“hot off the presses” 80% alpaca/ 20% silk collars with embellished ties; they measure approximately 9+ by 25 inches, the fabric is pin tuck rib knit on Passap KM
some ideas on how to wear them
These scarves were designed using the same method as described for mazes and mosaics, they are knit in rayon chenille, fringes are composed of i_cords applied to cast on and bound off edges. The smaller shape/repeat allows for more control over fabric width while retaining full repeats
blue ovals: 11X58 inches excluding 3 inch fringe
BW: 9.5 X 58 inches excluding 4.5 inch fringe
time to stop playing and get back to winter inventory production!
hot off the presses 11/10: tuck stitch 11 X 60 rayon chenille
an unplanned “mutation”
scarves measure and average 9(+) inches in width, 60(+) in length after blocking
11/17/2012: some colorways
Maze patterns have long vertical and horizontal lines broken by regular gaps and the pattern lines change course from the vertical to horizontal, and vice versa. Maze cards can be identified by completely punched sections, some alternating with every other square marked for two rows, usually geometrically shaped. Areas of stocking stitch produce horizontal colored stripes, and alternating pattern stitches that slip or tuck cause the vertical stripes, which are sometimes pulled nearly diagonal by the influence of tuck or slip. The fabric will be unbalanced because the number of needles slipping or tucking will not be the same on every row. Odd rows form 2 color horizontal stripes, even rows vertical stripes, with color changes occurring every 2 rows.
Mosaics have a brick arrangement (tessellae), with clear perimeters and cores, and stepped diagonals (frets) that are partially formed bricks, their positive and negative spaces are created by the use of contrasting colors. The stripe sequence is not as obvious. The punchcard looks even less like the original design.
In single bed work, the reverse of the fabric will show the original design in the texture of its slip or tuck stitches. There usually will be no floats longer than one or two stitches.
The knit side may look like a fair isle but the back lacks the usual long floats, hence the name “float-less fair isle”
The row gauge is compressed. Tuck fabrics are short and fat, slip ones tend to be short and thin. Some patterns elongate in washing. The tension used is usually one number higher or more than that used for stocking stitch for slip patterns to reduce their narrowing, tuck patterns may also have to be adjusted to suit. Smooth yarns in contrasting colors are the easiest to establish and test the pattern, then the choices can be far more personal.
Designing your own: traditional “rules”
Susanna’s chapter on mosaics has information on fabrics where “rules” get broken. Changing the order of the colors or introducing a third color may yield pleasant surprises. Knitting is started on a non-patterning row with first-row selection toward the color changer in Japanese machines. If you have a machine that preselects needles: color must always change when the needle selection changes. Four movements of the carriage are required to produce two rows of knitting.
masking alternate rows and “separating them”: odd rows knitting in color 1
dark squares get punched out/ drawn, light ones tuck or slip depending on cam settings
light squares are punched out/drawn and will knit, dark squares ones tuck or slip depending on cam settings
colored areas below are those to be punched overall
I used Excel to eliminate yellow fill on odd rows, darker fill on even. Many articles on this subject date back to graph paper, pencil, and eraser days. Quick color fills including empty make the process quicker with software. Still finding the image above confusing, it may be easier to decide what to draw on the card/mylar if all areas to be punched are dark, blank squares can then be more easily identified and marked, punching everything else or coloring them in and using color reverse if your machine has that ability. In the image below the lighter color is replaced by a darker one
the resulting card, which needs to be elongated X2
The swatches were knit using both the slip and tuck settings (also breaking the usual rule). Some of the tuck rows have a bit of color scrambling likely due to the amount of side by side tuck loops in the repeat not knitting off properly in those spots
slip stitch front
tuck front shows the repeating trouble spots
point grids for developing designs are of 2 types
in turn, the pattern may be drawn over them
staggered units may require some cleanup and “erasing”, as represented by pink squares
when the shape is what one desires, color separation follows as for the design at beginning of the post
Susanna Lewis at one time did publish a technique that could be entered in the E6000 that essentially did the separation; wincrea does not presently download techniques, there are other programs that can, and/or a combination of card reader sheet and computer download may be used, but that is for another day.
Many punchcards that obey the usual restrictions for tuck, in particular, may be used to create “random” mazes and mosaics, with color changes happening every two rows. Test swatches will show differences in surface texture, patterning, width, and height of the knit. It is useful to use clearly contrasting colors to study how the structure of the fabric is affected by different techniques. This test series explores the quality of the stitches created, along with using different knit carriage cam settings, although this repeat does not produce designs typical of either mosaics or mazes.
The swatches were knit during a class demo, for easy visibility, not as studies for finished garments or accessories. They were produced on Brother punchcard KM, using a single bed color changer. Electronic KMs advance a row for each pass of the carriage regardless of its beginning position/side. As noted in later blog post shares, such fabrics are produced more quickly and easily if an electronic is available with 2 compatible carriages for use.
Yet another single color variation, missing here, would be to use opposing buttons for tuck/slip.
The first preselection row is toward the color changer. The FI pattern front with a bit of bleed-through where floats were hung up on the purl side
tuck 1 color slip 1 color tuck 2 colors slip 2 colors last but not least, slip stitch adding a third color front, still changing colors every 2 rows
Two great books on the subjects by Kathleen Kinder:
Susanna Lewis: “A machine knitter’s guide to creating fabrics” pp. 71-78, 1986. “Designing your mosaics” and “Figurative designs in machine knitting” were published in To and Fro Magazine, and presented at Passap University app. 1992
Denise Musk: “The technique of Slipstitch” pp. 36-46 1989
Barbara Walker Mosaic knitting companion CD by Morgan Hicks 381 motifs “charted and converted for your electronic knitting machine or crochet, .pat or .pcx format”.
A DVD stitch compendium salute to Barbara and an interview with her. Most reviews online describe as it being most suitable for beginning knitters. For a treasure of her treasury patterns including some cable stitches, one may visit The Walker Treasury Project. The group’s photostream may be found on Flickr.
My usual fall inventory is in production once again, new this year: an abbreviated version of my scarves to be worn as a buttoned “cowl”. Length is approximately 29.5 inches. Width varies slightly depending on small variations on yarn weight/thickness, averaging around 9 inches or a bit more. Below are images of my first sample/ ideas on “how to wear”