Waffle weaves 
have a structure that is not duplicable on home knitting machines.
Interlock explorations 2; adding needles out of work
introduced efforts using circular slip settings got Milano waffle knitting in asingle color
4 passes are made with every needle knitting on both beds, followed by 4 passes tubular slip stitch.
The main bed is programmed, set to slip both ways after the first preselection row.
After 2 rows are 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 number of needles in work on the main bed remains fixed.
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 knit vertical stitch columns on each edge, this time disengaging the ribber and knitting 2 rows only on the top bed rather than knitting circular rows and changing ribber settings.
The floats are brought closer together, and 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. 
The new, added variation:
The main bed is programmed for every needle, allowing spacing variations for vertical knit columns to number preferred
The knit carriage is set to knit while also selecting needles,
end needle selection is canceled.
Every needle remains in work on the ribber throughout.
When needles are selected on the top bed the ribber is set to knit in both directions, while when there are no needles selected on the top bed, it is manually set to slip in both directions.
While the ribber does not knit, ladders are formed on the top bed between the needles in work for as many rows as planned until needle selection returns and the ribber is set to knit again.
Automating the function: a 16X16 PNG that can be programmed across the bed using the electronic built in selection has a 6 double bed to 2 single bed rows ratio,
the full repeat chart usable on punch card machines,
the needle set up used in the swatch: 
Category: Slip Stitches
A review of brioche patterning
Nearing the end of another year, reviewing previous drafts, I find myself coming across posts that were never quite completed or published.
This content began to be brought together in 2022.
The term brioche in knitting is used loosely at times in any references to tuck stitches. Designs may be worked in single colors, or with more complicated planning, they may be executed in 2 colors.
Some patterns are fully automated, with the knit carriage set to tuck in both directions, the ribber set to knit in both, others are worked as a tubular tuck, and lastly, some require frequent changes in cam settings in either or both beds.
My explorations for the use of tuck stitch settings in double bed every needle rib fabrics began with attempting to create a solid color shape on a vertically striped ground in Geometric shapes on ribber fabrics with tuck stitches 1.
The arrow marks the spot where both colors used were picked up from the changer. C1 and 2 show indicate cam setting changes used in the last part of the swatch.
Here, a simple shape was programmed, and varied carriage settings on either or both beds were explored Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages. 
Geometric shapes on ribber fabrics with tuck stitches 3 explores self-drawn repeats in multiple colors. 
Added samples and files in the subsequent post New double bed swatches based on published sources of inspiration 2 
Lace transfers meet fisherman rib in 2 colors on Brother KM 1
Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2 
These are advanced, complex fabrics. The repeats for 2 colors can grow exponentially in length.
Returning to designing suitable repeats, beginning in a spreadsheet: grey vertical lines represent stitches on the ribber, which will force apart stitches created on the top bed, creating the more familiar tuck rib surface.
Mac Numbers offers the opportunity to hide both columns and rows. In this instance, with the 10 grey columns hidden, one begins to get the sense of shapes and movements needed on the top bed 
Working toward a repeat for knitting the shapes in a single color, imagining the location of eyelets resulting from stitch transfers, 
I used two repeats, adjusting the first repeat to vary the resulting shape slightly 
A 11X30 repeat mirrored horizontally for use on my 930, tiled twice horizontally before programming and downloading, used as a 23X30 single motif to obtain a matching border on each side, 
A 9X28 repeat, my second try, programmed as a 20X28 single motif, 
When knitting using only one color, the machine is set with the main bed tucking on every needle in one direction, followed by knitting on every needle as it returns to the starting side, the ribber does the same but in the opposite direction. It is a circular tuck, also referred to as fisherman’s rib.
A slight shift in patterning may change the outline of the desired shape, introducing or removing stray lines or secondary shapes.
The possible cam setting options: 
In two-color brioche combined with hand-transferred stitches, the main bed is set to tuck in both directions, white cells tuck, black cells knit.
Brother machines preselect needles for the next row with each pass of the carriage, so on even-numbered design rows, as the carriage moves to the opposite side, all needles will form tuck loops on the main bed. The next row will be preselected, with some needles now back in B rather than D position.
With an appropriate transfer tool, move the stitches on the non-selected needles to the adjacent selected needle to their right after pushing it back to the B position. After each transfer, push all worked needles and their stitches, as well as the now-empty needle, to the E position.
As the carriage returns to the opposite side, an all-knit row will be completed. Several tension adjustments may be needed to ensure loops do not get hung up on gate pegs as stitches move across the bed, while still being loose enough to knit off properly.
Planning a fully automated design, reducing the ground, and staggering the color of the shapes. In these knits, the colors in the background form clear vertical lines:
24X44
brick repeat 24X88
tiled. 
A half-drop tiling error was revealed, 
and the file was reduced to 23X44. 
The half drop repeat 46X44 
Using the 24 stitch repeat executable on a punchcard machine as well, planning to knit the test swatch on 72 stitches, 
anticipating what will happen with color of the alternating pairs of rows forming the shapes, noting that the total number of rows is an odd multiple of 4:
adjusting the repeat to 48X40with the total rows an even multiple of 4, 
tiling check, 72X80
the stitches composing the all the shapes will knit in the same color 
The pattern, tested in thin yarns reveals the stitch structure even more. That said, the dark color was 2 thin yarns threaded on the same side of the mast. At one point, one of the 2 began to loop around needles, causing a carriage jam and a bent needle hook, hence the short height of the sample. 
Passap to Brother 6, exploring a possible tuck stitch design 
More shapes on ribber fabrics with tuck patterning, fantasy fair isle 
More designs worked on the double bed using tuck cam settings on either or both beds:
Ribber fabrics with main bed tuck patterning 1/ pick rib
Fisherman and English tuck stitch rib 1_ checks patterns_ Brother, Passap
Knitting with more than 2 carriages
Pintucks 1 vs shadow pleats
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
Interlock explorations 1
Modifying a sinker plate for use with double bed knits
Knitting with “unusual” fibers/ elastic 2
Ribber fabrics with stitch transfers between beds 2
Ribber fabrics produced with 2 knit carriages selecting needles
Multiple color drop stitch lace using img2track and more
New double bed swatches based on published sources of inspiration 2
Published a few months ago: New double bed swatches based on published sources of inspiration
At year’s end, I commonly find myself reviewing earlier blog posts and am drawn to testing previously developed repeats in new or different ways.
Many publications, whether for electronic machines or punchcard models, group patterns in separate categories, not offering many clues as to whether each design may be used for other knit structures.
Some punchcard manuals do offer a page with limited guidance, such as this in the 860 manual. 
Truchet tiling design inspiration 1 and Truchet/Smith inspired designs 2 meet ArahPaint, introduced resources and methods for developing DIY knittable designs inspired by them.
Blistered DBJ 2 and technique variations on a single repeat. used this tiling 
in several ways, followed up on the previous post, Blistered stitches DBJ
Revisiting both posts, developing some new pattern variations.
The starting repeat, 74X74, 
drawn in repeat to test tiling alignment, 148X148
ArahPaint, Tools > Layer -> Brush saved 
the 74X74 picture is loaded
the white palette color is locked 
with filled rectangle, using the brush and bucket fill on whole image, the new 74X74 file 
was test knit on the 930, which automatically mirrors the image horizontally, centered on 60 stitches.
End needle selection on the knit carriage was canceled.
The slip setting in both directions was selected after the first preselection row.
First and last needles were in work on the ribber, with the carriage set to N.
If large groups of stitches were not selected on the sides, an end stitch was brought out to E manually before knitting the next row.
Slipped stitches elongate, as seen in the image on the right. 
The elongated X2 design did not work on the Brother, with too many rows knitting only on one bed; they start jumping off, and the length of the slipped stitches is a potential added problem, with too many rows knitting only on one bed, they will start jumping off and the length of the slipped stitches are potential added problems.
Blistered DBJ 3 began with a punchcard design 
untested at the time, modified for use in knitting a patterned half fisherman rib, 24X112.
The knit carriage is set to tuck in both directions, the ribber carriage to knit in both. The resulting knit has subtle textures on both sides, lies flat. 
Related stitch structures and samples in Geometric shapes on ribber fabrics formed with tuck stitches 4
The same design, 24X112, color inverted, has applications as well, 
among them, pile knitting, best knit on Studio machines, and single color drop stitch lace.
The first of several blog posts on the technique, Geometric shapes in drop stitch lace 1, Brother KM.
To knit, cast on EON, transfer all knit bed stitches to the ribber, except for the first and last.
Cancel end needle selection.
On rows where no needles are selected, drop the stitches formed on the main bed. Return all the same needles to the B position, checking that no extra needles are accidentally pushed in or out of work.
The knit grows quickly. The yarn used is a 2/10 W/LYO, a wool and lyocell blend. Lyocell is a versatile, semi-synthetic fiber made from wood pulp, particularly eucalyptus trees, and was originally trademarked as Tencel in 1992.
A thinner yarn would highlight the open areas more.
The swatch, knit on 48 stitches for 90 rows of the pattern, measures 9 X 11.75 inches.
Returning to the inspiration, 24X32
using double height, 24X64 
color invert every other row, double height, 24X128
renders the color separation that, when knit as DBJ, produces the elongated design version where each color in each design row knits twice.
Preselection for the first row is from the right. Using the tubular tuck setting, either pair of opposite cams, 
the result is evocative of illusion knits; the texture is more 3D than in the images. There are distinct changes in appearance if one is willing to invest in manually changing cam settings as often as every two rows.
The latter is more feasible using two pairs of carriages operating from opposite sides.
The knit is compressed in height and quite wide, with 48 stitches and 150 rows of pattern measuring 14.75X8.25 inches.
More to explore:
Tuck stitch meets thread lace repeats and vice versa
Using punchcards (3) or electronics to track small cables in pattern
Using punchcards to track cables and twists in pattern 2
Unconventional uses for punchcards 1: tracking racking positions in ribbed fabric Unconventional uses for punchcards 2: thread lace cards for “filet” mesh
Using punchcards to track small cables in pattern (1)
Punch cards to electronics: book symbols and samples 12/17
An army of frogs, some DBJ tips
A tale of crustaceans and critters ,
introduced an army of frogs that began with a border chart 
the 27X83 PNG 
in half drop, 81X83
There is often a resistance to swatching. One of the benefits of large enough tests, even when gauge is not a factor, is to find that, as in this case, color separated for DBJ, knit in birdseye backing, well, look at this!
The color reversal seen at the top of the repeat, as return is made to the first row of the design, can be caused by making an error in changing colors appropriately. There is no evidence of that on the reverse; striping would be wider in areas where either color was carried for 4 rows.
If the planned design is to be used as a continuous pattern, with a return to row 1 after reaching its top, when knitting DBJ, the designs must be an even number of rows in height to start with.
Tools or built-in functions that automate conversions do not always provide error warnings.
Another go at the frogs: 27X84
in half drop, 54X84
The GIMP script color separation, 54X168
Color, and technique choices, and whether they are deemed successful or not, are determined by personal preference. Here, a space dyed thin cotton was plied with a white yarn as the light color.
The frog at the top of the repeat is no longer beheaded.
There is a snag around that area, however, that causes slight distortion, noticeable on both sides. 
Some notes on machine knitting color changers review their use.
The snags in the swatch were from the space dyed yarn getting picked up with the green/ dark ground.
That can happen from the ribber arm needing a minor adjustment, not clearing the color changer far enough (there is an audible click at that time), or, in this case, the thin yarn was snagging around the guide for the adjacent #2 dark color and getting picked up with it. 
Historical blog posts on DBJ can be found in the blog index
Keeping machines clean and oiled, along with balancing the ribber, aids in error-free stitch formation.
Always something new to learn, lili buttons will not rotate if the carriage is set with the slip levers in the up position.
Revisiting double bed knits with stitch transfers between beds
IN PROGRESS
A reminder for Brother machine users. When automating any pattern by programming the top bed, if there are any needles out of work, end needle selection must be canceled, or stitches on either side of the empty needles will knit, not tuck, slip, or knit in the proper color, altering the planned design.
This latest repeat is worked using hand transferring stitches at regular intervals between the main bed and the ribber.
To facilitate tracking, the transfers were executed every 10 rows with the guidance of a marked-up, custom-printed needle tape.
The knitting can begin on the top bed with waste yarn.
Even weight is needed for the stitches to form properly.
The ribber is set to full pitch, P > point to point, during the knitting of the piece.
It is possible to start on waste knitting and to use the ribber comb for an open cast on the top bed.
Alternatively, the single bed comb may be used, with ribber weights evenly spaced apart on it before transferring stitches down to the ribber, or a ribber comb may be poked through the waste knitting evenly, followed by the addition of weights.
1: the initial needle transfer set up, on a multiple of 7 stitches +2. The cells marked with red on the tape represent stitch groups that are never returned to the main bed during the knitting of the piece
2: the transfer set up for the first 10 row group
3: the transfer set up for the alternate 10 row group.
The first and third images from the left show the piece when first removed from the machine, and the other pairs show the swatch after steaming and pressing. The yarn used is a 2/8 wool. Since the fiber has memory, it retains its spring back after blocking and resting, but with some loss of the 3D effect.
Man-made fibers and some natural ones would flatten completely and permanently with pressing/ steaming. 
When testing pattern design ideas that require few needles in work on the ribber, it is possible to cast on the single bed, weigh the knit evenly, and transfer or bring needles into work as needed.
The ribber cast on comb can be used to cast on the single bed using the ribber arm, not the single bed sinker plate.
Doing so, EON (every other needle) on the first row, followed by bringing the remaining needles into work before the next carriage pass, matches the EON e-wrap cast on single bed and allows immediate use of the ribber weights.
Arrangements on the machine for the first pair of samples.
Working with cell repeats in spreadsheets serves as an aid in plotting out the required actions before committing to a design and reproducing the chosen file in BW mode.
In this instance, the needles represented by the yellow cells were transferred down to the ribber first, with the empty needles pushed back to OOW (out of work), A position.
A row was knit, and then the ribber needles represented by the orange cells were brought into work to complete the ribber needle pairs.
The ribber pitch can be in P for straight transfers, but needs to be on H when there are needles side by side with those on the top bed.
The knit carriage is set to tuck in both directions.
As in any case with NOOW on the top bed, end needle selection is canceled to preserve the pattern.
This first 8X14 design repeat is usable on punch card models as well as electronic ones, and produces horizontal striped effects.
The needle arrangement on the machine:
The appearance of those side-by-side stitches on the ribber forms columns that are quite different than those achieved by transfers to the ribber that match in numbers to needles emptied on the top bed and taken out of work there.
The half drop, 16X14 version. 
Breaking the tuck rules of side-by-side loop formation: 
The needle arrangement on the machine for the 11X24 repeat 
in half drop, 22X24
Tuck lace published designs may be used, instead of taking needles out of work, transfer needles in those blank vertical column locations down to the ribber. 
The 24X48 PNG tot pattern #620
A few of the previous experiments and samples in double bed knitting with stitch transfers between beds, at times only once, at others in repeating pattern blocks.
Knit and purl blocks to create folding fabric_ “pleats”
More fabrics with knit bed tuck patterning
Unconventional uses for punchcards 3: lace in rib
Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2. 
Ribber fabrics with stitch transfers between beds 1
Slip stitch patterns with hand transferred stitches, double bed
Brother shadow lace, rib transfer carriage 
Combining knit carriage needle selection with racking 
More to explore
Transfers between needles on either or to and from both beds
Double bed embossed patterns
Bowknot aka butterfly or dragonfly stitch in more than one color
Slip stitch patterns with hand-transferred stitches, double bed
Ribber fabrics with stitch transfers between beds 1
Ribber fabrics with stitch transfers between beds 2
Origami-inspired 2: more pleats and folds using ribber
Pleats: ribbed, folding fabrics
Lace transfers meet fisherman rib in 2 colors on Brother KM 1
Slip stitch patterns with hand transferred stitches, single bed 2
The previous post, Slip stitch patterns with hand transferred stitches, single bed 1 grew quite lengthy; this one will host newer experiments.
This stitch pattern reminded me of bowknot/butterfly stitch design. Samples explored in the past were executed using both knit and ribber beds. This version is knit using the single bed.
The smallest repeat, 14X40, 
the plan is for a swatch 46X40 repeat, with a color change at the midpoint, 
the PNG. 
Knit the first 2 design rows. When the first row with groups of three non-selected needles occurs, bring the center needle of each group out, indicated by the red cell, moving from one side of the bed to the other, and knit the stitches through using a length of ravel cord, leaving some slack between them. Return the emptied needles to the B position. They will be skipped/slipped along with their pairs of side-by-side companions, forming floats. 
When the first row of every needle preselection occurs, beginning on either side, tug down on each stitch with the ravel cord, elongating it (L image). Insert a tool through its center front to back, lift it on the empty needle (R image), lining it up in position D or E.
The ravel cord can be unthreaded after each step while continuing the process, moving to the opposite side of the needle bed, or after reaching the opposite side. 
The first repeat used a yarn from a cone that “unexpectedly” ended
In this design, the elongated slipped stitches are brought up and crossed behind groups of 3 knit stitches.
The idea began to be explored in a spreadsheet; the repeat is 14 stitches by 6 rows. 
Color 1 knits for 2 rows, forms the elongated stitches, and color 2 forms the background stripes.
The first preselection row is made from left to right with color 1, the knit carriage is set to slip in both directions, and the second row will be knit on the return to the color changer, where color 2 is picked up and knits for 4 rows.
A chart for a programmed repeat, 
56X18. 
The groups of white cells with the associated non-selected needles on row 5 are guides for tracking the related hand technique.
Half the stitches are moved from the center forward, the slipped stitch is moved 3 stitches over, toward the center, and the group of 3 stitches is returned to the top bed on the 3 empty needles. The steps are repeated on the alternate half.
Bring all needles forward after the transfers, pick up color 1, knit 2 rows, change to color 2, knit for 4 rows in the tuck pattern, transfer stitches, change color, continue to repeat the process. 
Manipulated slip stitches using the ribber:
Slip stitch patterns with hand transferred stitches, double bed
Bowknot aka butterfly or dragonfly stitch in more than one color
Bowknot/ Butterfly stitch on the machine
New double bed swatches based on published sources of inspiration 1
From Dubied pattern books, more info and designs in Cross brand pattern interpretations: Dubied to Brother
1: matching needle set up
2: stitch positions after racking to the right
3: stitch positions after racking to the left
These images illustrate the differences produced depending on the number of rows knit without racking: four on the left and 2 on the right. The knit is reversible, is lightly pleated, and lies flat. 
In this swatch, no rows were knit between racking sequences. 
A pattern that requires no cam changes 
is knit in tubular tuck stitch, using opposite buttons on the knit bed and ribber. The starting size matters in this case to allow for the use of the color changer every 2 rows. Knitting begins on the left, using the settings shown on the left. 
My third color, white, was knit in plain ribbing, would be too narrow if used in a final project, and, if used, should be knit using the same settings as the remainder of the knitting. 
This pattern requires more interpretation, as seen in the blue text notes. 
The knit bed may be programmed, thus automating its functions. The repeat as suitable for punchcard models, 24X36 
the corresponding PNG
and proof of concept, knit on 40 stitches, testing a one stitch knit vertical border on the left side, and 2 stictch one on the other. The 930 automatically mirrors the design.
The needle arrangement visualized in a spreadsheet; 
in abbreviated form:
the program for the top bed, 24X36, usable on punchcard models 
the swatch repeat, 53X36
the starting setup on the machine
The knit bed is set to tuck in both directions, (44 needle images taken during knitting the 2/8 swatch) all black pixel rows will form knit stitches.
When pairs of rows with non-selected needles occur on the top bed, 
the ribber is set to knit, the tuck lever may be left in the up position. 
When all needles are selected on the top bed, 
the ribber is set to tuck
A closer look at the structure on the knit side
The revisited design was knit using a 2/8 wool, knit at tensions 9 on the main bed, 7 on the ribber, resulted in a wide, soft, drapey knit with improved stitch definition; 44 stitches measure 9.25 inches in width.
Slip stitch designs, beginning with “ripple stitch” sample
Using a spreadsheet to plan racking sequences and respective row numbers:
the repeat is 10 rows in height
1-5 the knit carriage is set to knit, the ribber carriage is set to slip in both directions
for 5 rows, marked with yellow cells
rack by four positions at once. The yarn and tension will need testing to allow for that much movement and for knitting the next row without yarn breakage or carriage jams
6-10 set the ribber to knit, 
knit one row
rack by one position every row X4, returning to the original position
set the ribber to slip in both directions again, repeat the 10 rows.
Following the charted sequence, set up with 3 needles only on the main bed on the right. As the sequence is completed there will be three needles on the knit bed on the left. The original needle setup is restored with return to the original racking position. 
The proof of concept knit in a 2/20 wool 
An easy racked pattern in 2 versions and with slightly different needle arrangements began with
the planned sequences in series with change in direction every 10 rows.
A punchcard machine can be marked with the row # to help track positions.
The inspiration:
Full cardigan is a tubular tuck, using opposite tuck/knit buttons. As one bed knits every stitch, the opposite bed will form loops on every stitch.
The yarn used is a 2/8 wool. The first test was knit on an every other needle rib
The second test matched the needle set up in the manual, but was knit in half cardigan, not full, with only the knit carriage set to tuck in one direction
A version of Brother block racked designs from the Ribber Techniques book uses the top bed to knit every row, with the ribber set to tuck to the right and knit to the left.
Reversing the racking sequence in direction results in some biasing of the stitches, not as evident in the swatch photo in the manual. That feature can actually be used to produce 3D projections.
Cumulative racking references
Cross-brand pattern interpretations: Dubied to Brother
Double bed embossed patterns
Origami-inspired 2: more pleats and folds using ribber
Racking on EON rib: some considerations
Racking mechanical handle repair saga
Racked patterns 5: Passap/Brother 2
More dragon scales and chevrons in ribbed, racked (4) fabrics
Racking: Passap/Brother 3
Fisherman and English rib checks patterns, Brother and Passap
Ribber fabrics produced with 2 knit carriages selecting needles
Combining knit carriage needle selection with racking
Vertical racking 3: automating half fisherman in pattern (2)
Racking 2: vertical chevrons/ herringbone +
Ribber pitch, a bit on racking 1: chevrons/ horizontal herringbone
Unconventional uses for punchcards 1: tracking racking positions
Racked ribber cast on
DBJ based on repeats in my previous posts:
Combining patterns referenced in previous blog posts
60X58
180X174
a single DBJ block with birdseye backing
Another striped block variation and the corresponding swatch can be found in the post on Developing tiled repeats suitable for multiple stitch types, including tuck
in the same post, knit as single bed FI but also suitable for DBJ, 30X30
with all those dots removed, knit as DBJ
Ribber fabrics with main bed tuck patterning 1/ pick rib explored a range of such designs, this version adds taking needles out of work on the main bed after the stitches on them represented in the groups of 3-cell white vertical columns are transferred down to the ribber
the starting repeat, 22X34
was tested on 58X68 stitches 
Narrow vertical columns of all knit stitches on both side edges worked on 3 or more needles on either of the two beds can form a functional rolled edge finish on double bed knits.
Playing with diamond and argyle repeats
More than a decade ago, I began a library of Hound’s tooth FI variations
that grew over the years. When I began publishing posts sharing my repeats was limited to screen grabs of the related charts. Since then I have been editing, adding PNGs that can be downloaded and used in electronic machines, or charts may be also downloaded and scaled as aids in marking punchcards.
Recent questions on argyle patterning have led to this post, which will grow periodically.
Many of the related designs form floats wider than the recommended maximum of 5 stitches and will require some float control unless they are knit as DBJ.
Some repeats are also suitable for use as thread lace or with tuck and slip stitch settings.
Elongation in some knitting techniques is to be avoided if possible. In some of these instances, multiplying the height of the original repeat X2 produces the more visually familiar argyle shapes.
Repeat segments can be edited to develop custom variations
16X16
tiled
16X17 
tiled 
16X34 
tiled 
16X32
tiled 
16X20 
tiled 
16X40
18X40
tiled 
20X28 
tiled 
20X40
tiled
20X56 
tiled
24X24
tiled
double height, 24X48
tiled
24X24
tiled
24X40
tiled
24X44
24X44
24X44
tiled
24X48
tiled
24X48
tiled
24X48
tiled
24X48
tiled
24X48
tiled
24X48
tiled
24X48
tiled
24X48 
tiled
24X60 for border or horizontal bands of design 
trimmed to 24X52 for all-over patterning 
24X96
tiled
24X96 
tiled 
32X44
tiled 
32X64
tiled
36X80
tiled
42X32
tiled
Passap 257 40X40
40X80
Working in multiple colors and color ways beginning with colors >invert all
22X22
22X44
36X36
36X72 
32X32
32X64
A coloring book approach can be used to develop DIY designs by filling in segments in any repeats provided expanding the color palettes, 
or creating custom-sized diamond outlines and filling in individual shapes between lines with colors.
Beginning with a 24X48 design 
visualization of patterns becomes easier on a larger canvas than one simply doubling the original to 48X48
96X96
the smallest repeat segment, 12X24 for quick color changes to custom 
A 24X48 repeat with all white outlines for filling in shapes 
reducing the number of colors 
shifting shapes: 12X48
It is possible to form related shapes with hand-transferred stitches, as seen in Using punchcards to track small cables in pattern (1)
New single bed swatches based on random sources of inspiration
I have had requests for detailed tutorials or videos on specific older samples.
The most recent posts on any stitch type do not offer detailed instructions; blog searches lead to the historical development of the designs and offer additional information.
The blog index allows for browsing by topic and offers direct links. That said, it is due for an update with the latest blog topics.
Proof of concept swatches usually follow the associated repeats.
A reminder, most are knit on Brother km models and rely on its preselection feature, absent in other models, ie. Studio. Using the provided punchcard repeats to automate needle selections may require more than just shifting the starting row number to match the results.
I endlessly encounter new sources of inspiration, adding them to the stack of saved stitches to explore, and reviewing old posts can also spark new ideas. A previous series of single bed work: Swatches based on adapting random online published repeats
This post will not be restricted to any stitch type but will include knit structures that currently attract my attention.
Tuck lace: all white columns correspond to needles out of work.
Sometimes, subtle effects are enough; here, EON is taken out of work. The punchcard repeat is 24X36.
The swatch was knit on 63 stitches that included 3 knit stitch borders on either side.
The setup on the needle bed. 
The yarn used in the bottom was a 2/13 wool, the top a 2/8. 
This chart illustrates a 24X40 repeat suitable for punchcard models.
Although the minimum repeat segment suitable for electronic models is far smaller, I prefer to program based on the full number of stitches in use on the knitting machine and add row height to reduce the number of beeping reminders.
My 29X50 swatch repeat, including added side border knit stitches 
repeated twice in height, knit in 2/18 wool. 
In the design, the yarn tucks for 4 rows, generally the limit for loop tolerance on 4.5 mm machines. The number of tuck loops can be reduced if planning to test thicker yarns, such as in this 3-row version. 
Using 4-row tuck designs and adding wider NOOW/needle out of workspaces: the 3 stitch NOOW columns are represented in this punchcard 24X40 repeat chart by the pale green vertical columns.
The placement of the needles required to be in work may depend on which model knitting machine is used. 
The swatch was knit on 51 stitches, with added all-knit 2-stitch borders on each side. 
Returning to an EON setup: also suitable for punchcard machines, the 24X40 chart shows NOOW placements and locations for potential color changes 
The PNG for the test single color swatch, including 2 stitch knit columns on both sides, 63X24
the test adding the second color; gentle blocking helps retain the 3D quality of the surface on the knit side
The last swatch in the post on Building more textures in needles out of work spaces was executed with hand manipulation using short rows, following this charted concept. 
Frequently, more rows may be tucked with manipulating needles than with automatic pattern selection. The design was automated, reducing the tuck loops on any needles to no more than four.
The proper needles must be pushed back out of work to produce a successful automated tuck lace knit. Depending on the machine models, the proper needles must be pushed back out of work, ie, 930 vs punch card, the design may be automatically mirrored horizontally.
The working chart was developed in a spreadsheet. 
The 24-stitch repeat may be used in a punchcard machine 
a 24X16 PNG
my programmed 51X16 repeat ensuring an all-knit vertical border on either side, 
the working needle arrangement 
the proof of concept using only one color 
and changing colors every 4 rows 
Slip stitch textures
As the slipped stitches elongate, those horizontal striped areas become slightly distorted. Only one color will form floats on the purl side with each pass of the carriage, not two as in FI, making for a softer, less dense knit.
The FI initial design repeat, 10X8
visualized in a potential color-way 
Color separated for use as a slip stitch design using method described in other posts.
The last 10X8 result is rendered twice as high for use with color changes every 2 rows, the 10X16 single repeat 
checked for alignments
The proof of concept
There are many ways to automate folds, including selecting the same needles for skipped stitches.
The rule of limited height of the vertical white bars does not apply.
The yarn creating the elongated slipped stitches must be strong enough not to break.
Single bed tuck/ mostly slip stitch fabrics 3 included this chart and sample for deep folds interrupted by plain knit horizontal bands
its 30X84 repeat
Applying the concept to a more overall design
the 47X72 PNG 
the swatch knit on 71 stitches, using a 2/8 wool and a lone variegated sock yarn ball from my ancient stash 
Using repeated slip stitch blocks to produce folds and ruffles
It is possible to play with taller color stripes or other DIY variations.
Selective weighting and adjustments in yarn thickness and tension may be required to “make things work.”
The yarn lengths between returns to specific colors may need to be cut and woven in.
The hand manipulation involved is often referred to as ruching.
“Winging it”: the test swatch was knit using 2 rows of white and 6 rows of each color on an even number of stitches, the work in progress on the machine 
the result 
For more deliberate placements, the color changes and locations for lifted stitches can be planned in a spreadsheet 
Single bed tuck and slip stitch fabrics 2: adding color
included this image from a Japanese Studio magazine
in executing it, although the electronic repeat does not need a row adjustment, there are other factors to consider.
The Brother color changer uses numbers rather than letters.
This is the design plotted in a spreadsheet, 
the 10X22 corresponding PNG 
color reversed for use with tuck patterning instead of using the button available in the machine 
the programmed PNG for the proof of concept swatch, 48X22
The color changes are not in a sequential order, and there are lots of yarn ends to weave in or disguise in a final project. The surfaces have more of a 3D quality than if knit using the slip stitch setting. 
Fair isle repeat from the post on Developing tiled repeats suitable for multiple stitch types, including tuck also suitable for DBJ, 30X30a new design, angled lines replacing dots, 18X16
14X12
planned test as single bed fair isle, the recommended maximum for float width is generally across 5 needles, here some are across 7, marked with colored cells. 
Depending on the yarn used, end purpose, and personal preference, they can be left alone, secured in a variety of ways, or switch to DBJ 
Adapted from a weaving draft, 36X27 
knit with some of the longer floats chained up during knitting on the purl side
..
Knit weaving 4: combining stitch types
Knit weaving 3 reviews some basics, and a list of associated blog post links is provided at the bottom of the page, including
Lace meets weaving on Brother Machines 2
Lace meets weaving on Brother Machines
Tuck stitch meets knit-weaving introduced the combined technique.
Many of these repeats are suitable for punchcard models as well. The caveat there is that there is no option for eliminating knit carriage cam button setting changes by using a second carriage to select and knit. They would need to be performed manually.
More on DIY combinations of tuck and knit weaving: if using a single carriage to execute these designs, then it is necessary to switch cam button settings from tuck in both directions to knit with needle selection for the knit woven rows frequently, as in this first swatch.
Actions: 
Altering the repeat while planning on cam settings to be changed every even number of rows also brings the possibility of using 2 carriages in electronic models, with one set to tuck in both directions, the other to normal knit (no cam buttons) but with needle selection for weaving rows, KCII 
Here tuck shapes are introduced, again planning for setting or carriage changes every even number of rows, in this case every 6, 
The tuck diamond is surrounded by a vertically woven one. The original design repeat was color inverted observing tuck “rules”.
The 1X2 white pixels will tuck, and the 2X1 side-by-side ones will serve as guides to the placement of the vertical weaving yarn. They are placed on rows with no conflicting selections. 
When the side-by-side needles are not selected, they are manually pushed forward to E and needles are double-wrapped away from the center at the bottom of each shape, toward the center (row30) when the top of the shape is reached.
Start of the second shape in the swatch: 
While retaining the outer shape of the design, the inner content may altered to provide a guide for horizontal weaving. The 24X48 design 
The PNG was isolated in the center of 40 stitches.
The surface woven floats may become visually lost when using space-dyed yarns with shades in similar families to the background, as seen in the bottom center diamond.
In the second center diamond, a different color-way yarn was also used double thickness without any change in tension. This resulted in the second thread not always getting caught properly, slowing speed and added caution improved the result.
The swatch was narrower than the sample knit using tuck stitch. The best way to weave in yarn ends would need working out. 
Combining weaving types with the intent to create a plaid effect:
the starting chart created in Mac Numbers 
The 24X28 repeat 
The choice of the yarns may require tension or color choice adjustments, when the weaving yarn is not caught properly, the longer floats are formed. 
Here simple color striping is added. The background red yarn is a thin 2/10 wool, the horizontal weaving yarn a space-dyed sock one, and the vertical weaving one a varied fiber space dyed hand knitting yarn by Noro.
The image on the left shows the vertical weaving setup work on the machine, the ribber gate pegs and needle butts appeared to help to keep the yarn lengths from twisting around each other as the work progressed. 
Adding needles out of work:
A common base for knit-weave published patterns is seen in the pattern configuration seen in what is known to many punchcard knitters as card #1 
When there are needles out of work in combination with patterning, end needle selection must be canceled.
The set up row for adding ladder spaces is planned so that patterning in 3 stitch columns begins and ends on a pair of selected needle 
In this sample with horizontally woven rows, the ground yarn is a 2/20 wool, the weaving yarn a space dyed sock yarn resulting in random color blocking. Relaxed the knit resembled shadow pleating, here it is shown after pressing and steaming 
Using separate strands, vertical weaving may be performed along each 3 stitch vertical columns.
The work on the machine: the ribber gate pegs and needle butts helped keep the yarn lengths separate.
Yarn is always laid over needles with the continuing, long end away from the carriage. In this case, the it was lifted over single selected needles to the right, then over pairs of selected needles to the left. 
Slip stitch is known for compressing the height of the knit and narrowing its width. This attempts to alternate knit woven stripes with slip-stitch ones utilizing a similar repeat. For the slip texture to be more visible, the related segment is rendered double height, and color reversed.
Here setting changes to occur in even-numbered blocks of rows. The design is shared repeating across a punchcard width, 24, X 24 rows in height. 
Eight rows are knit with the carriage set to knit but selecting needles, and 16 rows with the carriage set to slip in both directions. 
Comparable or the same yarns are used to evaluate the results when varying techniques and stitch types.
Here a 2/20 wool in a color similar to that used in the above sample forms the ground.
The woven section has some drape and stretch, the stitches are forced apart producing interesting bleed-through on the knit side and making the fabric reversible.
The same repeat and yarns are used in the top half of the swatch as a fair isle, without any change in tension. The knit is dense, stiff, and narrower with no stretch to speak of.
The 10X10 design 
