Quilting on the Brother KM 2, solid color back DBJ

Quilting books may give inspiration for varied shapes. The illustration below is a diamond variant, another may be found in the brother ribber technique book (p 33, different color and KC knitting sequence).

On orange rows the main bed knits lots of needles, selects sealing stitches for next row of knitting, on green rows the ribber does most of the knitting, and will select the stitches the main bed will knit on the subsequent row, and so on

KC row direction does not necessarily matter in single color fabrics as long part buttons in both beds are set appropriately, unless double length is used, in which case KC row needs to be toward the color changer and the design needs to be in 2 row “color” repeats whether as actually punched, “drawn” and programmed, or with elongations used. The above repeat is suitable for punchcard machines as well. If knit without elongation one may use the same carriage settings as the previous sample above. KC –> with card/pattern locked, knit one row to right, set card/pattern to advance, opposite part buttons in use, results in knitting tubular for nearly square diamond shapes. The “stuffing” below is small cut up pieces of waste knitting.

For longer diamonds or 2 color knitting, KC<– row is toward color changer. Settings on ribber need to be changed manually every 2 rows for both single color and 2 color patterning.

When lots of needles are selected on MB, knit 2 rs using settings pictured on left, the ribber slips for 2 rows. If only a few needles are selected, knit 2 rs with settings pictured on right. The ribber will knit all needles, MB only those providing the outline of the shape in the front of the knit, sealing the layers. All ribber carriage slip setting changes happen with carriage on left, prior to the next pair of knit rows, before or after the color change. Errors are less likely if a sequence of the steps involved is developed and followed.

settings, col 1               settings, col 2

The sample below was knit in 2/48 cash wool at T 3/3 using the above repeat. The fabric is sheer, and the joined sections of fabric are lacey.

This method allows for knitting large shapes without the distortion resulting from many double bed techniques. A series of swatches using the technique:

front view

rear view

Once the principles are worked out, a very thin yarn or monofilament in front, with a thicker or contrasting color in back may be used to with viewable inclusions against a the ground, a wool backing and a non felting front can achieve interesting blister like looks without some of the issues of double bed blisters and patterning, large shapes of plain knit could be contrasted against all rib background, and so on

a few more experiments

a monofilament cocoon with paillettes in its pockets

It is also possible to use an altered knit carriage to knit rows on main bed only, while leaving the couple carriages on the left instead of changing ribber settings from slip to knit and back with color changes, see later post on ribber-fabrics-produced-with-2-knit-carriages-selecting-needles/

Knitting again, more block stitch, ribber clamp variants

Two more of my scarves, rayon chenille, knit single bed

still working out the last repeat, now double bed

more studies

the final scarf detail for fabric on bottom left knit in tencel and Nomi Lee, 8″ X 63″, + 4 ” i-cord fringe; a detail shot

and yet another variant, knit in alpaca/silk blend and Tencel, 9″ X 58″ + 4 ” i-cord fringe

A recent raverly post brought up the use for the brother double bed color changer, which may actually be used on both bulky machines and on standard ones. The placement for the setting plate needs to be swapped when switching from one gauge to another

The knob on the left under my text is what screws into place to anchor the setting place in either spot. There is no single bed color changer for the bulky. This color changer may be used to knit single bed fabrics as long as they are weighted enough (ribber cast on comb through waste yarn single bed), since there are no wheels and brushes on the ribber sinker plate. There are limits to the amount of texture one may create, and having the ribber engaged reduces visibility, but the trade off is speed. The 2 carriage trick on the 260 is a problem because the punchcard machines do not advance a row when the opposing carriage makes its first pass in the opposite direction of the last row knit.

And,  speaking of ribbers and clamps, not all clamps are created equal though they may appear to be doing their job until some attachments cause problems.

Studio (shorter) vs Brother in place

Brother standard on top of bulky clamp, its taller cousin

Quilting on the knitting machine 1

SINGLE BED QUILTING for straight-edged pockets, hand technique only: leave needles OOW creating vertical ladders in location to correspond to side edges of pockets, have a loose tension row (at least 2 numbers higher, more if possible) to mark their tops. Both will serve to pick up stitches, loose rows help for the turning of any hem when joinings begin.

Knit half the length of the fabric required (create small hem that will, in turn, be at lower edge of the finished piece if preferred), continue knitting, picking up ladder loops closest to bottom turn prior to each pass of the carriage, continue until the loose tension row is reached, pick up all stitches as in a hem to seal the knit pockets, repeating the process throughout.

Hand technique combined with punchcard: slip stitches are a familiar tool in marking rows for picking up hems such as at the top of knitted skirts. They can also serve to create pick up bars, and the slightly narrower, shorter lining for a quilted fabric. Nearly all stitches and rows in card need to be punched, empty spots (non-selected needles) will skip, creating marking “floats” for rehanging after completion of the first half of the piece. KC pattern selection is on, part <—>. Non-selected needles on the second half of the piece will give a clue as to where to hang the floats, in turn bringing selected needles out to holding if desired. KC: needle selection is left on, no part buttons, the carriage is now set to knit every row throughout. The fabric will be knit together in those spots on the next pass of the carriage. Decisions can be made as to whether to do this every row or every other. A self-drawn possibility is below on left in which instance all white squares would need to be punched out, a possible factory pre-punched on right.

Not to be forgotten is appliqué, where separate shapes may be knit and joined onto the ground (knit in any desired stitch) technique by a seam as you knit method.

DOUBLE BED QUILTING: carriage settings on brother are for circular knitting. Cast on for every needle rib with a familiar yarn, knit one or 2 rows, and to make a trial piece, set the main carriage to slip to right, ribber carriage to slip to left. The ribber tends to knit tighter than the main bed since large numbers of needles will be knitting side by side, the tension should be loosened at least one or 2 numbers while on the main bed the tension used should be closer to that used for the same yarn when knitting stocking stitch. Bring every X needle on the main bed to hold position, knit 2 rows, and repeat to the desired length of the pocket. When the latter is reached, lower the ribber slightly, “stuff” pocket, bring all needles to hold position, the needle set up is with needles at halfway between each other (racking handle H as for every needle cast on ), so main bed may be brought to hold as well, knit 2 rows, and repeat process adjusting cam settings. The same principle applies here whether on patterning is used or not. With slip setting non-selected needles (B pos) slip, do not knit, and needles in D position or holding in hand tech, will knit and in this fabric seal the fabric. In the chart, the symbols represent the stitches as they are formed on each bed to create a tube. The carriage icons show that opposite part buttons are in use on both beds. The ribber (odd-numbered, white rows) knits left to right, slips right to left, MB (yellow rows) slips left to right, knits right to left, creating a tube.

Automating the function brings us to another color separation of sorts. In single color quilting using simple tubular setting: Knitmaster machines work a bit differently than Brother, so cards/ mylars would have to be designed accordingly, Passap has some built-in techs that can help with this. The settings below are for brother, and the card, for narrow vertical tubes. Width between punched holes could be adjusted to any factor of and up to every 24. Every row or every other row can be marked. Cast on for every needle rib. In this repeat when rows with no needle selection occur at its top, set both carriages to knit 2 rows (or bring all needles manually out to hold) to seal pockets. MB is set to slip in one direction, will knit on even rows, slip on odd rows as punched. The ribber is set to slip from right to left and knit from left to right. With carriages at KM’s left insert the card, lock on row 1. KC –> knit 1 row in rib from left to right, release card, and continue knitting. In Brother machines, the tucking lever must be in the down, N position as well. When possible, the tension on the main bed should be as loose as it will allow, if stuffing the pockets is planned. Without wadding, the face can have a crumpled look with a smooth back.
A small test with a 15 stitch wide pocket

Going further in automating the repeat: this card portion includes the sealing rows (1 and 2): extend repetitions of rows 3 and 4 until the length of the desired pocket is reached for your DIY repeat. The ribber is set to slip from right to left and knit from left to right, the main carriage to knit from left to right, and to slip from right to left (opposite part buttons). With carriages at right insert the card, lock on row 1. KC <–, knit 1 row in rib from right to left, release card (or mylar), and continue knitting to the desired length. Make certain there is an even number of rows between each pair of sealing rows in your own design. It takes pairs of carriage passes to complete each circular round. To use the repeat below as a continuing pattern, one row in its height would need to be removed or added. A test  of the repeat

Vertical striper backing on Brother KM

I reviewed and edited this post in mid March 2019, with plans to add a part 2 post on use of llili buttons when I am able. The content here explores one of the possible lili settings, where slip stitch is used in both directions for every other needle pattern selection on the ribber.

If one chooses to hand manipulate needle selection on either bed, bringing needles to be knit out to hold with the carriage in use set to slip, one can make knit stitches happen wherever one chooses. Automating any part of the process speeds things up, but comes with built in KM limitations. lili buttons enable every other needle selection on the Brother ribber carriage, behave in the same manner as when using the following card single bed.

Another way to look at it, showing the isolated smallest repeat bordered in red on the right side, and action on needles in work on the ribber, K for knit, S for slip. Movement of the carriages shown is from left to right and back to left, the color changer side

The usual rule when working with lili buttons and slip <– –> setting is to have an even number of needles in work on the ribber bed. The markings on the corresponding needle tape consist of dashes with spaces between them. For an even number of needles, if the first needle is positioned over a dash, then the last must be positioned over a blank space. The charts below take into consideration duplicate rows, knit first away from, and then back to the color changer resulting in striping every 2 rows. Patterning is fixed, beginning with second needle from the left when traveling from left to right, and second needle from the right when traveling from right to left. The second needle in each instance knits. This is true whether one starts on a “blank” or “dash” needle tape position. With an even number of needles in use, needles in work begin and end on opposing symbols in pairs ie dash and blank, or blank and dash

Dashes and spaces on the needle tape are shown in the yellow row in chart with first needle on a “dash”. Needles (colored squares in repeat) are numbered reflecting the sequence in which they are knit as the ribber carriage moves in the direction of arrows. 

If an odd number of needles is in use, the same needles will slip/knit respectively. Grey squares represent the needle location for which the ribber carriage thinks it is selecting, including the missing needle location to keep the number of stitches even. Unless settings are changed patterning is fixed on the same stitches.

To create vertical stripes using slipstitch, this would need to be the repeat, not “automatically” possible on the ribber

The card that is being imitated is card one elongated X2, here shown in the studio version

“Fooling the machine” into thinking a continued number of odd needles are in work is achieved by bringing an extra needle in work con the ribber carriage side on left, and then right in turn on the carriage side, or one empty needle on each side at the same time. The knitting happens on the needles represented by yellow squares, but the carriage thinks it is knitting the pink repeat

Odd needle set ups begin and end on the same symbol ie. Dash or blank on the needle tape, in this case the “dash”

If extra needles are brought into work with a starting even number of knit stitches, each 2 passes produce a single row of knit with alternating slipped stitches, resulting in a narrow stripe alternating with small checks, or plain stripes in each color on the fabric backing. Again, the movement here is away from and back to left side

The overall design is interrupted by knit stripes, depending on whether one or 2 extra needles are brought into work, here is one sample

Working with an odd number of needles on the ribber

To knit: *COL (carriage on left): color 1 knits to set up base in pattern for 2 rows, ending on color changer side. Before knitting with color 2 COL, bring an extra needle into work before moving from left to right. Knit one row. COR: drop the extra empty needle on left OOW, bring extra needle on right into work. Knit to left returning to color changer, drop extra needle on right OOW, change colors* repeat * *process throughout. Check regularly to make sure that extra needle does not become an unintended increase. Having an extra needle in work on both sides of those on the ribber on the main bed will insure end stitches knit off and side edges are cleaner, with less noticeable elongated stitches on each side. It is possible to bring up the pair of empty needles for color 2 at the same time. In my experiments I have found that if the needles in work on the ribber begin with a dash on the left, I had regular loop formation on the empty needles when using slip stitch. This did not happen when I began with first needle on left beginning with its placement on the empty space between the dashes on the needle tape.

Loop formation that requires their release before continuing to knit:

The fabric swatch from the original post illustrates the vertical striping. The thin yarn clearly shows the lengthening of slipped stitches, and why some DBJ fabrics are referred to as “long stitch” ones, with color bleed or grin through from colors traveling behind them. The plain rib at the bottom is significantly wider than areas where slipstitch is used, an issue if plain rib is to be combined with DBJ created with slipped stitches. On the knit side in this instance, the fabric is knit stripes. When using the color changer starting with waste yarn and testing yarns, gives one the opportunity to make any adjustments necessary including on occasion doing a bit of metal bending where needed.

A subsequent proof of concept for inclusion in the later post It is also possible to work with the same approach, using tuck settings. A first experimental test

lili buttons may be used with needles out of work when using thicker yarns, or for the resulting effect on that side of the fabric. A vertical stripe in that instance produced with hand needle selection on the ribber bedLastly, here is a tiny swatch in an arrangement beginning to explore odd number of needles in work on the ribber in conjunction with use of lili buttons, and adding needles to “fool the machine” as described above

Block stitch separations

“Pinning” has become part of my daily routine. This image was pinned by someone else, and brought back memories of my block stitch scarves, along with the  temptation for working out a new repeat, similar to that seen in the top of this jacket credited to Forquet.

Following are some ideas for developing designs for these fabrics, the basic principles work for both punchcard and electronics. Using the motif in a punchcard will make the striping surrounding it fixed, and involves a lot of punching holes. On a mylar or in a download the width of the ground behind the shape can be easily changed, and only the non selecting, “empty ” squares need be drawn or entered into a program that is capable of color reverse. One needs to be mindful of the size in of the overall repeat when faced with so much “blank space”.

Until one sorts out what happens with the stitches, where the colors are placed during knitting, it is a good idea to start with a simple shape. I use excel as my “graph” paper when I want to easily play with color on a grid. Below is a simple motif as a design start, beside it an expanded graph leaving every other row blank. Some books suggest erasing on horizontal EOR stripes, I prefer the visual cues in the method below. The yellow marks the rows on which the motif will be created.

There are a number of ways to go on from this point. Layering the repeat on a colored ground can give a sense of the resulting shape, help plan the type of overall pattern repeat, and insure that enough rows are allowed to travel to and from the color changer. For sampling I prefer to work on an electronic machine, using the elongation feature and color reverse to minimize drawing in lots of black. The grid on the left shows the above split motif layered over a striped ground. In the center grid, the motif separation color becomes white/ blank, color one (yellow) is different than on left simply to allow the white to become more visible. I use 2 carriages as opposed to the color changer when knitting these fabrics, so the L and R row markings help insure that indeed there are enough rows in the repeat for both carriages to travel to and from each side, with stripes lining up where required. The blank squares represent slipped stitches, and they normally are left blank whether in a card, mylar, or program, all other colored squares are knit stitches, corresponding to punched holes, black squares on mylar. On the far right is all that is required to be filled in with a mylar sheet or program capable of lengthening X2 and color reverse. The marks are actually the same as the expanded motif first shown above. For a punchcard the same motif on the far right could be drawn this way centered, and every other square surrounding the now black lines would need to become a punched hole.

Looking at the graph: color 2 will slip in locations where needles are not selected (white squares). The stitches on non selected needles get longer in the front of the fabric, the alternate color floats behind them. The next color change will knit the held stitches off, so the motif color in the above design will actually be “green” in the final fabric. Because the colors on either side of the motif are actually knitting every stitch and every row, there will be some distortion in striping around the motif, and potentially even some “bubbling” in those areas

The next choice becomes sorting out how far apart to place motifs from each other, and in what distribution on the resulting fabric. Both are subject to personal preference and taste. Below is only one of many such possible layouts

if elongation is not possible or to be avoided, then the option below shows a possible repeat, including a “punchcard” 24 stitch version. Where color reverse is not an option, all but the white squares must be marked/ programmed, and in the case of a punchcard, all but the white squares would need to be punched

It is also possible to offset/ shift the color of motifs themselves so they would alternate colors between the 2 striping colors as well

The following chart illustrates the idea: the magenta stripes are not part of the repeat, they are markers to show where the slip stitches for the alternate color need to occur in the repeats

As for the motif that started this thread: below is the test swatch so far, obviously in a different gauge and repeat, but in the same spirit. An issue is the long float on the back/purl side spanning 8 stitches. If the goal is to produce an unlined item, these could pose a problem in wearing it. Hooking up the floats up may be too time consuming in production, an added stitch in the non motif color (see marked dots) on either side of the central bar may solve the problem, but alter the design. There is lots more to consider and play with (yarn colors in these swatches are chosen for throw away tests, not any type of final item) .

more swatches, repeats old and new

The final, new scarf fabric: knit on Passap, every needle rib, tencel and “Nomi Lee”.

The top and bottom edging to be worked out; the fabric is soft, drapes well, and has no side curl.

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Double jacquard 3/ single bed multi color slip

Double jacquard knitting allows one to design and knit multiple color patterns without the worry of floats. The color changer (standard machines hold a limit is of 4 colors at any one time) and the ribber is required. The ribber knits the floats into the second layer of fabric on the ribber side, resulting in the term double knit. Often the main bed is set to slip throughout. Slipped (or first-row tuck) stitches become elongated until nonselected stitches knit off. The more the colors in any one row, the more all the stitches on the front face of the fabric must stretch in order to accommodate the number of colors laid behind in the backing fabric. The elongated stitches may allow for the other colors to be seen, and this is often referred to as “grin / bleed-through”. Different ribber settings may help with some of the elongation (depending on separation method) and grin through issues. The same principles used for DBJ separations apply to single bed multiple color slip stitch, and creating the initial swatches single bed can serve as a test for the DBJ pattern separation. In the series below some of the potential issues become obvious

the design repeat

The simplest color separation expands each row of the design to X times its original length based on the number of colors per row; in this case, 3 design rows expand to 6. In addition, in order to knit the fabric, the elongation function (X2) must be used, and each color for each design row will be knit twice, with color changes every 2 rows. This is necessary if the color changer is to be used since it takes 2 passes of the knit carriage to travel away from and back to it in order to pick up the next color. The result is a very elongated design. It is possible to knit the same motif without elongation, but then the yarn needs to be cut and changed on the appropriate side and each row, creating side edges not suitable for garments. One can separate any design with this method, and the motif may even have an odd number of rows. The sequence below is for the expansion of the first 2 motif rows

The graph below shows the motif in repeat, the next column the color separation, with expanded rows, and in the third, the black indicates the knit stitches (black squares on mylar, punched holes in card)

Testing the design single bed slip stitch: the resulting fabric is dense, with lots of floats, and narrow in final width, with little if any stretch. In the knit swatch: elongation is marked, would remain so even if the fabric were knit double bed and settings on ribber to reduce elongation were used

There are 2 other options for separating colors that deal with the problem of elongation, but they do not work on every design. The separation on the left is set up in sequential 2 two row units. In a 3 color pattern, each row of the design expands into 6. The selection row is made toward the color changer. The separation on the right also retains the knit scale. In using either one must often be willing to adapt and edit the original design motif. The total number of rows is the same as the previous method, but the sequence for color one is split as seen in numbers beside the color column in the chart. The selection row is made away from the color changer, knitting a single row in the pattern for color 1. In these separation methods, the motif must have an even number of rows

The respective resulting swatches: the elongation problem is solved, but the repeat is off in the upper third of the design. Some separation programs are able to scan through your design and locate the problem areas, even shuffle the order in which the colors are knit in order to allow the separation to work, but manual solutions may be quite time consuming or at times not possible

A redesign: one method to avoid pattern shift problems and ensure success is to use units in the design that are 2 stitches high, as seen in the motif and its separation below.

In knitting, the selection row is made toward the color changer. In rows where color 3 is not represented, only the first and last needles are selected, and manually pushed back to B position. Eliminating end needle selection can cause problems at the outer edge of other colors, eliminating blank rows from graph and knitting would require much more attention to where in repeat one is actually working, and lead to possible frequent mistakes in color sequence.

the resulting fabric, knit and purl views

Entrelac pretender 3

A larger cousin is in the works using the slip stitch setting combined with holding to create an “entrelac like” fabric. It helps to be familiar with both techniques before attempting this fabric. I am not providing specific directions for knitting, but the repeats are correct and tested, and are intended as a springboard, not a “how-to”.

the related punchcard repeats

The needle bed markings to help track motif placement (red for the red card, which corresponds to needle tape factory markings for repeats, black marks are halfway in between for the opposing shapes)

As each set of repeats for each card is completed the punchcards are exchanged. KC direction is marked on them, with knitting beginning on the opposite side. I found the fabric more manageable when I completed and began each design sequence and color change by beginning and ending with an all knit row in that color. The bottom of the swatch shows the difference in the side edges if half repeats are not planned for. If this were a production item it would actually be possible to work out the repeat on enough cards so they could be used as a continuous roll rather than having to so frequently reinsert and rejoin them. This sample was knit in Jaggerspun wool, and since wool has memory, the resulting 3D texture remains after steaming, resulting in a noticeable difference from the previously knit acrylic swatches.

This is the purl side with obvious changes in width and some problem yarn feedingand the knit side

There is a large number of rows between repeats, so there will be yarn ends that need to be dealt with, but they are far fewer than in knitting individual motifs, and only at sides of the piece.

Garter bar/ short row trim

A recent MK forum request for a HK trim look alike led me to the following experiment :

the hand-knit trim

There are multiple ways to achieve knit and purl combinations on the KM. Brother garter carriage will do so “automatically” albeit slowly, ribbers may be used in combination with main beds, ladders may be latched up by hand, or one may use the garter bars to turn work over. When large widths are required the options are to use multiple panels, or to knit the fabric sideways letting the width become the length. Some HK fabrics are impractical if not impossible to duplicate on standard home knitting machines, and compromises are chosen. I tried to create a distant relative of the proposed trim, with a bit of family resemblance.

Below the short section to my garter bar is pictured. I mark every 10 eyelets with nail polish on my GBs to help with tracking stitch counts (do same with centers of ribber combs). The photo shows it in the position in which it needs to be held to take stitches off the machine prior to turning them over. The hollows under the eyelets (1) provide room for the needle hooks to slip under the yarn and catch the stitches when work is flipped over. Hollows under eyelets occur on the side with the convex ridge (2). There are many online sources for using the bars, now available in multiple gauges, including an article by Susan Guagliumi.

my working graph

I worked my edging on multiple of 12 stitches. The purl/knit symbols represent how the knit will appear when viewed on the side where the held shape is convex. Work begins by knitting foundation rows and using waste yarn at the start with open stitches on the first row of knitting if the ruffle is to be seamed/joined at its ends upon completion. The magenta/green rows represent respective whole rows to be turned to the reverse side using the garter bar after each knitting sequence is completed. Testing first is required to establish the optimum stitch size for a gauge that will allow for easy stitch movement in transferring stitches on and off the garter bar:

arrows on the blue ground indicate the position of KC at beginning of sequences

end knitting of first “purl” section COR, turn work over (magenta)

COL: knit one row across all stitches, carriage moves to the right (pink). I find it easier after holding starts to move the carriage to the opposite side by taking it physically off the machine and leaving settings alone, results in fewer yarn tangles and problems for me.

COR: set the machine for hold except for the first 2 stitches on right. I tried one stitch at a time first, but the wedge was too deep, so I began working bringing stitches to hold 2 at a time, carriage side first. Stitches could be held opposite the carriage as well, but that created a set of additional holes when one returns to knitting those stitches in the opposite direction, and a pointy edge  (segment marked with dot #2, more on a later post on miters and spirals). The number of stitches brought to hold can be varied as needed, the goal here is a symmetrical result.

COR: when only 2 needles at left are left in hold opposite carriage, knit an even number of rows (orange area, I chose to knit 4, then 6 rows in my test)

COR: when last 2 stitches on right have been knit for 2 rows (green) transfer all the stitches to garter bar

Get carriage to left, COL: return stitches to needles, knit for an odd number of rows (magenta, COR), turn work over

COL: knit one row across all stitches to right (pink)

COR: begin holding sequence again

I began the sample with 5 rows in between the mitered shapes and then tried 11. This is labor-intensive if produced in significant lengths, so a choice can be made depending on personal taste and patience. Though it could be attached as one knits the item it is intended to trim, there is enough going on I would probably estimate the length, take it off on waste yarn, and hang it onto the larger item. If longer, the trim may be unraveled to suit. If an addition is required it may be added on but at least working with the much larger bulk of materials will not be for the duration. Holding lever may be set to knit for single passes prior to turning work over in sections using holding, or stitches may be pushed into work by hand.

dot 1 rests on “killed acrylic”  repeat test, the remaining sample is knit in wool: dot 2 marks the extra holes when the holding sequence is changed   as described above

with five “purl” rows between turning and holding

11 “purl” rows between turning and holding

the reverse side

about half the wool portion of the ruffle was pressed, the knit became smoother, the edges less rolled. Those are properties that can become a design choice/decision

If an all stocking stitch ruffle serves the purpose this could be the start of the working repeat for using slip stitch to knit programmed needles selected to patterning position; here the black dots represent areas that knit, white squares stitches in holding. The repeat must be an even number of rows, using it as drawn starting side depends on whether one is using a punchcard machine or electronics

For some hints on how to use garter bar see later post 

Entrelac pretender 2

This is another fabric combining holding and slip stitch to create shapes. Below is my working first repeat, the colored lines indicate a dividing line that would give me a black square on either side for setting up the second, split repeat to reverse the direction of the knit stitches. I am sharing not to provide a pattern or specific how-to, but to provide some ideas for technique experimentation by blog readers with some experience and familiarity with the use of patterning and holding conjunctively.

my mylar repeat

Each program represents repeat for one row of “entrelacs”. The bottom repeat  KCII <–, knits left to right, top repeat KCI->, knits right to left. Each horizontal segment begins knitting on groups of 22 stitches and ends on “half” a repeat. The half repeats and the reversal of the knit direction result in a balanced fabric. As the direction is reversed, the programs need to be altered. A bit on method:

COR for bottom mylar repeat KCII <- knit all stitches color A, COL set the machine to slip <->, bring all but first 22 sts on left to hold, knit 20 rows. The resulting shape is being created left to right when the top is reached the stitches at the left of the sequence will be in B position, the ones on right will be in work. COL: at this point push next 22 sts into work, knit to right. COR: return first repeat 22 sts to hold position, continue in pattern for 21 rows. COL: bring the next group into work, and knit/move across the selected number of needles. COR: bring the previous grouping of 22 into hold. Repeat as needed for the desired width. When the row is completed and the last group of needles is selected in work, COR: cancel holding and slip, knit one row on all stitches to the opposite side, change color to B if desired. COL: program subsequent repeat, KCII, select ->. COR: set cam buttons to slip <->, KC to hold, bring all but first 22 needles on right into work and reverse full sequence.

My swatch was worked on needles 34L to 21 R, had an interesting 3D texture until I pressed it. I like to press the initial studies to have a clearer definition of edges of shapes and location of color changes so as not to disrupt the pattern

the resulting swatch knit side

and purl side

there will be yarn ends to be dealt with color changes, some could be knit in with the same color during the making of the piece. I can imagine that if the 2 rows of all knit stitches are eliminated between entrelac rows, even more variations could be done with added colors, but I personally am not “going there”

“Automated” shell shapes

March 2020: in attempting to fill a request for a punchcard repeat, I am finding added ways of looking at the topic, will share in a later “revisit” post.

This technique combines holding with the slip stitch setting. When KC is set to slip it is the punched holes/black squares that result in needle selection and stitches knitting. Blank areas in cards or mylars are slipped/ skipped.

my mylar repeats for each segment

the swatch before pressing knit side

the purl side

the dimensional texture is flattened out  when pressed

the purl side, flipping the shell shape horizontally

using a yarn with memory and tighter tension would help retain the 3-dimensional quality if that was the  original intent

A bit on method: the repeat used for the hand technique in the previous post was changed to an even number of rows, with other adjustments.

The execution was in a brick configuration

all knitting begins on and moves right to left; needle bed may be marked to help track repeats

. for straight side edges program second mylar repeat first; I knit my sample on needles 22L – 34R

. some needles will need to remain OOW, cancel end needle selection = KC II

. COL: first selection row is done L to R with the yarn color used for the next shell sequence in A feeder

. COR: the machine is set to hold non-working repeat groups, and the KC is set to slip <->; in the half-repeat working the first half-shell takes place on the first 7 needles on right

. COL: when the top of the repeat is reached the orange row will be selected left to right

. COR: after needle selection of previously held stitches happens on that row, bring the total number of stitches for the next repeat on the left into work manually, knit one row across the 21 needles

. COL: stitches in the yellow area will be in B position; bring all stitches to their immediate right to hold, then the “yellow group” to work by hand, continue to knit in the same process across until the horizontal row of shells is completed

. COL: program machine for full, alternate pattern repeat (bottom of mylar) for a row of all whole shells

. COL: depending on personal preference, holding may be canceled for the first selection row, or stitches may be pushed back to D position and carriage kept set to slip <-> before knitting back to right and resuming working on each pattern unit

. COR: repeat process, working on groups of 14 stitches at a time from left to right

. COL: on completion of the row of full shells return to the first program, continue the process until the desired length is reached

To match casting on and binding off  I often start with waste yarn, make the decision as to how to end piece in a way that I like based on my test swatches, then rehang the stitches from the first row and treat them as I did those in the last row of knitting.