Slip stitch patterns with hand transferred stitches, double bed

It is also possible to create solid color patterns on the purl side on a striped ground by at first transferring all stitches down to the ribber, then, in turn, using slip stitch selection on the top bed to choose only the stitches that will be manipulated on the main bed. A similar repeat worked on the single bed, may be found in the previous post on Slip stitch patterns with hand transferred stitches, single bed. And a relative, including a double bed version: Bowknot/ Butterfly stitch on the machine, and: A no longer “mystery pattern”.
When working over a striper backing, the color changer is generally in use, and changes happen in even numbers of rows. In my test swatches changes are made every two rows, and whether single or double bed, the color yarn creating the solid color shape needs to not knit while the alternate color is worked only in the background. The held stitches grow in length.
End needle selection is canceled in my samples. The extra needle selection prior to the next all knit row helps track the direction of the moves, stitches are moved three at a time, there are no cable crossingsThings do not always “work”, that is part of the process The next step for me was to explore cable crossings on elongated stitches working double-bed. A basic pattern on any programmable machine for playing with elongated stitches on one bed while knitting every stitch on the other is to program pairs of blank rows followed by solid punched or black pixel rows. The yellow line in this chart illustrates the row on which cabling might occur. Programming the width of the needle bed allows for only the stitches forming vertical columns in chosen locations to be put into work, allowing one to place groups that will involve crossings anywhere on the chosen pattern width. A base is knit in the ground color, which slips for 2 rows on the main bed, creating the elongated stitches that will be cabled. I had no problem with 2X2 cables,  but as in working on the single bed, for me, straightforward 3X3 crosses were not cooperative, even when I attempted to introduce extra knit stitches on the sides that were then dropped for added give on the last slipped row, taking me back to the drawing board. Cabling, returned to in a later post, with adjustments, making things work. Continuing with shapes on striped grounds, this is the result of a self-drawn pattern  The approach is different than in the blog post on Brother shadow lace, rib transfer carriage, where shapes were created in only one color, and the textured patterns by bringing needles in and out of work on the ribber. To create the striped ground in the above, color changes happen every 2 rows. The ribber knits every needle, every row. With the ribber on half-pitch, the transfers are all made from the main bed needle to the needle immediately below it and slightly to its left.
In the chart on the left, the green cells represent black pixels that will be programmed for patterning on the top bed, red cells, the stitches on the top bed that need to be transferred down to the ribber on the respective row.
Grey cell rows stand in for all blank ones in the final repeat.  This design is too wide for punchcard machines, but the fabric is possible there as well in different widths, isolated or all over. After casting on, all stitches are transferred to the ribber. Border, plain knit stripes can be added by simply having a larger number of needles in work on the ribber than the planned pattern width. With no needles selected in the pattern on the top bed, those ribber stitches will simply knit every row.
These fabrics are a little different than those with needles out of work on the main bed while using the slip stitch setting, in which case KC II on electronics, end needle selection needs to be turned off on all models. When all needles are in B position, depending on the pattern, KCI may be used. Simply using KCII eliminates any guesswork.
The first preselection row is toward the color changer with the knit carriage set to slip in both directions, only patterned area needles need to be in work. Non-selected needles, as usual, perform no function while those corresponding to where black pixels or punched holes occur will pick up loops on the top bed, initially creating eyelets, and then continue to form knit stitches until any of the corresponding stitches are transferred down to the ribber. The pattern yarn forms a short stitch in one direction, an elongated one in the other. A detailed close-up of stitch formations Plain striped rows in areas without the design continue to be knit in the slip stitch setting, or every needle in work on the top bed will pick up loops.
When hand manipulating stitches it pays to be mindful of maintaining all needles in the pattern in B position, not accidentally sliding them back to A.  In the past, I have attempted pile knitting on my machines. Studio machines produce the best fabric in the category, I have read Toyota performed as well. Books such as this are a good source for pile designs, including the card repeat used in my proofs of concept Punchcards, in theory, may be used as given and set to double length, while for use in electronics drawing the pattern single height and using the double-length setting is also an option. Starting sides and fixing errors have always been more confusing for me when using the double-length feature, I prefer to punch holes or program pixels as I intend to knit them. The isolated reduced repeat for use in the electronic is charted, with an initial one-pixel error in 2 consecutive rows, marked with red cells. In transcribing any design, it is worth checking repeats multiple times after eyeballs and brains have had a rest. This was my start:
The design process using Numbers before exporting the repeat to Gimp for reduction to B/W png: in this approach, the repeat is drawn double height to start with. The red cells represent stitches that will be transferred down to the ribber before knitting the next row in the pattern color from left to right.  The first test is of an isolated motif. The yellow arrow points to the pixel error, the cyan to the positions where some needles in the full repeat were “accidentally” placed in A position, not B, resulting in pattern stitches not being formed.  Another review of the original card, a final adjustment in the repeat: Tiled view, committing to the result, the larger test swatch Two other options for charting the fabric in numbers: A. draw the repeat as given
B. starting cell size used was 20X20, change the height to 40
C. mark corner blank cells and screengrab for Gimp import
D. the repeat processed in Gimp matches the first version
Any simple Fair Isle repeat may also be used. The numbering in the charts matches what is normally seen on the left edge of the tables
A. the FI repeat, 8 rows high
B. a table slightly longer than double the repeat height, hide even-numbered rows
C. copy and paste the FI design on the table with hidden rows
D. unhide rows, isolate the repeat, adjust cell height, and continue to process as described above 

The original punchcard design may be used in a different manner if the goal is a single color fabric. The design may be copied as is, then filling in the blank lines with the same holes or pixels as in the row directly below it. Here, in addition, the repeat is altered to accommodate a half drop repeat on the right with a few pixels changed. My initial proof of concept is 32 stitches wide, narrower than the full repeat The rows need to be scanned before every pass, as transfers to the ribber are not symmetrical due to the shapeshift on the right of the design. The world of possibilities grows even further for single color shadow lace, when, examining the same design, one recognizes that the pile knit card, with the blank rows filled in in pattern, is the same as the fair isle version of the repeat, rendered double long Some authors have suggested plaiting as an alternative to creating shapes with true brioche, which can be complex.  To my mind, plaiting falls in the beauty being in the eye of the beholder category, I prefer far crisper color distinction in my knits. This sample from the previous shadow lace post uses thick and thin yarns  Using the image adapted from the studio pile card once more, I tested using 2 yarns of similar weight, the adjusted test repeat: its accompanying test swatch

I have long been interested in pleated knits, both single and double-bed. Working single color or with plaiting makes the repeats easier for DIY designing. Seeking proof of concept for possible “origami” pleating: on the left, yellow marks the spots for transfers to the top bed, which will create folds out toward the knit side. For folds toward the purl side, stitches are manipulated on the ribber, with the final design repeat shown on the right. The ribber carriage is set to knit throughout. The needle from which the stitch is transferred to the main bed is moved completely out of work. After the transfer, the main bed needle accepting it is returned to the D position.
The knit carriage is set to slip in both directions, end needle selection is canceled.  Subsequently,  non-selected needles, 1 in the photo, serve as guides for transfers to the ribber, made every two rows. The needles emptied from the transfers need to be maintained in the work, B, position. The selected needles, 2 in the photo, will pick up loops automatically, creating eyelets as seen in previous swatches. The swatch would have benefited from tighter tension or thicker yarn, the folding effect is greater than reflected in the photo. Initially, those pairs of center stitches were not transferred up to the main bed, showing the absence of that fold when that action is omitted. Any of these patterns benefit from deliberate planning of the placement of the pattern on the main bed, not done in this instance.   Transitioning to smaller repeats, tiling will help avoid patterning “errors” as seen here where the full diamond shapes reverse  Graph paper or spreadsheet planning will help avoid misses in necessary transfers in areas where all needles have been selected the file for multiple repeats after color reverse the test knit as using transfers as described above and here the empty needles creating the eyelets were filled by picking up the purl bar from the stitch below on the ribber. A lot of work for a change that is not significant in the structure of the fabric.  In my last test on eliminating holes and how that affects the degree of the folds, transfers to fill in newly selected needles on the top bed were made from below the adjacent needle on the top bed, B, as opposed to immediately below on the ribber, A If patterning is used to track transfers, needle selection on the top bed needs to be maintained throughout, the result of this process is not interesting enough and just too fiddly and time-consuming for me to be interested in exploring it further There is an interesting scale and depth of fold comparison between this version and the first using the repeat, achieved by tightening the tension as much as possible, and possibly by reducing the size of the eyelets.

Exploring manipulations with more than one color patterning on the main bed: there is a type of DBJ that relies on knitting the same color for 2 rows that is inherently different from the KRC built-in separation that is the default in the Japanese model machines. It causes elongation in the design, while the KRC version minimizes it. The differences and methods of the corresponding color separations have been discussed in other posts. Stitch manipulations may occur when working DBJ as well. Simple designs make the best start for beginning to explore the topic An easy variation is to plan full repeat segments mixed with a striped ground worked only on the ribber Take care if copying and pasting single columns to alter a repeat width that the whole column is indeed copied and that if using the pencil tool flood fill is not used unintentionally. The original intent was also to correct the elongated slip stitch segments on the edge of the programmed vertical designs marked in blue, but the paste with errors in red accomplished creating the same issue The design is programmed for DBJ. Because of the color separation used, the first preselection row is from right to left. Before knitting the first pattern row, all 10 non-patterning needles on the main bed were transferred down to the ribber. The first segments were knit using striper backing, with the ribber knitting every stitch, every row, in both colors. When a slip stitch is used with needles out of work on the main bed, end needle selection should be canceled. In A it was not. The result is that end needles alongside the out-of-work column knit with each color in each row. In B, end needle selection was canceled, and one can now see the elongated slipped stitches that result from areas that should have been marked with the contrasting color As long as the number of stitches on the ribber is even, lili buttons may be used, affecting the scale of the pattern in both height and width. In A, they were used with the ribber set to slip in both directions, in B, set to tuck in both directions. C marks the return to the N/N setting, with needle transfers to mark a possible pleat. The initial pleat idea charted out for single stitch folds, stitches transferred to ribber in the R columns, to the top bed in the T columns The result is a fairly soft pleat, the choice below was to retain end needle selection.  Various ribbed pleat configurations are explored in Pleats: ribbed, folding fabrics. This repeat may not be the best to use for a variety of reasons, but experimenting while using the same design and yarns can be useful in understanding stitch formations. Theoretically, the alternating direction of folds should create sharp or knife pleats. folds up asPaired transfers in the planning stages: because the repeat is small and has a single center pivot point, it is rendered once more, adding columns Here the transfers planned to opposite beds are marked on a 48 stitch repeat with red cells.
The resulting fabric relaxed on the left, lightly steamed on the right Note: the color positions in the design have been reversed from those in the first swatch. If “floats” are noted at any time in the spaces where needles are out of work on the ribber, look for dropped stitches.

Vertical bands of color,  even in patterns may be transferred to and from beds to achieve a sort of intarsia effect. One option is to work with vertical bands of fixed color, using the KRC built-in separation. When shifting gears it is useful to remember the starting side for the preselection of the first row of patterns. With many of the previous patterns, designed for color changes every 2 rows, starting side was on the right, toward the color changer. With KRC in use, the first preselection row is away from the color changer on the left, moving toward the right. With either method, starting on the wrong side will knit stripes as opposed to planned patterns.  Needles in locations where only the backing is to be shown are transferred down to the ribber. Leaving the eyelets, they were transferred back up to the main bed when brought into work to reverse or change the shape. Addition and subtraction of stitches take place before the next pass with the alternate color. Here movement is random, to get some sense of the effect, it could be made deliberate by following a chart or color separating and automating the pattern, with its starting side on the right.  This sample is from a much earlier post. Transfers could be made less frequently to change the angles in the resulting shapes, always onto the same color What of having shapes appearing in each of the 2 colors on a striped ground? Eliminating some of the guesswork I used the repeat from a previous single-bed blog post on block slip stitch color separations The repeat, 32X44The resulting sample, the yarn is thin, might have benefited from tighter tension and more contrast.  These fabrics and related shadow lace ones fall in the category of double bed embossed patterns, many more variations are possible, and deserving of their own post.

Brother shadow lace, rib transfer carriage

I have probably owned this accessory since the early 90s. After making a faint-hearted attempt at using it at the time and failing, it has been stored in the original box in the interim and just came out of retirement. The multiple languages operating manual for its use may be downloaded from http://machineknittingetc.com/brother-ka7100-ka8300-transfer-carriage-user-guide.html. There are several video tutorials available on Youtube. As a group, they generally illustrate simple transfers across an entire row in structures such as ribs used for bands and cuffs. This one is offered by Knitology 1×1, Elena Berenghean, a young knitter publishing very good machine knitting video instruction on a huge range of techniques.
The tool is designed for the standard gauge and transfers only from the ribber up to the main bed. It is best to use yarn that has some stretch. The recommendation in the manual and in youtube videos is to perform the transfers with the pitch set to H. My own ribber is balanced, I found I had problems with transfers in that position, several carriage jams, and to get things to work properly in half-pitch I had to use the racking handle to move the ribber needles slightly more to the left for the transfers. The needles containing stitches to be moved, need to be slightly to the right of the needles with which they will share yarn, that spot may turn out to also be just wide enough to allow for the pattern to be worked without changing the ribber pitch.  The yarn used is a 2/18 Merino, knit at tensions 3/5. In terms of positioning the carriage, a wire that is akin to that found on Passap strippers is on its underneath. In positioning the carriage on the beds, check visually that it is indeed lying between the gate pegs of both beds prior to attempting to travel with it to the opposite side If any carriage jam occurs, it takes cautious wriggling to release the wire and carriage. Upon completion of the transfers, simply lift up to remove it from the beds.
Generally, the ribber tension used needs to be set on 4 at the minimum. The last row just prior to transfers will likely need to be knit at a looser tension than the remaining rib. If the stitches are too small they will not be picked up for the transfer. Folks familiar with lace knitting are aware that just the right amount of weight can make a difference in forming proper transfers. With these fabrics, too little weight may result in loops forming on gate pegs, too much weight, and stitches may remain over closed latches on the ribber needles and not share their yarn for transfers.  Again, the transfer carriage operates only from right to left.
Studio instructions for their version of the accessory actually offer some different and more specific recommendations. When knitting full needle rib all the needles or pattern segments the machine generally will be in Half Pitch. Though there are needles in work on both beds, the ribber should be set to full pitch, aka P position, “point to point” prior to transfers, bringing them in close alignment in order to facilitate the process. Passap machines accomplish the same by changing the angle of the racking handle to other than the full, up placement in order to achieve the necessary alignment.
The Brother accessory and its parts, have clear imprinted illustrations for use

The change lever has only 2 positions, up and down respectively Its position is determined by the number of needles on the ribber one wishes to transfer.
The carriage manual recommends its use after knitting a last ribbed row to the left, but it is possible to use it with both knitting carriages on either side, as long as there is generous space to clear all stitches when the accessory is placed on the bed, moved to the opposite side, and removed. An extension rail may be needed to achieve that amount of clearance.
Operating slowly, one can watch the process of transfers while moving from right to left. Though skeptical, I found the transfers happened easily, with occasional skips. I worked with hand-selection of needles on the ribber to create a pattern, first with hand-selection, then with racking the ribber position to change the relationship of needles on one bed to the other, initially transferred after every 2 rows knit. The knit carriage was set to knit both ways, the ribber to knit in one direction, creating loops on the selected needles, and securing them in the other, allowing for the loops on the ribber needles to be transferred up to the main bed, before working 2 more rows. The “errors” in patterning were operator errors in needle selection as stitches were dropped, and not all the required needles were then returned to work position. Not a technique I would use for all-over fabric, but good practice. When the transfer occurs properly, the ribber needles will have yarn placed over closed latches, ready to be dropped, the yarn is shared and looped over stitches on the main bed, akin to tuck loops, outlined in the photo with the black oval. The first image is from the manual for the accessory, while in the photo, one improperly transferred stitch is outlined in red. To prevent dropped stitches from happening, any such locations will require a hand transfer to the opposite bed before dropping the remaining ribber bed shared stitches For my test I used EON needles on the ribber, planned alternating selection for each new transfer. This could be done by selecting dashes and blank spots on needle tape ie. dash in the above photo, blank spaces below  It was faster to achieve the effect by changing the ribber relationship to the main bed using racking by one position ie 10, 9, 10, 9, etc. prior to picking up the subsequent set of loops. The errors in the test swatch were from failing to bring all the needles back up to work after dropping their stitches. Using a tool ie. a ribber comb placed over the out-of-work needles prior to dropping stitches made the racking process far less error-prone,  will keep the appropriate needles from being accidentally taken out of work. My first attempt at creating shapes includes a band at the bottom where the EON transfers as above were made, but every row. Simply bringing needles into work on the opposite bed creates an eyelet. They can be eliminated by sharing stitch “bumps” on the opposite bed, but for the moment they are a design feature. The texture created appears in the areas involved on both sides of the knit It is possible to transfer single needles at sides of shapes ie or whole rows, but the change lever needs to be set to position accordingly.

Many knitters have one of these tools in their stash,  they are sometimes referred to as “jaws”,  intended to facilitate transferring between both beds, and patterning was intended for Studio punchcard machines. The enclosed punchcards: Shadow lace tools are marked side 1 and side 2. Some are blue on one side, cream or white on the other, the blue side is side 1. The process always begins with side 1, or blue. When the stitches have been removed, the jaws are closed, allowing the stitches to slide over to side 2. The jaws are once again opened, and the stitches are transferred to the opposite bed. Studio machines select and knit in single pass rows. Brother preselects for the next row of knitting while knitting any one row in pattern as well, so transferring in pattern from the top bed down with such a tool would be problematic to maintain proper pattern needle selection.
To transfer from the ribber up on any machine, place the teeth of the jaws on the needles on the ribber, holding it with both hands. Pull needles up until all stitches are behind the latches, then push down with another tool or one of your hands until all stitches are on the jaws.
Release the tool from the ribber needles, and rotate it away from you, toward the main bed. Close its teeth so the stitches are transferred onto side 2.
Open teeth, place eyelets over the main bed needles, and stitches are transferred onto the main bed by rotating the tool away from you just a little and tugging down a bit.
On Brother, the possibility of having patterning on the top bed to help track patterning on the ribber in some way comes to mind. This was my start, with the first draft of electronic repeats. I stopped when I began to have some tension issues, loops on gate pegs, and a distracted brain.
Transfers of stitch groups, whether by hand or using the accessories are made on rows where no needle preselection occurs on the main bed This series is a proof of concept for my approach to developing electronic cuesThe original repeats were modified to include 2 blank rows between segments that allow for transfers between beds not hampered by needle preselection on the top bed. The motifs are color reversed, but not the blank rows between themThe knit carriage is set to select needles KC I or II, end needle selection does not matter. All needles on the top bed knit every stitch, every row, whether or not those design rows contain black pixels. No cam buttons are pushed in. Blank areas between black ones indicate the number of needles that actually need to pick up loops on the ribber to create shapes, filling in spaces between selected needles until an all-blank row is reached for making transfers. The chart on the far right illustrates a shape where the easiest method becomes one where stitches on the ribber are manually transferred to the top bed in order to reverse the shape and maintain every row preselection. The selected needle corresponding to the black square marked with the top of the red arrows is pushed back, the ribber stitch below is transferred onto it, the needle with the couples stitches is brought to E position, moving across the bed in proper locations prior to knitting the next row.  In this repeat, the side vertical panels of ribbed stitches are added. The knit stitches on each side of them roll nicely to the purl side, creating what in some fabrics can actually be planned as an edging. My takeaway is to test the accessory with some patience, sort out the sweet spot for the ribber needles in relation to main bed ones in terms of handling transfers and yarn thickness, use colors that allow for easy recognition of proper stitch formation, keep good notes, and “go for it”.

One way to add color to the mix is to use the plating feeder.

In the first sample, equal thickness yarns were used, the colored yarn was a rayon slub with no stretch and slippery nature. The bottom of this test used a wool yarn of equal weight to the light color, which proved hard to knit. The red is a 2/48 cash-wooll A very narrow test for a possible pleated pattern  

It is possible to construct the same type of fabric on a striped background. It can be achieved low tech with graph paper and pencils if needed, using a simple paint program, Gimp alone, this is my process using Numbers and Gimp:
1. determine the desired shape, width, and height, checking that it also tiles properly
2. create a table with square cells the same width as the number of stitches in your design, twice its height; use an even cell size ie 20X20 pt
3. hide all odd-numbered rows from the top of the table down, the table will shrink from 20 rows to 10
4. draw your repeat
5. unhide all rows
6. copy and paste the table; double the cell pt height only to 40, making the repeat twice as long
7. mark corners or part of the edges with another color to make it easier for Gimp to identify them, select all and remove borders, grab the image with an added surrounding colorless border
8. open the screengrab in Gimp, use crop to content, fill colored squares with white, change the mode to indexed BW, scale the result to the appropriate size, in this case, 18X40, export png Cast on for EN or EON rib. Transfer all the main bed stitches down to the ribber. Extra stitches can be cast on and transferred in addition to the planned width of the repeats to create a border on either side of the designs. During patterning there will be stitches in work on both beds at intervals, so the pitch needs to be set to H while knitting. When the top of the piece is reached, transfer all ribber stitches to the main bed and bind off.
The first preselection row is knit from right to left in the contrast ground color.
With COR bring all the needles to be worked in the pattern color to B position on the top bed.
The knit carriage is set to slip in both directions. End needle selection is canceled. The ribber remains set to N/N for the duration. Knit to the left and begin changing colors every 2 rows.
The shape increases are created automatically, with eyelets at the edges where each stitch is picked up for the first time on the top bed. COL when the first needle is preselected in this case for the start of the next shape, transfer all previously formed design stitches on the main bed down to the ribber, continue knitting If any stitches are pushed all the way back or in mixed alignment during transfers,  be sure to return them all to B position, not disturbing the needles already preselected for the next pattern row,  repeat as needed. Because one color knits with every carriage pass while the other slips behind it not knitting for those 2 rows, the striped background fabric will become distorted depending on yarn and stitch size used, most likely particularly noticeable at the top and bottom edges of the piece.

Pretend multi color ribs

WORK IN PROGRESS

A recent Ravelry post brought this topic to light. Using slip stitch settings makes the final fabric narrow and not stretchable. That said, there may be times when vertical columns of color would benefit the remaining design. This first experiment is on a Brother machine. The repeat used is for a simple 2X2 block It is programmed for 2 color knitting, set up for use with the ribber and color changer. The first KC row is from the right to the left, with color changes following every 2 rows. When the carriage is first on the left, the knit carriage is set to slip in both directions. In the tests the ribber is set to knit in both directions for the sample on the left, to slip to the left for the sample on the right. When the ribber is set to slip, the main bed only will knit in the corresponding direction, and floats will be created between selected needles on the main bed. The number of rows completed on the ribber are cut in half, the resulting knit fabric is more compressed, less elongated, and narrower A closer look The same repeat may be used to produce a tucked version. In many punchcard machines, a card is supplied with a 2X2 check. With the main color, in a suitable yarn, cast on for 1X1 rib. Set the knit carriage to tuck and the ribber carriage toknit. Knit 2 rows with the contrast color, followed by 2 rows with the main color, repeating for the desired length of the rib. Knit the last row in the main color with both carriages set to knit. Transfer the ribber stitches to the main bed to continue knitting single bed.

Slip stitch patterns with hand transferred stitches, single bed

This post originally included samples worked using needles on the ribber as well, now in another in progress post: Slip stitch patterns with hand transferred stitches, double bed
An earlier post with a range of single-color experiments: A hand-knit consult to machine knit slip stitch
The inspiration source for the topic here was found on Pinterest Adapting the motif for machine knitting, visualizing the actions needed. The repeat is suitable for punchcard machines as well. The first preselection row is toward the color changer, end needle selection is on. Cable crossings, 1 front, 3 back, are made every 4 rows except where the color reverses at the midpoint, where 4 all knit rows are preselected and occur. The fourth, extra non selected needle, X, is removed on a tool and held in front of the work. The three adjacent stitches are then also removed on a tool, moved to fill in the now empty needle to the left in the bottom segment of the repeat, to the right in the top half. The remaining held stitch is then transferred onto the newly empty needle. All stitches in the transfer group are brought to D, the remaining needles should have been preselected. If any have been disturbed, line them up as well so all the needles will knit with the carriage set to slip. The color is changed, and the row with the completed transfers becomes the first all knit row in the next color pair or rows. 
The repeat as programmed into my 930
Working on a single bed is for me, more user-friendly than double bed. I like to program the width of my repeats when possible, they can then be treated as single motifs, the default in the 930 with downloads using img2track, and I do not have to rely on notes, memory, or position programming to place the work predictably on the needle bed. My full repeatThe knit carriage was set to KC I and to slip in both directions, the same design and execution methods were used as for the first swatch. The yarn is 2/18 wool, the tension was set at 4.., the slipped and crossed stitches pull the fabric in both width and height, the swatch was steamed and pressed to flatten it. Small eyelets occur along the edges where the single stitches were moved to one side or the other across three needle positions. It was not possible to produce a 3X3 crossing at the center of the shapes. Over time I have encountered illustrations of unraveled knit or slipped stitches being brought out to the purl side, creating thread patterns on the knit surface, and changing the color structure on the purl. This illustrates a slip stitch being created via a hand technique Here the dropped stitch is hooked up on the purl side  Using the automated slip stitch setting simplifies the technique. The method often described to deal with moving the elongated slipped stitches is illustrated below. Using a latch tool inserted behind the slip floats, remove a single slipped stitch at a time, passing it under the slip stitch floats, and rehanging it in its original needle position.  In testing techniques, a simple design that is recognizable with the preselection of needles makes it easier to track progress and accuracy. Though these patterns may be executed in a single color, working in contrasting, bright yarn colors is helpful in isolating stitch formations and understanding their structures. More than one stitch may be moved at any one time. I found when using more than 2 rows of slip the ground fabric began to look gathered and distorted, so my tests are knit using 2X2 pixel blocks.
To move the slipped stitches, slide a multiple eye tool under the slip stitch floats that are to be moved to the front of the knit, holding the tool parallel to the knit bed, lift floats up and onto the non selected needles,   pull tool forward, so stitches and floats move behind the latches push tool back toward the needle bed lift the slipped stitches and floats together onto the tool insert a latch tool from behind between the prongs of the multiple eye tool,  lift the floats over the eyes of the tool, placing them behind it and the slipped stitches, being careful not to hook them up onto gatepegs,
now lift the original slipped stitches back onto their previous place on the needle bed, they will be part of the first all knit row in the contrasting color;  bring the needles with the restored stitched out to E, thus making certain they will knit as the carriage makes its next pass The pattern is charted below in development, color changes were planned every 2 rows. The third blank row in each slip stitch location marks the spot for the above manipulations to take place, noted in the chart with grey cells marked with pink dots. After the initial preselection row toward the color changer, only for the first all knit pattern row, push non-selected needles out to hold, E, to ensure all stitches will knit in the ground color. Subsequently, the first design row is part of the continuing repeat. The next color change will begin to form the floats. The sequence at the bottom of the swatch is off because I had a change of heart about which color I wanted to form the solid color shapes To my surprise, the process became oddly meditative, and I moved onto a different motif built with 2X2 pixel blocks. As seen with mazes and mosaics, a design intended for standard fair isle, tuck, or slip, with color changes every 2 rows, will produce an altered final shape,  Combining hand techniques: the starting chart begins to address the movement of stitches. On the left, the placement of crossed colors is shown, but technically the design produced is different. On the rows marked with X and red cells, cable crossings are made. All stitches in that row are then pushed out to E, the color is changed and the result is that row and the preselected next one are going to knit on every stitch, those rows are highlighted with red cells on the right as well. Black cells reflect punched holes or repeat for a 24 stitch brick repeatTwo types of crossings were used in the swatch, one moving the elongated slipped stitches on the knit side of the work, the simpler process,  the other involves moving the slipped stitches to the purl side of the work which the purl side after slipping the slip stitch floats behind them in the first steps, followed by performing all crossings to the purl side, then bringing all the needles out to E, changing the color, and continuing in the pattern. The blank line indicates the crossing row, the numbers the rows actually knit. The resulting knit proof of concept: the fabric has a 3D effect. My red yarn is an acrylic chosen simply for thickness and contrast that flattened with a bit of steam. The white yarn travels in two opposite directions for the crossings, creating eyelets in the center of each pair of moves. The slip stitch floats brought to the knit side in the top half nearly disappear on the knit side. Both surfaces are “bumpy” A design with each color being crossed: the attempted visualization and repeat. The repeat appears to use slip-stitch in a vertical column, not ever possible in standard knitting. The explanation is that on those blank rows, crossings are made prior to knitting the next row. The chart on the left reflects the needle placement of each color after the crossings.  All pattern needles are then brought out to E, maintaining the needle selection. Slipped stitches will have been replaced by knit ones in the alternate color.
When ready for cabling, there will be 3 floats in one color, and a fourth, single one, in the other.
For the first row of knitting, there will be no preselection. Bring all those needles out to E with color 1, then continue as described.
My first test had 2 more rows in each pattern segment, I found the stitches persistently wanting to jump off the needles due to the amount of texture. The charted repeat Transferring the slip stitch floats to the knit side was fiddly, I actually prefer the texture created by moving the elongated loops on the knit side. All cabled fabrics narrow considerably. My swatch is 24 stitches wide, knit at tension 9, 14 transfer repeats measure a whole 2.25 inches in width, 4.25 in length. The white yarn is a 2/8 wool, the red a 2/11.5 acrylic.
The very first preselection row and those blank rows in a card or in pixels will only select the first and last needle if the cam button is set to KC one, signaling action needs to be taken the needle selection is fixed, so it easy to ID and restore after transfers are made. A couple more ways to transfer those slip stitch floats to the front of the fabric: floats can be lifted on top of the needles that formed them and behind the stitches on them, a fine knitting needle or tool can be inserted through the stitches across the row, a few, or a pair at a time, being careful not to twist the stitches. In turn, the stitches can then be dropped off the main bed, held on the needle or tool, and be replaced carefully on the needles in question across the row. Crossings are then made, the proper needle set up is manually chosen for the next carriage pass, and the process starts over again. Folks who like lifelines could thread a ravel cord threaded through a needle and use them to remove the same stitches off the bed instead of the knitting needle.   

Returning to cabling with crossings showing only on the knit side, attempting wider cables: several issues need to be worked out. The more frequently one color is slipped, the more rows the alternate color will knit, which will lead to distortion of the fabric in the striped areas. The greater the number of stitches crossed, the harder the cable is to achieve, so my tests use 2X2 cables. Dark colors are harder to see both when moving stitches, and often in the final fabric. Spacing between the cabled columns and whether or not to place them or all knit rows on the edges is another choice that needs to be made. The charted repeats are for the red cable with the second spacing, illustrating options for cabling on row 7 or row 11, pulling needles out to E after making the transfers before knitting the last row of the design. Pairs of slipped and all knit rows are added to lengthen the distance between cables and to reduce some of the extra lengths in all striped areas This idea may work in a border or a trim as well. I did not test bringing the slipped stitches to the purl side. The chart shows adjustments in the placement of the repeat to make tracking crossings easier The actions takenOne more to try If the goal is to add checks along with solid color cables, the best way to achieve the fabric is to use the fair isle setting. There will be 2 sets of floats formed with each carriage pass. A blank segment may be added at the stitch crossing location as in previous repeats, with those needles brought out to E before the next row is knit, remembering that proper needle preselection needs to be maintained throughout Another approach is to bring elongated stitches created manually up on the purl side. The resulting fabric will be more gathered on the knit side, with no formation of slip stitch floats, it is referred to as ruching, and may serve as a compromise when color changes are made over 2 rows of contrast

 

Mosaics and mazes charting meet Numbers, GIMP 3

If working in Numbers, the solution to doubling the height of the final repeat for mazes or mosaics may be achieved by simply doubling the height of each cell prior to screen grabbing the table and processing the resulting image in Gimp. Here the cells for a single repeat in the table on the left are copied, pasted, and altered from 20X20 pixels to 20X40Working in 1800 magnification, using rectangle select, every other pair of rows is chosen and then color inverted. B: the process continues for the height of the repeat. Until each new pair of rows is selected fully, the last color inverted pair is bordered in a dotted outline C, useful in tracking the last worked location. As the subsequent pair of rows is selected fully, the dotted border will disappear. The processed repeat  Its tiled visual check  Proof of concept: the bottom half is knit using the slip stitch setting, the top half in the tuck setting. The added texture on the tuck stitch purl side makes the fabric a more interesting, reversible one, and wider than its companion.  For a different way of working with two-color initial images using only Gimp, see tips in Gimp update for Mac2.The process used on the beginning repeat, redrawn in 2 colors and then, in turn, elongated X2 or drawn double long to start with, tiled to check alignment. There are 2 options for altering colors in 2-row segments to achieve the separation, the first is color invert, the second is value invert, found in the colors menu. Both require color filling in of cells so as to obtain the final BW image, the value invert option, in this case, would require only filling in the green to white, but in managing larger images I believe having the additional colors make the process easier to track accurately. The color invert option will substitute a third color and white on every other pair of rows. Flood fill the original color 2 on rows containing black pixels with white, then fill color 3 pixels with black on rows containing white pixels: The mazes that are often seen in game-playing, puzzles, historical sources ie in Chinese design references, may not work out for knitting with this method, the result can be quite muddied.  I recently found a new to me online maze generator http://www.ludiculus.com/maker/mazes.html.  Changing the pixel width by default also doubles the image in height, making smaller designs for knitting problematic  This was a quickly drawn maze using it, shown with its cropped repeat on the right, then tiled. Numbers processing to ready the repeat for final gimp editing: The repeat when tiled predicts muddied results which are noticeable in the knit swatch. Because of the side-by-side areas with multiple white cells, the slip setting is used, not tuck. The single slipped lengthened stitches do not produce an easily recognized secondary design on the knit side Getting back to clearer pattern results: when using electronics, it is possible to create far wider and taller repeats for download. The technique to achieve them uses the same process. A new working repeat: its tiled appearance  My starting table in numbers with hidden rows, beginning to isolate a smaller repeat the isolated repeat, double-length the color separation in progress
When knit, that white cell pair of rows break up the overall shapes and shifts the pattern in the top and bottom half When I tiled my next draft, I decided I preferred a cleaner join at the center The final adjusted repeat knit using the tuck stitch setting in both directions, KCI, first row left to right, leading with the dark color and here with the lighter color In progress, on the km  the relaxed, 3D-ish view on the reverse why projects can take longer than planned The finished, relaxed scarf with pressed edges only, retaining the conical striped formsThe repeat knit double length, changing colors every 2 rows, becomes something quite different, with a sharp curl to the purl side

Img2track_multiple colors per row dbj, each color knitting only once

I have recently shared a post on using the heartofPluto separation in Ayab to knit a DBJ 3 color sample where each color was not represented in each row, with each color knitting a single height.  Img2 track at this time does not offer a built-in similar option. There is a FB thread going on at the moment on this topic that can be followed there, Tanya Cunningham has shared a document on this topic. I am using the same repeat as in my Ayab tests,  with  my color changer in this threading sequence throughout
 The import into img2track shown here for the traditional 3 colors per row setup,
where normally each color in each design row knits twice. Because selection occurs for pairs of rows, the first preselection row is from right to left. To decrease the backing rows, the ribber is set for birdseye. I prefer to have an end needle on each end on the ribber, keeping in mind that the total number of needles in use there needs to be even. The machine provides reminders as to which color should be knitting. My samples are knit using KCI on the top bed. Because the preselection happens twice, it is easy enough to knit in pattern from left to right,  when the carriages have reached the right side, simply use a ribber comb to push all needles back to B. The next color to be used is preselected as the carriages travel back to the left, change color when on left, and repeat.
It is easy enough to develop a rhythm. I used to tell students some things are made easier if one develops a tune to play in one’s head as a series of actions. Here I found myself thinking “knit to right, erase (selection), knit to left”. I had tension yarn issues on the right which explain some of the issues on the side edges and changed color 1 to blue for increased contrast. The proof of concept: Speeding things up with color separation, beginning with the method that will have each color, each design row knitting twice. The repeat is 10 rows high, so it is expanded X6 to 10 by 60 rows. In the final result, the second row for each color in the separation is in turn erased. The red was added to make all 3 colors visible while working the separation, avoiding confusion with the white ground. The knittable result as usual is in a black and white png The img2track settings are for now for 2 color knitting, the prompts for the color changes are lost.

The color-changing sequence used was still 1, 2, 3. The design with a birdseye backing The ribber can also be set to knit every row, resulting in elongation on the knit side, while creating an interesting striper backingComparing this version to the birdseye backed one for repeat height Comparisons: HoP, pushing back needles to B, and color separation results. In the latter, the design is likely elongated in part due to a change in the distribution of thinner yarns to larger design areas with no tension adjustments 

Revisiting Ayab_multiple colors per row DBJ 2

If using Ayab on an iMac with M1 chip see suggestions for running the program at the bottom of later post arahpaint-and-gimp-in-knit-design-3/
From Chris Burdge, a video tutorial on using HOP following program prompts and default color placement. The pattern used, available for download from the author, is quite different from my tests in that it is completely surrounded by a white border, the default first color choice in the separation The ABC color changer markings in letters reflecting yarn positions and color-changing sequences were used in the Studio brand, as opposed to numbers, in the reverse sequence, used in Brother. The Ayab lettering as opposed to numbers move from right to left. The manual states that the color separation order is: white C, grey B, black A with their sequence = C (3), B (2), A(1). If the prompts for changing colors as given are followed it provides a very valuable in tracking them,  but if out of habit one knits in the usual 1,2,3 sequence, the color placement occurs in an unexpected order and may result in errors. The on-screen letter prompt corresponding to the anticipated color change sometimes occurs with the knit carriage on the right, sometimes as it approaches the changer, and the size of the font was hard for me to see since the screen was not close enough for easy visibility.

It has been nearly a year since my last post, Ayab_multiple colors per row DBJ 1. I previously also shared information on using HOP for drop stitch lace.
Last week I tried a 3 color HOP pattern, which failed because my mid-tone grey was not within the proper palette range. I work on a Mac and found that with the latest Gimp update several details have changed, and formerly saved palettes were lost. Regrouping, working with colors, and intending color change selection sequences in the familiar right to left, 1, 2, 3 methods, this png includes the grey shade that worked for me If the png is copied from the post it is likely to appear in RGB mode and it will require conversion to 3 color bitmapped. Its grey color map entry is seen below The small file makes for a quick test of proper color selection for each of the three colors used It is not necessary to have images in greyscale to load them into Ayab for separation, but having the repeat shown that way can help with placement of the yarns in the changer.
I like to have as many factors predictable as possible prior to importing into download programs. Importing color images depends on the placement of individual colors in the palettes. An explanation found online is that Ayab needs a pattern image which is 8-bit greyscale. Each color is coded in a range of the 8-bit values. For 4 colors, it would be 0-63 color A; 64-127 color B; 128-195 color C; 196-255 color D. It seems to be OK to give the image some color, so long as the gray component of the colors divides up as given. I began to explore a pattern using 3 colors,  with one of the three colors absent in some rows Having some idea of stitch counts for each color in the design in the first few rows can help identify proper, planned color placement errors To achieve this an easy count of the blue and red can happen watching preselection on for the first couple of rows ie blue knits 4 stitches, while red has counts of 7 except at the sides My first swatch using the heart of Pluto separation and a greyscale motif  I like to work out color placement as well as repeat scaling adjustments if needed. This png in, indexed to 3 colors, was opened in Gimp, my primary design tool, and imported and saved as a palette A different color placement, using the saved pattern colors. With no white in the first couple of design rows, the lighter color is selected first. The actual 11 X 10 motif, can be opened in Ayab. Action R can repeat the image in height if desired, but a must is to repeat it in width that is equal to or greater than the number of needles in work on the needle bed, here it is repeated 3 times in both height and width
My tested color change sequence is #1, #2, #3 colors throughout, I disregarded the prompts for color changes at the bottom of the Ayab screen. Some things to ponder: in pieces that require color changes, starting with waste knitting in the same colors can help assess the best tension, whether each color will be picked up properly, and if the colors work well together. Looking at these 3 small tests, it appears that a choice should be made when casting on about using color 1 or 2 for the preselection and cast on rows.  If the setting to slip is forgotten for the first move to the left, the color in the feeder will knit every stitch rather than a pattern selection. Always check settings when on the right, making certain lili buttons are set as well. This pattern does not contain 3 colors on every row. In addition to that, when working  DBJ with other color separations one is likely used to seeing knit bed needle selections on every row. That is not true here, is a function of the technique, not a patterning error. On rows that have colors missing, when that color is in use, the main bed slips, the ribber works every other needle, first in one direction, then the other, adding to the row count on the purl side of the knit. In a test with marked color placement, the arrow marks the spot where 2 color threads were picked up together so that the white was carried across the row along with the green repeating the color placement test following 1/light, 2/medium, 3/darkThe mess at the bottom was due to the green yarn getting caught on the needle bed and not knitting the necessary stitches on the ribber, so dropped stitches were formed The assumption is that if the C, B, A rotation and prompts are to be followed, the middle color 2 can stay in place, and the placement of 1 and 3 can be exchanged.

The difference between the same design knit with a color separation where each color in each design row knits twice elongating the shapes, and its  HOP version, both with birdseye backing  

Mosaic and maze inspiration from additional sources

Reviewing properties of both: 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 row segments, 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 usually 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 does not resemble 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 any long floats, hence the name “float-less fair isle”
The row gauge is compressed. Tuck fabrics are short and wide, 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 knitting may need adjustments to lower tensions. Smooth yarns in contrasting colors are the easiest to establish an easily recognized test pattern, the choices that follow may then be far more personal.

After a while repeat units begin to become familiar. Pondering possibilities: Here the design knit as a fair-isle pattern would produce long floats, going through the steps of converting it for “floatless fair isle” proves of no benefit.

I previously wrote about the use of weaving
drafts as inspiration for other textile techniques, ie. knitting.
Endless published drafts may be found online or in books that might be interpreted for use with mosaic/maze single bed knitting. Having electronic machines available lifts restrictions in pattern width, while repeats too large for narrow items such as scarves may become useful for shawls or blankets. One such repeat,  with .pngs shown for both single and double-height:

This repeat is 36X36 before being lenthened X2 

A different sort of challenge was posed by this 18X18 image with a row shift in areas with a large number of both filled-in or blank squares. As one moves up its magnified version in Gimp it becomes apparent that a row will have a very long float in one of the two colors. One option is to skip that row, resulting in the green gridded repeats for the converted motif both shown both for single and double length. The result in the knitting test swatch produces an unplanned color shift which could be declared to be a design feature, or one can continue with editing the inspiration source. Repeating the separation process with a new graph produces a workable cousin to the original Generally when creating these patterns on Brother machines, patterning selection varies for each pairs of rows. I got distracted while making the above swatch by a phone call, got to the point where there is a very obvious solid black all knit row in the repeat, but “forgot” its presence. I assumed I was having a selection or a carriage issue and scrapped the knitting off. Note to self: “remember to always check the programmed design before you do that again in the future”.

 

 

Mosaics, mazes, and DBJ charting meet Numbers, GIMP 2

I shared some working methods to achieve these color separations in 2019/06/29/mosaics-and-maze…numbers-and-gimp/. Mosaics and Mazes came on my radar once more recently, Numbers and Gimp have both been updated, and a few more ideas have occurred to me for managing the necessary color separations. The process as described here assumes that there already is some understanding of Gimp’s and a spreadsheet’s basic functions. These are 2 more samples from Barbara Walker’s book on mosaics, offering the repeats in both a 16 stitch wide and a 24 stitch versions. It is always a good idea after isolating the repeat to tile it in order to get a sense of how multiples line upI was lazy about doing that with the first version of the colored repeat in Numbers and got the result in this swatch  due to a missing black cellThe second try
Beginning with the long method to create the design repeat in the color separation suitable for elongated dbj: the built-in color separation in most Japanese machines for DBJ (179 and color reverse in Passap) will knit each color in each design row only once, as happens on the single bed in knitting fair isle, which in turn is far quicker to knit in that setting than by using slip stitch with color changes every 2 rows. The first preselection row is from the left to the right, the first color knits once before colors are changed every 2 rows.
The dbj color separation that knits in each color for each design row twice begins with preselection from the right and continues with color-changing every 2 rows. The produced image will be twice as long as the original design, not desirable for keeping the aspect ratio as close to the original as possible, but a necessity in creating some alternative types of fabrics.
To start, create a table, making certain that cells are square, equal in size in height, and width. I prefer 20 X20 or more when working with small repeats. The zoom factor can be adjusted, increased for more visibility, and reduced prior to screen grabs that are planned to be further processed in Gimp. At less than 75% while creating charts, adding numbers or text, and sometimes changing the qualities of individual cells is harder to achieve. Large-size images may be scrolled through during the formatting process The working design repeat is 16X16. Create a new table that is 16 cells wide, twice its height, 32.  While holding down the command key, select all the odd-numbered rows planned for the final chart repeat, any errors can be corrected by clicking again on the same spot, still holding the key down. The process may be done in steps, releasing the key in between selecting groups  Choose the hide rows option, hiding 16 rows, Fill in cells the chosen 2 colors Add a column to the table. It will be colored, select the column and choose the no color fill option for it, then resize far wider by clicking and dragging the symbol 
at the upper table right to allow for copying and pasting the full repeat more than once.
Select the chosen repeat in 2 colors, copy and paste it to its right. The rows are re-numbered in the new “chart” thus providing a new set of even/odd-numbered rows. On the new odd-numbered rows, select by holding the command key, choose black squares on each now odd-numbered row, and used no color cell fill option to render them white. Release the key at any point to work on gradually selected groups of cells.  If there is an error, while still holding the command key click on the individual cell or cell group again to erase the action, continue the process. Again, holding the command key selectively, on even-numbered rows add colored cells immediately above any empty cells in the row below.  It could be done all in black, but for me, that becomes difficult to keep accurate when separating large repeats. With some familiarity with spreadsheet creation, this can be fairly quick work. Copy and paste the table content once more. In the new table holding down the command key, on even-numbered rows change colored squares to black resulting in the repeat on the far right. The latter in turn will need to be doubled in height once more prior to knitting the final fabric, whether in the software or by the machine in the downloaded design To produce the .bmp file: copy and paste only the BW portion of the above table once more. Using the cell format option, remove all interior borders,  and if you prefer an outside guide, add an exterior border try zoom at 75% zoom, screengrab the table content, with an added blank border surrounding it, import the result into Gimp. Choose crop to content, that will eliminate the extra white space around the image The final image needs to be double-height, so using the scale option choose image scale to 16 by 64 using the broken chain link prior to entering your numbers. These were my steps in scaling, I always check one more time for image size prior to saving. That is reflected in the last pair of numbers, with the now intact chain link symbol

When I first used Gimp I devised and explained this method for mosaic color separations in prior posts.  The expectation in working with such repeats is that on any rows there will be no more than 2 white squares marked side by side. On odd-numbered rows in the separation, the contrasting color squares slip, while on even-numbered rows the black squares slip. On odd-numbered rows, the main color (black squares) knits, on even-numbered rows the contrast color knits.
I think of row one/ odd rows as needing to knit black squares, row 2, and even rows having to knit white squares rather than marking in the traditional manner for slipped stitches on each row. I now have found a far quicker alternative to color separate for mosaic knitting using only GimpWorking on the black and white indexed repeat, use a magnification of at least 1800X. Using the rectangle select tool choose every other row beginning with the second one in the chart. That row will be highlighted by a white dotted line. Choosing will swap black and white cells in that row. Continue the process on every other row. It is not necessary to select the tool each time, as you advance and select the next row, the one just left remains briefly outlined in white dashes, making it easier to advance correctly in the design.
Import the black and white table, process as described, scaling for my final image to 16X32: This repeat posed by a quandary. The file may be used as-is and doubled in length after download. For doubling the height in Numbers, prior to importing the final screengrab into gimp, please see post:  2021/01/27/mosaics-and-mazes-charting-meet-numbers-gimp-3/
Because of my personal preference for not using elongation when knitting pieces in these techniques, I tested doubling height in Gimp with no success at all. However, I was successful in doing so using 2 paint programs, both available for free download for Mac. The first has an amazing range of features, including the illustrated resizing options https://www.arahne.si/products/arahpaint/

and https://paintbrush.sourceforge.io/downloads/, which allows for scaling by percentages or pixels Comparing the results for the elongated repeat, errors in the first are obvious, there should be no white squares anywhere repeating for more than 2 rows Proof of concept A review of a design from 2012/10/15/mosaics-and-mazes-from-design-to-pattern/, separated this new way the repeat charted in Numbers tiled for repeat alignment check, revealed errors that will result in missing colored squares in the final fabric, which may not be noticed until after eyeballs have had a rest. The amended repeat was color separated working in indexed black and white and shown compared with the punchcard  Here the final .bmp  repeat is also compared with the color image in the previous post. It will need to be doubled in length for use with the color changer, the first preselection row is from right to left. End needle selection will ensure that each color knits the first and last needle on each side of the piece. Another very quickly separated repeat copied from 2015/10/03/working-with-generated-mazes-charting-1/

adapted for maze knitting, eliminating long floats, to be lengthened to double-height drawn double-height via a paint program Because there are no more than 2 white squares on top of each other, and no two side by side, I tested the pattern in tuck stitch, which produced some added texture. I had a major aargh moment with yarn where dropped stitches are seen at the top of the swatch Using the maze generator by Laura Kogler, the larger BMP newly created with the program was imported into Gimp, explored in two renditions, eliminating double lines in the one on the right The proof of concept swatch for the version on the right, knit in tuck stitch the double-length BMP ready for knitting,  14X68

Designing your own motifs in expanded graphs: start with a template for either of the 2 grids shown below,  and fill cells in or remove them. Remember these charts, unless knitted as machine or software separated dbj, will require a careful color separation.  Beginning ideas for motifs, borders, and alphabets

A collection of previous posts on this topic in reverse chronological order
2019/06/29/mosaics-and-maze…numbers-and-gimp/
2015/10/21/working-with-gen…-gimp-charting-2/
2015/10/03/working-with-gen…mazes-charting-1/
2012/10/15/mosaics-and-maze…design-to-pattern/
2013/05/06/mosaics-and-mazes-drawing-motifs/
2012/10/15/mosaics-and-maze…design-to-pattern/
2012/09/22/mosaic-and-maze-…-on-the-machines/

Single bed tuck/ mostly slip stitch fabrics 3

As with the tuck stitch, the knit carriage ignores the needles that are not selected in the pattern. All holes in a punchcard, black squares, or black pixels in electronic programming knit. A great deal of dimensionality may be achieved since the tuck restriction of the maximum amount of yarn being held in the hooks of the nonselected needles does not apply. The effects on the width and length of the fabric vary depending on the number of needles ignored in the pattern. If slipping in long vertical areas, the yarn that is held in the non selected stitch(es) needs to be held for that long without breaking. Multiple colors per row patterns may in some cases require specific color separations, but as usual, a good place to start is with published patterns.

Stitch formation: the needle that is not worked holds a stitch that gets longer until that spot on the needle bed is selected again, resulting in a knit stitch being formed in that location with the next carriage pass. Floats are formed between knit stitches as the held stitches are skipped. The height and width of the bars created by unpunched squares or white squares or pixels need not be fixed and may be extended in both height and width, breaking tuck rules. Many patterns are impactful both with the use of single-color yarns or with color changes. With color changes, the elongated stitch carries its color up in that location on the knit side until it gets knit off (not always or necessarily in the same color).
Here stitches are held for 4 rows,  a planned color change on the next row would require needles that had been skipped, marked in red, being pre-selected forward for knitting back toward the color changer and returning to the previous or next planned color selection In textured knitting, fiber choice can be significant. It is best to use a yarn with some memory, such as wool. If yarns such as acrylics or rayons are used and in turn are pressed the fabric may become permanently flattened, which is not desirable unless it is a purposeful design choice.
Depending on the KM brand, the space between slipped repeats may be altered. In some cases, no matter what the programming method, and especially when using multiple colors, the length of the required repeats may grow exponentially no matter what machine is being used.

It is possible to use slip stitch in only one direction to create knitted cords, often referred to as i-cords. The technique is sometimes the introduction to using the stitch type. Used for all over patterning the possibilities for textures and 3D effects and shaping are endless.
Slip stitch patterns tighten the work widthwise, as well as shorten it in length. To achieve more drape in the resulting knit use a tension dial number 2 higher than that used in stocking stitch for the same yarn.
To retain a flatter fabric shape off the machine it may be best to slip no more than 2 side by side stitches. The number of rows for which stitches are slipped contributes to density. Some of the single bed patterns may be used double-bed as well, but the discussion here is for single bed patterning.
Some repeat ideas for working with diagonals from a punchcard reference, and one from the factory basic pack supplied with machines: Remember that punchcards knit the image as viewed on the purl side of the fabric, so to match swatch photos given in published pattern books, the same repeat, unless it is perfectly symmetrical,  will usually need to be mirrored horizontally for use in electronic machines.
Similar shapes to the above, arranged differently: in A,  arrows point to punched holes that create a vertical line containing 2 slipped rows followed by 2 knit ones, B is problematic because the long vertical white lines would mean the stitches corresponding to those locations on the needle bed would slip for the height of the punchcard, C is B color reversed to solve the problem, and suitable for slip-stitch knitting. An alternative for using B as is would be to have needles not selected in those all blank locations out of work on the main bed creating ladders (or transferred down to and in use on the ribber). As in any pattern knitting, if needles on the top bed are out of work, end needle selection must be canceled. If it is not, the needles adjacent to out of work needles will knit on every row, altering the planned pattern.
The same shapes can be edited for use after rotating the original The 24 stitch repeat for the bottom option is shown, punchcard knitters would have to punch the height x4. The minimum electronic repeat highlighted with a red border tiling to check the alignment of the 8X10 repeatMore repeats using similar lines, varying in density and consequently in their height:  all knit rows (no white squares) make for easy to recognize color change possibilities and transitions other possibilities using checks rather than solid lines When evaluating published repeats, keep in mind the basics; these are suitable for electronic KMs that will allow for color reverse punchcard knitters would have to punch white squares, resulting in this arrangement The knit side is not necessarily always interesting. With knit stripes in a different color breaking up the textured segments a secondary pattern will begin to emerge. A closer look at the samples below reveals one repeat is actually the other, drawn double length. This is an easy option, even in punchcard machines. When knitting long pieces especially, however, I prefer not to use double length built-in features, finding it easier to sort out where I am in terms of design rowss if errors occur

Returning to a couple of the tuck stitch illustrations, adjusting the repeats for use with the slip stitch setting. Some of the color change sequences are suggested on the right side of the charts The tuck stitch version,
modifying it for use in slip stitch B, adding all knit rows between repeats A, and visualizing color placements on the knit side of the fabric.   Depending on your machine ie Passap Duo requires 40 stitches punched repeats or modifying for electronics, vertical black columns or additional white squares may be added to the original design repeat units. The corresponding cells are filled with the color gray Testing the waters: a swatch using 4 colors,  beginning with color changes every 6 rows, ending at the top with every 2, more variations are possible.I have begun including .pngs with some of my posts. Check that your import method does not automatically change the mode to RGB. It is a common problem with such grabs from FB. If that happens, index the image to B/W and save again before using it in download to KM software.
Making those shapes move: color striping variations for using 3 or 2 colors are seen on the right of the chart. The final surface may also work very well in a single color The resulting swatch is shown sideways for the sake of space. I usually begin tests with some striped knitting so I can be certain the color changer is threaded properly, that each color gets picked up without crossing or other issues and that tension for any one color is not in conflict with that used with remaining colors. I am not a fan of the Brother single bed color changer, but it is a great convenience in fabrics such as these. A reminder when using it: add a lace extension rail on the left side. The carriage needs to clear the color changer far enough on its left for all colors to be picked up and changed properly From long design studio inspiration swatches: the secondary shapes are created by varying the number of rows in the color change rotation and placement, the bottom swatch shows the purl side of part of the completed length. Float counts can help duplicate the repeat or color placements if notes are skipped during knitting. Working with multiple slip stitch “bars”: this shows my punchcard, marked with color changes once the final rotation was decided, remembering to begin markings 7 rows up from the bottom for Brother (5 for Studio).  This design produces a fabric that is fairly flat on both sides: the .png is in the same orientation as the punchcard repeat, which you can see is produced with shapes reversed on the knit side in the swatches below it. Instructions on how the repeat was converted to .bmp for download using Gimp in post The working chart, along with an effort to visualize the location of possible color changes in order to create secondary patterns. Color changing on  “wrong rows” or starting preselection from the left rather than the right will result in random, not necessarily successful designs  This swatch segment illustrates the possibility of removing the slipped stitches from the needle bed and bringing them to the purl side, rehanging them on the same needles, bringing all needles out to hold before executing the next all knit row. The “floats” at the bottom of the swatch are from threads that were missed and not brought to the back of the slipped stitches

Attempting to visualize color changes using a larger, staggered repeat which makes more sense when the image is tiled Reducing the number of slipped rows reducing columns to produce a trim, being certain as to placement on the needle bed 

This repeat produces a ruched fabric when no all knit rows are included, and a sort of “honeycomb” effect when additional color changes on all knit rows are added. The first long swatch The working repeat does not need to be symmetrical, using space-dyed yarn may result in a surface with an unrecognizable texture 

Shifting slip stitch units to form shapes If the slip stitch units begin and end with the same color knitting just before them and immediately after, the color carried on the knit side will be consistent throughout. A sure way to get the shapes to match your design is to assign a number matching the number sequence in the color changer for your machine to each of the yarn colors. Imagining the results in a spreadsheet or even graph paper Expanding each section to 8 rows, the repeat now becomes 64 rows high and allows for 3 colors to show behind the slipped stitches in the chart on the left.  On the right, the color-changing order shifts to 6 rows at a time in the sequence 1,2,3,2,1,2,3. Design row 1 would begin the piece using the color red, the last row in the repeat is blue, shifting the color then carried up the front of the piece to blue

Once the basics are understood, changes in scale and amount of ruched textures along with fiber content are easier to execute The chart for the sample below is 30 stitches wide by 84 rows high, is shown turned counterclockwise This fabric has a more compressed shape, the blocks of slipped stitches are in a vertical arrangement directly above each other. A possible building unit for similar structures:  An all knit border on either edge will automatically create a ruffle on each side.

Here the repeats on the left need to be color reversed prior to knitting, punchcard users will need to punch all white squares, leave the black ones unpunched, and repeat all once more in height. On the right, some rows are omitted, reversing the color placement for the “solid” shapes with the next knit row. 

Blocks of slipped stitches (black squares in the chart, prior to color reverse) may be used to create 2 color fabrics that have no long floats in the ground color, electronics allow for more complicated shapes

If the goal is to produce specific shapes, then the way to achieve them is to use a color separation suitable for multiple color DBJ, knitting the fabric either on the single bed. The machine does not know whether the ribber is actually in use or not. Using DBJ software build in options or even the Ayab middle color one twice merit their own future post.

Previous slip stitch-related posts
2015/04/07/more-slip-stitch-experiments/
2013/09/02/a-random-slip-stitch/
2013/05/09/block-slip-stitch-separations/

For mosaic and mazes, execution and design links to historical posts see 2020/09/21/single-bed-tuck-…s-2-adding-color/

The slip stitch setting may also be used to automate a variety of fabrics, some of which involve organized color striping as well,  the topic is discussed in other blog posts