Short Rows, Holding – Page 3

A bit of holding 3: shape variations and more

Hand-knit spiraling shawls and shawlettes often involve shaping on every row. Increasing essentially requires casting on one or more stitches. Below are cast on illustrations from varied sources I used in handouts in my intro to knitting classes

A simple decrease occurs when the last stitch on either side is transferred moving away from the carriage, the empty needle is placed out of work, and the row is knit.

This illustration shows a fully fashioned version, which gives an edge that makes seaming easier and more attractive, and eliminates the small bumps usually seen along decrease edges, the process adds to knitting time involved in finishing the piece. Decreases may be made on every row.

Simple increases: a factor that is often first noticed when approaching seaming is that the carriage side creates loops, while opposite the carriage one gets what looks like a knot, both alternate as starting position of the carriage swaps sides. To speed things up for single increases, one alternative is to bring an empty needle into work on the carriage side. This creates an elongated loop rather than a full stitch. Unless intended as a design feature, the edge is not the best one for seaming. A better-looking increase is created by putting a needle into work opposite the carriage. For a “good edge” two rows minimum of knitting need to occur prior to the next increase. Continuing on the thread begun in the last 2 posts, I experimented with every row increases and came up with what I consider a reasonable compromise. The method for increases on the right edge:
*COR: bring an empty needle into work on the carriage side, knit a row. Insert transfer tool into the loop created as shown, turn toward carriage (in this case clockwise), essentially creating an e wrap, hang on adjacent empty needle hook.

increase every row

COL knit to right*, repeat * *
In the previous 2 posts’ samples I did not wrap any needles. Wrapping in both directions can create an interesting line along the center of the “leaf” or “other” shapes, seen in the photo below

Interpreting hand knit patterns for use on the machine requires translations of some of the vocabulary and directions are given. If an edge stitch is made in garter or slip stitch variations, disregard and simply add it to the total number of stitches on the segment of the needle bed that is being worked on. Wrap and turn is executed by wrapping the yarn around the adjacent needle in hold prior to knitting back to the opposite side

2: knit <- 1: wrap COR 1: wrap COL 2: knit ->

pw2: picking up wraps and knitting them together happens when needles with wrapped loop and stitch behind it are brought back into work.
The terminology may vary in self-published patterns, some are accompanied by very good tutorials. Ravelry HK searches can provide inspiration for many holding technique variations. Other terms to look for in image and pattern searches include swing knitting, and on occasion, tapestry knitting.

A bit of holding 2 / moving shapes around

There are many handknit patterns floating around the internet, placing shapes similar to these, with many variations, along with a variety of locations in accessories and sweaters. The same shape discussed in the previous post is shown here placed near and then at the edge of the knit. There are many things to consider in addition to the choice of shape. In hand knitting these patterns are usually knit in garter stitch, a fabric that does a good job of lying flat when completed. Short rows are used in both hand and machine knitting; the Brother G carriage produces it “automatically”, but is not short row friendly. The more practical solution is to try a plain knit version. Edges of the knit are still going to curl toward the purls side. Some of this can be averted by using acrylic or other fiber yarn that responds to being “killed” with ironing/ steaming, and will lie as close to flat as possible after the fact. Section A shows the shape knit with no color change and close to the side of the knit, note the vertical edge remains fairly straight. In section B stitches were cast on, and at the end of the holding sequence all stitches are knit moving from right to left. An increase in the number of stitches cast on is now reflected in the total width of the fabric. The result of multiple repeats would appear as a sort of “ruffle”. In section C the same number of stitches are bound off as cast on. The bind off is critical for shape retention. I prefer a latch tool cast off for most knits, here I used the *transfer over one, knit one* method, note: the turning point sharpness is lost and the bound-off edge is very different from the cast on one. In this instance, because the number of stitches increased and decreased stitches are identical, if repeats were executed and no other increases were made anywhere, the width of the final piece would remain constant. If the goal was to achieve a triangular shape such as in a shawl, increases would have to be made along the edges of the plain knit sections, prior to the color change for section C. In testing repeats I do not wrap any needles. Evaluate whether the extra step is needed when swatching in your final yarn choice.

the swatch

planning the shapes, arrows indicate the direction of carriage moves

cast on stitches are knit as part of the last row

cast on stitches are bound off prior to last row

The last sample was also knit using the same yarn, followed by pressing. Again, I did not do any wrapping, and holes created along the edges of the holding sequences are more visible. The swatch was knit from the bottom edge up. The cast on used was a weaving cast on. Both the bottom and the top edges show some of the distortions in the knit caused by the extra rows of knitting that occur in the shapes. Striping is added to the now-familiar sequence, additional colors could be used, with shapes and stripes varied in the placement along with a wider, longer piece of knitting to create interesting repeats. The top shows the start of a larger shape that could be altered to resemble leaves, etc.

for a larger shape

for a striped surroundknit side purl side

A bit of holding 1

At a seminar during a visit to California in mid-April just prior to the joys of downsizing and moving I showed this swatch and was asked for instructions for duplicating it.

I have moved, and I finally have a machine set up to prove my ideas. The images below show plotting out repeats in excel odd number of rows knit between shapes

movements of carriage to create each shape If an even number of rows of color 1 is knit between shapes, the yarn is cut at the end of the holding sequence with color 2 (which is made up of an odd number of rows, begins on right, ends on left), a free pass is then made to return carriage to the right, there picking up color 1 for the plain knit sections. even rows between Some cut and paste following the direction of the arrows to work out knitting several shapes in any one row: in this instance the first row knit with color 2 is from left to right, as is the last row. Even-numbered rows in color 1 would start and end on the same side, COL. If changes of any 2 colors in any technique are for an even number of rows, yarn ends will occur on the same side. cut and paste My original sample was made knitting single shapes with an even number of knit rows between them. A reminder: Studio needle positions are A,B,C,D, Brother needle positions are A,B,D,E. Holding position for Studio = D, for Brother = E. Upper work position for Studio = C, for Brother = D. Settings for both are indicated below, for Studio, then (Brother)

color 1 cast on 60 stitches, knit 20 (or X) rows, end COR
first shape: COR color 2 knit one row, end COL
COL on the right, bring 27 stitches to hold D (E) position. The rule is usually to always wrap taking yarn around the first needle in hold D (E) position, then to knit one row. I found in my samples the holes created were so small they could hardly be seen, so I did not wrap.
COR on the left, bring 27 stitches to hold D (E) position (6 stitches now in work), knit one row
holding sequence for each “shape”
COL at right, push 2 needles to work position C (D), knit one row
COR at left push 2 needles to work position C (D), knit one row
COL at right, push 2 needles to work position C (D), knit one row
COR at left push 2 needles to work position C (D), knit one row
COL at right return 2 needles to hold D (E) position, knit one row
COR at left return 2 needles to hold D (E) position, knit one row
COL at right return 2 needles to hold D (E) position, knit one row
COR at left return 2 needles to hold D (E) position, knit one row
COL return needles to right of shape to work position C (D), knit one row
COR return needles to left of shape to work position C (D), knit one row
COL cut color 2, make free carriage pass carriage to the right
COR change to color 1, knit the desired number of rows (20) end COR
COR for the second shape with color 2 knit one row, end COL
COL at right bring 40 needles to hold D (E) position, knit one row
COR on the left, bring 14 stitches to hold D (E) position, knit one row
“Always wrap taking yarn around the first needle in D (E) position, knit one row”, repeat shaping as directed above
COR change color 1, knit the desired number of rows (20) end COR
for the third shape
COR with color 2 knit one row, end COL
COL at right bring 14 needles to hold D (E) position, knit one row
COR on the left, bring 40 stitches to hold D (E) position, knit one row
repeat shaping and /or wrapping as directed above
change to color 1, knit the desired number of rows (20), bind off

Charting shapes for automating short row knitting and programming

In machine knitting, stitches are usually brought out to hold opposite the carriage. If multiple stitches are brought out to hold on the carriage side, floats are created. Triangles stacked vertically as seen in the previous post will create a spiral curve along the line where stitches are held. The carriage needs to get to the opposite side and back after each ‘decrease’ or ‘increase’, so pairs of rows are used to execute and reverse angles in short row shaping. When multiple rows are knit independently from the rest of the knit, slits are created. In two-row sequences, these are generally similar to holes created in lace, in longer sequences much larger slits are produced. The latter are often used as planned design elements. The small holes being visible may not pose a problem for the knitter. If they do, wrapping the adjacent needles can help eliminate them, but the doubled yarn in the wrapped needle may create small, sometimes visible bumps on the knit side of the finished piece, creating a secondary pattern.

Reducing eyelet size: in traditional wrapping required needle(s) are brought out to hold, and the yarn is wrapped under and around the last needle in the hold position on the carriage side before knitting the next carriage pass

COR COL

The “automatic method” for wrapping

Decreasing: if COR (COL), 1 stitch to the hold position at a time, set the machine for holding. Bring one needle on the same side as the carriage into the hold position. Pass the carriage to the opposite side. COL (COR) repeat if shaping is 2-sided, or if shaping is only on the starting side, knit back to it, and with COR (COL) repeat process. Increasing single stitch: bring 1 needle always opposite the carriage into the work position.

Decreasing: more than 1 needle or stitch at a time: if COR (COL), place 1 fewer needle than required into hold on the opposite side as the carriage, knit 1 row to left (right), toward the needle in hold. When COL (COR), bring into hold the last, additional needle. COL (COR) repeat the directions if shaping is 2-sided, or if shaping is only on the starting side, knit back to it, and with COR (COL) continue decreases on the single, opposite side.

Increasing: to remove stitches from holding, COR (COL) place the desired number of needles into the working position on the side opposite the carriage, knit one row, repeat with COL (COR) if shaping is on both sides, or knit back to starting position COR (COL) and continue increases on the single, opposite side.

Charting out shapes knitting or programming stacked equal triangles/spirals: the wedge illustrated in the previous post “Air knitting” is often used to think out fabric issues before swatching using yarn. Drawing lines to follow the carriage movement direction required to keep the knitting continuous, whether on graph paper or within software programs can help sort out shapes that will work in short rowing. Holding needs to happen in 2-row sequences. Below, black lines and arrows indicate the direction of knitting for each row, in this instance beginning with COR. Blue = knit stitches, yellow = all knit rows at the completion of each wedge (2 or multiple of 2, depending on planned design). This repeat is suitable for knitting a continuous strip with ruffling/spiraling at various degrees, not for ‘pie’ shapes.

Working out the repeat: the red line represents the starting, selection (KC), knit row, the numbers at the bottom the width of the repeat, the numbers to the side its height. The first repeat A results in the fewest punched holes, drawn squares, or programmed pixels, requiring being knit double length. The remaining repeats (B, C) are drawn double length, standard card rotation is used. Eyelets form at the held edge. C takes automatic wrapping to decrease eyelet size at the held edge into account. When any sequences are programmed for knitting using slip stitch, the end needle selection is always canceled by using KCII or turning non-needle selection cams in punchcard models.

A B C the start of a miter shape: blue repeat, extra knit rows in yellow, auto hold on the bottom right

Going 3D: in many designs, the original repeat may simply be mirrored to be executed. If this is done here, one can see there is no longer a continuous knitting line, directional arrows are moving in opposite directions or toward each other from the center point

restoring continuity and shifting rows around to create a workable repeat one shape knit 3 different ways: red row = KC II, all knit

An executable 24 stitch, 26 rows repeat: black arrows alone indicate movement of carriage on the first row of the repeat, black arrows on red line indicate starting point and direction of movement of carriage for KCII rows. A begins to knit repeat with COR, B with COL. The triangle’s vertex can be squared off, the height of the repeat shortened, to make 3D shapes much rounder

Not just for electronics: some punch card repeats to try (also suitable for any machine). End needle selection is canceled. Selection rows are always toward the first pair of rows knit in a holding pattern, so for the first 2 cards, they would be from right to left. Single rows are punched but 2-row sequences are needed, so cards must be elongated X 2; miter shaping repeat is shown on the left, spiral on the right. Narrower shapes may be created and knit on the appropriate segment of the 24-stitch repeat needle positions. Use needle tape markings as guides for placement. The preselection row is from right to left, the pattern repeat begins with COL. All punched, extra series of pairs of rows of knitting may be added at the top. Note: just a few rows may not be added with a small segment of an additional card with clips, the whole repeat may have to be split into sections to allow for the extra rows and their smooth passage through the card reader. As an alternative, more rows of all holes could be added to the original card when first punched, tested, and then trimmed if not needed. It is useful to try out the repeat as a hand technique first in any of these instances, to determine personal preference.

Going 3D: punch only actual holes (black pencil marks were originally used to mark squares that needed to be unpunched for the auto wrap on right, not the best choice for B/W scans). Two-row sequences are punched, so no elongation is needed for either repeat. Miter shaping is shown on the left, spiral on right; mem <– indicates the direction for KC row; decreasing angles are auto-wrapped, increasing angles need not be as seen in the top of miter on left, where needles are returned back to work to create the reverse shape.

Some ruffle possibilities: all knit rows were added to the card on left with snaps, and are composed of all punched holes. The number of all knit rows between held segments determines the spacing between wedges and the degree of spiraling of the final fabric. KC row needs to be R to L for A, left to right B. Holding sequences are now staggered, changing the angle of the resulting curves. A short float is created where 2 stitches are brought to hold on the carriage side.

A: elongate X 2 B: use as is

The recommended minimum for punchcard length is generally stipulated to be 36 rows. Card A without the added rows is 28 rows high (the last 2 rows are for card overlap when adding snaps), so the repeat below, with the extra segment removed, would need to be punched twice

eyelet pattern reflects shaping

B: dotted lines outline segment: yellow dots on the purl side, the 1 needle floats one possible card revision: red dots indicate punched holes, stitches in hold as the carriage moves from the left to the right any difference in the swatch, in this yarn, was almost imperceptible; results would vary depending on yarn thickness and fiber content.

the swatch as a “ruffle”

Revisiting miters, spirals, going square, round, and more

There are times in knitting when math becomes a necessity. With online libraries, tools, and fairly intuitive software, drafting angles and shapes is now much easier. I will be teaching a class that includes miters and spirals at a seminar next month, leading me to revisit the topic. Most published pattern instructions will give starting carriage locations, but shapes may be constructed counterclockwise or clockwise depending on preference. With an understanding of how the shapes are formed and stacked, they may in turn be automated (depending on their size and the type of km) using the slip stitch setting. Stitches that are to be knit on each row are programmed as pixels, black squares, or punched holes.

Miter shaping may occur on the side or in the center of each triangular shape; a minimum of 2 knit rows usually occur at designated spots. Adding more knit rows and playing with angles of triangles will create ruffling effects, other angular shapes, pleats, and more. I have returned to using Mac Numbers, their shapes, and charts to generate most of the images below. Here the colored areas represent knit stitches, white negative (white) spaces stitches in hold. Red lines represent all knit row(s)/ spots for seaming at the top and bottom of sequences. Seaming is easiest when done by joining all knit rows. Stitches are always brought into hold opposite the carriage side and returned to work on the carriage side. In the shaping guide, COL= carriage on the left, COR= carriage on right.

knitting each segment

COR COL

Yellow triangle segment: bring all needles out to hold, and push them back into work on the carriage side at the determined rate until all needles are back in work. Green triangle segment: with all the needles in work, begin to bring stitches into hold opposite the carriage at the determined rate until all the needles are in hold.

If seaming is desired in miter shaping with resulting eyelets at the sides of the triangle, the full wedge is split between the top (yellow segment) and the bottom of the piece (green segment). Knitting always starts with at least one or 2 rows of knitting (depending on whether the finished shape is to have a grafted seam. For the full wedge: * yellow segment, bring all needles out to hold, and push them back into work on the carriage side at the determined rate until all needles are back in work. Reverse shaping with green segment: with all the needles in work, begin to bring stitches into hold opposite the carriage at the determined rate until all the needles are in hold. End with knit rows (red line) across all stitches*. Repeat from * to * for the desired number of full segments, end at the top with a yellow segment if needed, followed by a knit row(s) (red line) before binding off or seaming.

shaping with resulting eyelets at the sides of the triangle: the final shape CORthe knitting sequence with top/bottom 1/2 triangle segments shown

COR COL

For miter with shaping and resulting eyelets at the center of the triangle: begin with all knit row(s) (red line) at the start. To shape a full wedge: *green segment is worked bringing stitches into hold opposite the carriage at the determined rate until all the needles are in hold. Shaping is next reversed with the yellow segment, pushing needles back at the determined rate until all needles are returned to work. End with all knit rows (red line) *. The sides of this miter are all knit rows, an easier place to seam/ graft joins if needed.

shaping with resulting eyelets at the center of the triangle: the final shape CORthe knitting sequence

COR COLa tiny test shaping at side shaping at center

In the following images, the red or blue lines indicate seams or joins

segments composing a square shape
adding squares or rectangles to alter the square
adding triangular segments: hexagon expanding it with rectangles, shaping at sides
shaping at the center hexagon extra_seams going 3D: triangular pocket with the point at the center

combining shapes: this one is often seen in tams (hats); bottom shaping is on only one side, and at the top, it occurs on both sides

tam1 tam2 adding rectangles or squares to alter the shape
tam3

bringing needles out to hold opposite the carriage

Spiral stack 1/ green full triangle: knit row (s), *with all the needles in work begin to bring stitches into hold opposite the carriage at the determined rate until all the needles are in the hold position, end with all knit row(s) (red line).

COR COL

Spiral stack 2/ yellow full triangle: knit row (s), *bring all needles out to hold, push them back into work on the carriage side at the determined rate until all needles are back in work, end with all knit row(s) (red line).

COR COL

3D spiral

If the object is to construct a circular shape, the greater the number of panels, the smoother the outer edge of the piece. Some of the pie-bilities:

In all instances above the radius and therefore 2 sides of each wedge remain equal in size, and therefore are composed of the same number of stitches. The triangle knit to achieve these shapes are isosceles triangles, where 2 of 3 sides are equal in length and in this case, the number of stitches. The 2 equal sides are usually referred to as legs, the remaining one as the base. The 2 base angles are equal as well. The remaining angle is the vertex one. In knitting, this will be the pivot point for the wedges, the center point of the “pie” shape. In the illustrations below the vertex, angles are marked by blue dots. Its angle value is the first represented in the numbers immediately below each shape, with the other 2 numbers indicating the remaining, equal 2 angles. The sum of all 3 should equal 180 degrees. Taking it to a shape: octagon (half the total # of wedges shown). In colored shapes spiral, stacking equal triangles is shown on left; full triangle, divided into 2 segment shaping for miter on right.

Oh, yes, the math! The desired shape may be drawn to scale using any number of tools. Wedges may in turn be shaped following the scale drawing on any charting device such as knit-leaders, or stitches and rows required may be calculated on actual full drawing measurements. In knitting, the equal sides (AC, AB) of the triangles are formed by stitches and the height of the triangle (CB) by rows. If the finished size matters, an accurate gauge is required. One approach to calculating the base (CB) is to think of the whole shape as a complete circle, in this case, divided into 8 “pie” wedges, with congruent sides (radius) measuring 10 inches each. To find the circumference of the circle, multiply the diameter (20) inches by pi 3.14 = the total in this case, of 62.8, rounded off to 63. Divide that number by the number of sections (8) = 7.85, rounded off to 8 inches (rows). If the stitch gauge is 6 stitches and 8 rows per inch, each triangle would be 60 stitches wide, and 64 rows high. Holding happens every other row, opposite the carriage, so the total number of rows is divided by 2 = 32 for knitting a spiral. The stitches are distributed along one edge over a total of 64 rows in height. The goal is to reduce the shape down to the next to the last group, followed by two rows knit over all the stitches at the end of each section. This will cause a small hole at the center of each completed pie due to extra rows knit. For a miter 2 triangular shapes are required for each wedge, so holding sequences are recalculated with shaping now occurring over 16 rows for knitting a miter.

An online calculator is available to help calculate the number of stitches brought into hold opposite the carriage or into work on the carriage side, sequence preference should be tested on swatches where the gauge is significant

spiral miter

Magic formula (X represents times)

In the photo below I chose to start with all the needles out to hold, pushing them back into work across the knit for the spiral. For the miter again, I began with all needles in the hold position, pushing back the required needles into work; for the top half of each wedge needles were returned to hold opposite the carriage at the same rate, forming the upper half of the “pie slice”. The swatch is not worked at the same rate as the shapes calculated above. It is shown on its purl side with color changes to highlight the intersections where wedges begin to repeat. The yarns used are random acrylics, in different weights.

A previous post on short-row knitting with links to other online sources 2013/12/18/holding-stitches-short-rows/.
A category search in my blog roll for miters and spirals will link to blog posts including pies:
2011/06/18/knitting-math-and-pies1/
2011/06/22/back-to-that-pie-a-bit-of-holding/ breaking and mixing up pie wedges:
2014/07/21/miters-and-spirals-visualizing-charting-and-more-3/ .
A garter bar short row trim:
2013/02/28/garter-bar-short-row-trim/.
Charting shapes: using Gimp and Mac Numbers:
2014/07/14/miters-and-spirals-visualizing-charting-and-more-1/
Executable charts and shapes, automating them with slip stitch:
2014/02/24/holding/ short-rows-hand-tech-to-chart-to-automating-with-slip-stitch-1/
2014/02/20/wisteria-cousin-revisited-holding-using-slip-stitch/
2013/01/21/automating-pleating/ 2013/12/28/short-rows_-balls-tams-3d-rounds/ 2015/09/07/a-tale-of-2-donuts/
2011/03/29/lace-meets-hold-and-goes-round/
2011/03/29/the-doilies/

Tuck and garter stitch: from hand knit to machine knit hand tech pattern

A Ravelry question on the possibility of executing a particular fabric on the machine has led to the experiments in this post. The pattern that led to the discussion is a free hand knit one, shared and published on the Purl SOHO website and on Ravelry. The gauge for their project is 4.75 stitches = 4 inches in stitch pattern, it includes garter rows. Such rows may be executable on home knitting machines by transferring from ribber (Passap front bed) to main bed, alternating with reversing the process at a predetermined frequency, depending on stitch type. K1b is the hand knit equivalent of tuck for that stitch on that row, adding to the mix. Not practical for G carriage use, as the latter does not form tuck loops, and hand retooling would be required for all k1b stitches.

Using holding to create tuck stitches in non-auto patterning days was commonly used, and I chose to do so here. As machine knitters, we are conditioned to believe that single color rows are impractical to execute and that the yarn would need to be cut on each side after the one row. Color changers are on one side or the other, making striping with frequent color changes is practical if executed in even multiples of rows. Transfer carriages are available that will help move stitches from one bed to the other, I personally have never had the patience to work with them enough to get good at using them without dropping stitches, so I went back to even lower tech than usual, using the garter bar on the bulky, and beginning pattern row 1 with COR.

Before attempting nearly every row turns, it is helpful to have some practice with turning work over using a garter bar, develop a sequence of repetitive actions, keeping careful notes as to what works for you, and using contrasting yarns in tests to better understand stitch structure. In my sample the white yarn was thicker than the blue, reversing colors or balancing yarn thickness would change the visual look of the fabric. Beginning on small samples helps work out issues and the making of the decision to try on a larger project or simply as a border.

Analyzing the pattern repeat:

tools to help with EON needle selection

the results of rows beginning with k1 sequence after the row is knit, note the “tuck” loops on top of E position needles, which will be knit off on the next row knit

a row that begins with a k2 sequence, before it is knit; the needles holding the single, blue stitch will form the loops on top of the needles as the yarn moves across to the opposite side

E position prior to transferring stitches onto garter bar, also for a free pass to the opposite side to pick up yarn after stitches are removed on bar

1 begins and ends with K 1; COR select needles, col A * knit row, COL, bring all needles out to hold, remove on garter bar, free pass carriage to theopposite side, COR, flip garter bar over, replace stitches onto needles push all stitches against gate pegs *

2 begins and ends with k 2; COR select needles for row 2, col A repeat * to* end COR

3 begins and ends with k1; COR select needles for row 3, change to col B, knit one row, do not turn, do not cut yarn; COL bring all needles out to hold, a free pass to the right to pick up col A on next knit row, end COR

4 begins and ends with k 2; col A, COR select needles for row 4, repeat from * to *

5 begins and ends with k 1; COR select needles for row 5, col A, repeat from * to * do not turn

6 begins and ends with k 2; COR select needles for row 6, change to col B, repeat from * to *

publisher’s project photo

my swatch, knit on a whopping 9 stitches

A tale of 2 donuts

Gauge swatches are often the bane of many a machine knitter, as are math calculations. I have recently come across several instructions for hand knit donuts, embellished in a variety of ways, and was curious about turning the knit sideways in order to create a machine knit version. Yes, there are formulas for creating such shapes, but once in a while “winging it” on small projects may provide an easily achieved, workable result.

I began with the formula: 30 stitches in width, divided by 3 = 10; 5 stitches used to create held, narrowed bands at both sides, the 20 remaining stitches knitting throughout the length of the piece, for 20 wedges/ repeats.

The method: cast on with waste yarn over 30 stitches, knit one row in “donut” yarn; set the machine for hold; bring 3 needles opposite the carriage into hold, knit to the opposite side, repeat two times: bring 2 needles opposite the carriage into hold, knit to the opposite side, repeat two times; bring 5 needles into work opposite the carriage, knit across to the other side, repeat twice. At this point, all stitches will have been knit, begin sequence over again. This chart reflects 3 repeats, 30 stitches by 6 rows. Knitting begins on the left, and holding stitches begin with carriage on the right:

A single repeat may be programmed into an electronic machine, knit with the carriage set to slip throughout, and with end-needle selection canceled (covered in previous posts).

When I taught courses in machine knitting, the first “garment” made after several weeks of swatching and learning the various stitches, was a “baby hat with earflaps”, with the proviso that the same directions had to be used by everyone in the class for stitches and rows, but each student was free to select yarn and stitch type. This often became the first lesson in the importance of gauge, with results varying in size from mini doll size “hats” to gigantic ones. For my donut versions, I used the same directions. The striped one is produced with a random sock yarn that gave my machine fits at tension 8, and produced a very tight fabric; the yellow is from a good quality 2/8 wool at the same tension, resulting in a much looser knit, and a much larger final product. I was casual about seaming the 2 open ends of seaming the knit together on the machine by simply using a latch tool bind off, an invisible seam could be created by grafting with Kitchener stitch. I did a bit of stuffing as I went along in seaming the lengthwise portion of the piece in the second donut, as opposed to leaving a smaller opening in the first, making the process easier, and I paid more attention to seaming of the side “tube” stitches. Once again, it is obvious that changing the material may change the size of the final product significantly, making those tension square calculations important for any predictable results in sizing.

donuts

Combining tuck stitches with lace 1

A simple chart, from a random Japanese publication

the isolated repeat outlined

symbols used

of note: in the above pattern, all transfers are in the same direction. My test swatches were knit on bulky 260 KM. Held stitches form loops on top of needles brought out to E position. The original stitch formerly in the needle hook grows in length, behind the newly formed loops. When patterning is automated using the tuck cam setting, the non selected needle will not be worked. The original stitch gets longer here as well, while the loops that in the hand technique rest on top of the needles, will now be held in the hook of the needle along with the last knit stitch. The latter fact is the limiting factor determining the number of rows that may actually be tucked, especially on Japanese machines. Yarn used and needle gauge also matter. Tucked fabrics, like lace, need to be weighted evenly for loops formed to knit off properly.

How to for my swatches:

knit base row (s), set up repeat so some stitches knit every row on each side creating a border, set machine to hold stitches

row 1: transfer every 4th stitch to the right. If you are in the habit of pulling needles holding multiples stitches to D before knitting the next row after transferring multiple stitches onto a single needle, this is ruled out when the carriage is set for holding, as those stitches would then not knit as intended on the next pass. To produce an eyelet, emptied needles are returned to B position after each transfer sequence

rows 2, 3, 4 bring alternate every 4th needle as shown in chart into hold, knit 3 rows

row 5: push held needles back into work (D on brother km), knit one row across all needles. Held stitches will knit off as a group, check that they have done so uniformly

rows 6, 7, 8: transfer alternate every 4th needle out to hold, knit 3 rows

row 9: begin sequence again, repeating rows 1-8

When transfers are made in a single direction, the fabric will bias in the direction of those transfers. In the bottom section of the photo below, the resulting lean to the left is easily seen. If a bias leaning fabric is desired, this is an easy way to get there. However, if the goal is to achieve a balanced fabric, then the transfers need to happen in opposite directions as seen in the top segment of the swatch.

the new working repeat

the number of held/tuck stitch rows has been changed to 4 rather than 3. When the row that knits off the loops occurs, the total number of knit rows for the sequence will be an odd one, resulting in the carriage being at opposite sides of the needle bed at the end of each pattern repeat. Transferring stitches may then be made toward the carriage: COR – transfer to right, COL transfer to left. This makes it easier to track direction when working the fabric as a hand technique.

Next up: automating the pattern for standard gauge machines using the lace carriage, and tuck patterning in the knit carriage as well.

Fall knits in my studio

I promise myself every year that I will knit fall inventory during the summer, invariably that seems to not happen, and I find myself scrambling during September and October. I have had a line of ruffled edge shawls for some time. This is my way of interpreting some of the recent shapes in clothing into a shawl/vest format. Below are some shots taken on a dress form, with intent to visualize some of the possible ways of wearing it

a graded, smaller version and different color-way

both are knit using multiple strands of very thin, rayon/cotton blends, pattern is tuck stitch, with variant used in the ruffle, which in turned is knit sideways and seamed onto the piece while it is being knit.

another color way

some of my felt hat inventory in progress

Miters and spirals: visualizing, charting (and more) 3

SPLITTING THINGS UP leads to a series of quite different fabrics, sometimes creating interesting secondary solid color shapes when striping is added to any of the forms; repeats will need editing to avoid extra rows to keep the designs balanced, or have them added across their width for extending shapes, such as in creating ruffled effects. I have worked on these charts using Numbers, image capture, and resizing and editing again in photoshop if needed. The images below are not intended as a “sit and knit” tutorial, but rather as a start for creating your own designs, on the desired number of stitches, I randomly picked 22

some possibilities on method: SPIRAL original shape

splitting in 2 parts

changing positions and stacking, all knit row edited to bottom of repeat

a mirrored segment

added to first repeat, center line double row edited out for knitting

MITER: original repeat

split repeat

moving parts around

areas for adding plain knit rows in desired numbers across the knit (yellow), keeping in mind how this will affect color changing sequences if striping is used to create secondary patterns; repeat usable for machines with color changer on right

mirroring the whole repeat horizontally for use with color changer on left

Changing colors at regular intervals including every 2 rows will yield secondary, geometric patterns; all knit rows may be added to the right or left of the shapes maintaining color changes, for different effects; if these are planned in extended “white areas”, the holding sequence needs to be maintained every other row; slip stitch setting may be used to automate, with repeats reworked for use on 24 stitch punchcard machines. I find when exploring any of this initially, working repeats as hand techniques helps me understand necessary sequences and editing before committing to punching holes, filling mylar squares, or programming pixels. Swatches and notes, swatches, and notes…