cast on and knit at least 4 rows on the desired width for the planned piece. I prefer to end COR, but directions could easily be reversed for a start from the opposite side.
The row counter may be set to 0 and used for each segment, or the tripper for it can be turned off as preferred. With labor-intensive fabrics, I sometimes calculate based on a minimum number of repeats rather than row counts. The gauge can be even more difficult to calculate even if rows are tracked somehow. In addition, the choice of yarn, its weight, whether each segment is weighted down or not, and the tension in masts and carriages all can make the result uneven or harder to predict. The use of claw weights is a personal preference. I prefer to avoid them whenever possible. They can help control the length of the slits at their side(s), but sometimes distort the length of the knit stitch on either side of them. COR: set the carriage to hold, bring all the needles to the left of the first group of 9 needles to hold, knit 12 rows (even number), returning to the right.
COR: push back to knit groups B (7stitches ) and C (9 stitches) to the left of A into work
Knit one row to left
COL: bring A (9 stitches) and B (7 stitches) to the right of C out to hold, knit 11 (odd #) of rows on C, ending with COR once more (one row had already been knit on those stitches, so the total remains constant).
Repeat in groups of 3 as described in the last 2 steps across the row ending COL
Knit a few rows, ending COR
Bring the first group of 9 stitches on left out to hold, knit one row to left
Bring all stitches to the right of the first group of 7 stitches out to hold, knit 12 rows, ending COL
Bring the next two groups of 9 and 7 needles out to work, knit one row to the right
Bring the remaining stitches to the left of the new group of 7 out to hold, knit 11 rows (odd #), ending COL. Continue across row. At the end knit a few rows, ending once more on the right.
I found at least 3-4 rows were needed between sections of segments to achieve shapes that did not meet to create extended slits with threads across them and to achieve a look I preferred. In the interim, all knit rows could serve as the opportunity to add other stitch types or techniques including purl ridges on the knit side, which could be achieved easily enough with a G carriage, but may prove perilous with a garter bar.
The needle bed or the needle tape may be marked with a water-soluble pen between needle groups to help make tracking easier.
Proof of concept purl side 
knit side 
slightly scrunched up 
with a touch of steam and light pressing 
Planning your own pattern in scaled-down numbers of stitches and rows is good practice, and may also lead to pleasant surprises. As with any test, keeping notes while in progress is well worth it. What may be obvious while knitting may escape recall after the fact. Then there are “little things” that factor in as well. For decades I knit on a 910 or a punchcard machine. On the 910 settings stay as preferred unless changed manually. In my electronic default, the repeat direction was set to be as seen on the knit side, on the punchcard, it is fixed as seen on the purl. At one point I received an orphaned, frozen 930 that I was able to get moving following online video advice. I have often forgotten to set the number one variation button or to change the default isolation to an all-over-one in knits where that mattered critically. If programming a repeat, the starting side for a preselection row matters, and it will change based on which side of the finished fabric reflects your planned motif.
The start of an idea with points to be considered, some observations, and questions 
Working it out on a spreadsheet: arrows indicate the direction in which the carriage needs to be moving, I prefer to start COR, the image can be flipped horizontally for starting with COL. The repeat is outlined with a thick border, is too wide for automating for punchcard, but as hand technique variations can be endless. To produce longer slits and raised shapes, add an even number of rows to the red colored blocks, for more distance between raised motifs, add an even number of rows to the side to side all green areas, maintaining the directional arrows. 
This is the isolated repeat for converting the pattern to a file suitable for download 
and its mirrored version for knitting from the opposite side 
My test swatch was knit on the 930, using img2track. Because not every needle on the bed is in work throughout the knit, end needle selection must be canceled (KC II). The knit carriage after the preselection row is set to slip in both directions. Because only a few rows are knit on the red blocks in the chart, the result is subtle. The white yarn used in many of my tests happens to be a 2/24 acrylic, so on the too thin side, and likely to be well flattened if pressed.
Often, the edge stitches on the carriage side will tend to be a bit tighter than those formed away from it. The same repeat may be used to create very different fabrics. Eliminating the all knit columns on either side of the center produces a piece with “ruffles” on either side of the center as the outer edge of each shape is no longer anchored down. The principle was used in knitting “potato chip” scarves popular in both hand and machine knitting for a while. Having a repeat on one side of an all knit vertical strip creates a ruffled edging. 
Note the effect of the added all knit rows on the “wave” of the piece on the right.
Many patterns are published for hand knit variants as well, Lion Brand Yarns offers the opportunity for learning both knit and crochet stitches. Some patterns are free with login (website info access is also free). Here are 2 such designs with slits and bumps to the max
The shapes for the “bumps” may be changed, moving away from rectangular formats. Small repeats are used for the purposes of illustration here, but they, in turn, may be scaled up, rendered asymmetrical, vary in placement, and more. My design steps began with this idea
Following the goal to achieve bilateral placement along a central vertical knit strip, with vertical knit strip borders at either side, here shapes point in the same direction
Aiming for shapes pointing in opposite directions, following those arrows for “pretend knitting”, a repeat is highlighted with a dark border on the left, while to its right placement for extra rows of knitting is suggested (must be even numbers). The repeat is then isolated and “grabbed” for use in GIMP
In Gimp the bucket fill was used to fill all colors to black, the image was converted to bitmap BW, scaled, and then knit. This feature changed in Gimp 2.10, requiring the use of the fuzzy select tool to achieve that goal. This is the final repeat used 
I ran into an interesting problem for the first time. I had entered the row and stitch counts on my chart, used those counts to scale the image used for my repeat down to size for knitting, kept getting floats where there should not have been any, could not understand what the error in the repeat might be. What was happening is that because of the wrong row number used in scaling, there was an extra pixel row in the first test swatches resulting in knitting errors. The final repeat is 29 stitches wide, 38 rows high. This is the resulting swatch
Once more, the repeat could be reduced down to eliminate side knit strips, or limit shapes to one side only for a one-sided ruffle. What about repeating the same slit horizontally across a row? Repeats become very long, arrows are intended again as guides in the knitting direction. 
An even number of rows (green) at the end of the outlined repeat will return the carriage to begin knitting it from the right side once more. An odd number of rows added at its top will prepare for knitting the motifs beginning on the left. 
Again, motifs may be brought closer together, laid out directly above each other, in brick fashion, mirrored, or as otherwise desired. Adding rows at the center of the shape will make the “smaller” eyelets at the corner larger as well as the ones created by its outer edge. The possibilities are endless. If an automated slip stitch is used, it is the selected needles that knit. This is my final test repeat, flipped because I insist on forgetting to turn on the #1 variation button on my 930, and I like to begin sequences from the right.BringingB
Pushing unwanted needle groups back to the D position will make them knit rather than being held, which is another way to vary the texture distribution across any single row
It is possible to add color changes between or within pattern repeats as well as needles out of work.
A free pass may be made to the opposite side by bringing all needles out to hold, and once there, returning the next group of stitches to be knit into work. If electronics are in use for automated patterning, the carriage may be removed from the needle bed and brought to the other side before continuing. If a punchcard is in use, an odd number of rows will need to be programmed for one of the colors in order to maintain proper needle selection.
Repeats in the charts below are for illustration purposes, not fully worked out Adding color stripes, with or without ladders 
Needles out of work with lateral transfers alternated with needles returned to work will add eyelets to the piece and allow for every needle stripes of colors (or plain knit). If a lot of eyelets created from needle transfers are in play, it may be necessary to change the direction of those transfers. 
It is also possible to combine patterning and holding.
As needle groups are brought in to and out of the hold position, the needle selection must be maintained in order to keep correct patterning. There also seems to be a sweet spot in most machines for how far back a needle needs to be pushed for it not to “bounce” to an undesired position, thus picking up and knitting in the wrong color or dropping stitches off. Some variations are also found in how far the active knitting needs to be cleared with each carriage pass on each side. One row in my test swatch has obvious extra stitches in white, my feeder B color. I am not certain as to the cause.
The introduction of patterning adds yet another layer of complexity to track. Once again I am using 2/24 yarns.
