Slip Stitches – Page 9 – alessandrina.com

More slip stitch experiments

Slip-stitch fabrics are capable of creating interesting textures. When blocks of stitches are slipped, the floats that may appear on the purl side are considered problematic by some knitters. One solution is to work using mosaic and maze “floatless FI” designs. This was addressed in previous posts, including color separation methods for planning them, and a variety of knit swatches.
The images below have often appeared in knitting boards on Pinterest, I am returning to the slipstitch design thread.

A Missoni knit Sportmax Armida sweater

I decided to plan a “square/block” shape to sort out the technique; it could easily be adapted to a diamond one. By necessity, larger repeats need to be executed on an electronic machine whether via mylar or download program. The plan is to change colors by any means available, usually, every 2 or every 4 rows, requiring a motif repeat that totals an even number of rows. In hand-knitting garter stitches can become part of the resulting texture, but they are impractical here. Often commercial knits are produced on machines that can automate many more functions and surfaces per row. The Missoni sweater is a fine knit, and on a detailed examination, reveals lace eyelets in some of the stripes in addition to plain knit and slipped stitches. Not impossible to do on a standard KM “home” electronic, but the simplest way to add lace eyelets would be via hand transfers.

my starting chart

checking that that repeats line up

possible mylar repeats

I drew the top repeat above onto mylar for use on a 910. The sample swatch was knit using 2 carriages (and lace extension rails). I selected R 1 from right to left, with the carriage that was to remain on that side, and began knitting with the second carriage, placed on the right, holding the alternate color. There are a few ways to achieve the pre-selection row, depending on the choice of start to the fabric, and whether a color changer as opposed to a second carriage is in use. Contrasting colors help us see and understand stitch formation. For the bottom of the swatch I used double length as well as color reverse, with color (carriage) changes every 4 rows. The top of the swatch is knit with color changes every 2 rows. Slip-stitch is short and thin. Since there are more stitches slipped on the bottom of the swatch, the fabric is pulled in in those areas, making the knit on either side “bubble” in a way that the top of the swatch, do not, and resulting shapes no longer appear as straight lines horizontally.

purl side

The single-width blocks that form the stitch pattern are usable for tuck knitting as well. Whether the motif may be elongated on standard machines depends on the yarn thickness used. Tuck-stitch fabric tends to be short and wide so that the finished knit piece will be wider than the slip-stitch version.

Taking this shape to a punchcard requires editing, and the results are quite different. One sample idea, moving stitch groups around to fit a 24-stitch repeat:

All the white squares would need to be punched to form knit stitches, the yellow left unpunched, to form the slipped ones, the look of the fabric would be very different.

Previous blog posts on related topics: tuck and slip color striping, block stitch color separations, where the term block stitch is used based on publications that refer to floating, staggered designs rather than to square shapes.

As for creating “solid” block shapes: an initial repeat is charted below, 16 W X 24 H. Black blocks are drawn on mylar or downloaded, is used color reversed with no elongation. Knitting starts with base rows knit in the color that will form the “block” on the knit side of the finished fabric

the knit side

and the purl, note floats as wide as the “block”

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

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

some possibilities on method: SPIRAL original shape

splitting in 2 parts

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

a mirrored segment

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

MITER: original repeat

split repeat

moving parts around

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

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

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

Miters and spirals: visualizing, charting (and more) 2

Visualizing the shapes (using charts in Mac Numbers)A spiral gore is the first or second half of a miter gore, conversely, a miter gore has 2 consecutive spiral gores, knit in a mirror image. GOING ROUND: numbers 1-12 represent knitting sequence for wedges, thicker lines at segment edges = rows across knit width at end of each sequence, 2 rows or many more depending on planned design shape

Previous posts on related topics:
2011/06/18/knitting-math-and-pies1/
2011/06/24/taking-it-to-a-garment/
2011/03/29/the-doilies/
2013/12/28/short-rows_-balls-tams-3d-rounds/

Miters and spirals: visualizing, charting (and more) 1

Getting my thoughts together on this topic I searched for any of my previous posts that may be related, here is a list
2013/12/18/holding-stitches-short-rows/
2014/02/24/holdingshort-rows-hand-tech-to-chart-to-automating-with-slip-stitch-1/
2013/12/28/short-rows_-balls-tams-3d-rounds/
2013/01/21/automating-pleating/

Even in my earliest days as a hand knitter, I liked charting out my sweater shapes ie sleeves, necklines, etc on graph paper and tracking my place by marking the appropriate row or every other row on the charted image. Many of the formulas for charting math in garment shaping may be emulated by drawing a line on the chart where each square represents a stitch and a row, connecting points, and filling in squares. Averaging out grid shifts is also the guideline to increasing and decreasing for shaping on pixel charts. Though this may be a bit of egg before the chicken, I got sidetracked playing with software yet again.

GIMP

Working premise: using holding to shape a wedge over 36 rows. Stitch multiples are brought into hold opposite the carriage (floats will be created if they are brought into hold on the carriage side), in the instances below each graph row represents 2 rows knit, my fabric width at the start is 100 sts

Set image size _ pixels equal stitches and rows required

Magnify X 1000 (this is what I prefer for viewing and editing, less magnification may be used)

Activate 1 stitch grid/ show grid/ snap to grid

Make certain the whole image is within your window view

Using line shape: click on the upper left corner, press shift key_a drawing line will appear with a + symbol at its bottom right_click on the first square on the bottom right, a line will appear where black squares represent # of stitches to be held each row

bucket fill in the appropriate side of the wedge to represent knit stitches

create a new, larger canvas that will accommodate desired multiple stacked repeats and possible knit rows in between shapes in a new window; copy image from the first window, paste into the new window, move it, and place in the desired location on your screen

return to the first window, flip the image vertically (image menu/ select transform and direction)

again copy, paste, move into the desired location, and insert knit or (patterned) rows (green) when and if desired. On electronic machines, the final image would have to be doubled in length, so those “knit row” pixels/squares would have to be adjusted accordingly to half the desired number

Row by row charting for double-height to represent each row of actual knitting: the process

starting with a repeat 6X6

convert image to bitmapped (repeat at upper right below is a different one, should match the one being resized)

scale image: click on the locked symbol/ chain link, in turn, to alter the aspect ratio, change both pertinent numbers

the repeat twice as long, 6 X 12

going 3D, possible spiral

eliminating squares

shifting things around in order to add “automatic wraps”, begin knit with COL

in further progress

stacked repeat

save in image in format for downloading to machines via cable and knitting using slip stitch setting, or export or screen grab for printing and knitting from chart visually as hand technique. If printing images colored cues may be added for carriage/lock setting or color changes, etc. The question: what about numbers and excel?

NUMBERS

Using the line tool (shapes) will get the line in place, shaping is “eyeballed”

knit squares are filled in

so you want to double the height only? Apple for some reason when they “upgraded” to the latest version of the program (3.2) has eliminated the split table feature, so the only way I can see is through using the table: add rows above or below in the chart, a new row will be a copy of the selected row

EXCEL

the insert row option will add rows only below selected ones, I have not found a tool equal to the line shape in Numbers

Holding/short rows: hand tech to chart to automating with slip stitch 1

These directions apply to Brother Machines; designs could be used as they are and programmed into Passaps, other brands would require some adjustments. In these samples, the holes resulting from holding for 2-row sequences are considered part of the design. Vertical strips in different colors could be knit and later joined. The final result is a “zig-zag” pattern. Written directions may read: to begin, cast on, and knit 2 rows. **COR: set the machine for holding. Place in hold all except the first 2 needles on the right (carriage side). Knit 2 rows. Return to work the next group of 2 needles on the left to work, knit 2 rows. Repeat until only 2 needles on the far left are in hold, return them to work, knit one row (color 1 in the chart below). COL: pull the first 2 needles at far right to hold, knit 2 rows, repeat until last 2 are left in hold, knit 2 rows (color 2). COL: bring next 2 needles into work, knit 2 rows, continue until the last 2 stitches are returned to work on the right, knit one row (color 3). COR: pull first 2 needles on left into hold, knit 2 rows; repeat until last 4 stitches at right are put back into work, knit 2 rows**, and repeat from **. Knit 2 rows at end of the desired number of repeats bind off.
The sorting out hand tech sequences to achieve the desired shapes sample: When producing my charts for using slip stitch to automate holding I like to draw what I would actually be knitting for each row, each stitch and row being a filled square, so the colored areas below represent knit stitches/rows on each row, the blank squares the stitches in holding. I test the repeat as a hand technique first, before in my case marking the mylar, then essentially fill in the knit stitches with color, keeping in mind the location of the knit carriage and the direction of the knitting. The colored squares are then programmed as punched holes, black squares, or pixels, and the pattern may be knit using slip stitch <—>. Needle selection needs to be canceled, otherwise, the yarn will be knit on the side of non-selected needles on that last stitch, creating a long float. The selection row needs to be toward the first 2 knit rows sequence. Here they are knit beginning on the right for 2 rows, so the selection row is made from left to right. Odd rows move, knitting, from right to left, even rows from left to right. At this point, I prefer mac numbers for charting.

the final repeat, working chart the mylarthe swatch

The above repeat could be considered composed of 2 pairs of stacked, mirrored triangles, here is an instance of playing single “triangles”

the mylar repeat its accompanying swatch

“wisteria” cousin revisited (“holding” using slip stitch)

My previous post on the related topic.

I revisited the above fabrics in another experiment recently. This first sample was produced as a hand technique after casting on with 2 needles in work, 2 out of work. In the bottom half, there were variations from 8 down to 4 rows of knitting before additional groups were introduced, beginning on the right side of the machine, with the first group on right taken out of work after bringing the second on left into work and one row knit on both groups, so sequences are always on single groups of 2 except for the one row where the new pair is brought into work and knit. When proceeding in this manner the single long float will appear between the lines of knit stitches. The top of the swatch was knit in a manner similar to the method described for the second swatch series in the above post. The yarn is acrylic, barely steamed.

Automating these fabrics is limited if only a punchcard or mylar were available. In the repeat below if all “holes at edges” were wanted to match the size of those in the remainder of the row, the single 4 stitch segment areas would need to be redrawn, double their present length. Though the width of the fabric may be limited in terms of a garment or shawl, an inset is possible, or if turned sideways, the fabric may serve as a trim. Having an interface that allows programming the width of the needle bed and “infinite” length, gives one much greater leeway also in terms of segment widths. Here I am basing the repeat on groups of 4. The grey markings are ghosts from a previous test repeat.

The resulting fabric was 32 stitches wide, centered on the machine; in the bottom segment all needles (in my case 16L to 16R) are in work, KCII (cancel end needle selection) row is from left to right, with knitting beginning from right to left, with the machine in turn set to slip <—>. Adding NOOW creates 2 more variants. In the middle the fourth stitch on the left of each group is transferred to its right, its corresponding needle is taken out of work, so knitting will be on groups of 3 stitches, with a single needle ladder between them; in the top the third needle on left of each remaining group of stitches is transferred to its right, now having groups of 2 empty needles between each pair of stitches, creating a wider ladder. This swatch was lightly pressed, flattening it considerably: a consideration when choosing yarn type.

Simply doubling the length and width of the repeat on the mylar, which in theory should give a larger repeat, does not work for these fabrics: the transition row as each new group is brought into work needs to be a single row event or floats will be created on the second pass of the carriage, so this in one instance of draw exactly what you want to knit unless you wish to manage the floats created by changing those needle selections manually when needed if doubling motif length.

From Stoll Trend Collection Europe Spring/Summer 2012 a sample fabric utilizing the floats between repeat segments as a design feature

a how-to video on the above fabric http://www.youtube.com/watch?v=EBrW5wddgbg

Drop stitch lace, 2 colors per row, japanese machines

This is an attempt to duplicate the results of Passap tech 185 used in knitting multiple colors per row drop stitch “lace” fabrics.
The method may also be used for more colors per row, expanding the repeats accordingly to the number of colors per row X 2 for each motif row. For example, here 2 colors per row are expanded to 4 rows for each color in length, 3 cols per row would need to be expanded to 6 for each design row.
This fabric widens considerably when completed, so at the top and bottom edges, cast ons and bind offs, need special consideration and planning.

In this instance, the design has been separated for the dbj method wherein each color in each design row knits twice. The second row in each pair of rows is then cleared of any pixels which results in no needle selection, providing an opportunity for the loops formed on the main bed to be dropped with the assistance of a stitch ditcher.
The fabric may also be executed using the original separation, but the opportunity to use an accessory to facilitate stitch dropping is lost’
The method for swatching: cast on for every other needle rib, knit 2 circular rows followed by one row of all knit rib, and transfer all main bed stitches to the ribber. For an open stitch cast on directions and photos see later post.
COR Set up needles on both beds for every needle rib with an extra needle in work at each end on the main bed, cancel end needle selection (KC II). With the main bed needles in the B position, set the knit carriage to slip in both directions so as not to pick up loops across the whole row as the first pass toward the color changer is made, needles will be preselected for the first pattern row
COL: the ribber remains set to knit every needle, the main bed to slip in both directions. A piece of tape in front of needle butts of needles in A position aside from the edge needles in work helps keep from accidentally moving extra needles into work when dropping whole rows of stitches
change color, as the carriage moves to the right, selected needles will pick up loops on the main bed that will form the long stitches when dropped, while the next row of pattern is selected, so by the time the carriage has reached the right side of the machine, needles will have flatlined due to the all blank rows in this type of color separation
COR: use any convenient tool to bring all needles involved out to E, and use the same tool to return all stitches back to the B position, dropping the loops on the main bed which will form the long stitches. With this type of color separation, it is also possible to use a modified Studio P slider Directions on altering the studio tool for use on Brother machines to drop stitches from right to left before continuing to knit.
Check that all needles are empty and that loops free and between the beds.
As the carriage moves to the left again toward the color changer, the ribber only will knit all stitches (does so every row), needles will be preselected for the next row of long stitches, selected needles are not knitting.
Colors are changed every 2 rows
The pattern and the “color separations”, were achieved using GimpImages from left to right
1. motif lengthened X 4
2. every other row erased (non-selection rows)
3. 2nd pattern row (every other row of design now left) color inverted
4. pattern marked in 5X5 blocks for easier tracking when drawing on the 910 mylar sheet
A downloadable PDF of basic info 185_brother
sideway views: knit side purl side The emerging pattern can be seen, and to be noted is the elongation factor involved as in many color separation DBJ fabrics
For a later review of cumulative posts on the topic see: revisiting drop stitch lace
For the design method for staggered shapes in drop stitch see Ayab software-related post.
In other electronics, a single repeat in both height and width is adequate and machine selections will determine whether the design is knit as a single motif or as all-over patterns.
Ayab’s preselection is always from left to right. In unhacked 910s, the first preselection row can be from right to left, so no accommodations need to be made for shifting the last row to the first of the design repeat.
For machines accepting electronic downloads, program the repeat with the first design row containing black squares in it, and adjust the spacing between repeats as preferred. This particular version is 80 stitches wide In an unaltered 910 with the ability to double the width of the programmed repeat, mylar users are not excluded from exploring a similar fabric. The repeat above may be rescaled to half the width, drawn that way, and then use the twice as wide built-in feature. In Gimp scaling this design to half-width, note the right side of each repeat contains an odd number of squares, the left side an even one. The repeat may be used as-is or redrawn, adding or eliminating black squares if symmetry in each shape matters. The free program Paintbrush produces the same image, mirrored.
The explanation: further analysis of the original design reveals the fact that some of the pixel numbers in the design black square blocks are uneven in width. In this instance, 3.5 is half of 7, and half pixels cannot be rendered, so the software assigns the split to 4 and 3.
A Passap sample

More “circles from squares”

My latest wraps based on this principle are from a variety of fibers, and knit on the Passap 6000; the Passap allows for more tucked rows, which in turn provide the wider width for the “ruffle” at the top and bottom of the piece

altering the height of the “bottom ruffle” to about half changes the angles in the drape in the front

my previous posts on the topic of attempting to achieve circular knits on the machine:

2011/06/24/taking-it-to-a-garment/

2011/06/25/taking-it-to-a-garment-2-donuts/

2011/06/30/taking-it-to-a-garment-3a-2/

011/07/03/taking-it-to-a-garment-3b/

2013/07/09/back-to-circles-from-squares/

A random slip stitch

During my early morning surfing, I recently came across a pattern knit as fair isle that I thought might work well in slip stitch

the repeat

the first sample knit side

its purl side, showing the typical slip “floats”

The light color is a 2/8 wool, the green a rayon/nylon blend, thinner in weight; the rayon flattened considerably after steaming (something to consider if the maximum texture is the desired aim); the first wide band of green is 32 rows high (full repeat), the narrower stripes occur with changes every 16 rows. Slip stitch striping can vary a pattern greatly, sometimes more successfully than others. My sample was knit on a 910, using color reverse. In the first repeat chart the white squares are intended to be what knits, the dark grey the slipped areas (Passap use same repeat, tech 129, each black square is a slipped stitch with lock set to LX rather than KX). This repeat is too wide as-is for use on a punchcard but was it usable, all but the dark squares would be punched.

The obvious color changes may take place every 32 rows, every 16, every 8, every 4, 2 followed by 6, and more. The pattern may also be knit with the same color rotation, but beginning striping sequences on a different row. The purl side of this particular pattern helps make it easy to track the location of color changes, but with many slip patterns the same may not be so obvious, and good note keeping of sequences and starting rows for the design can be a time saver when one wants to reproduce particular pleasing or successful “random” segments.

more variations

the top section here begins with the first design row KC–>

these are done with beginning the pattern on row 2, KC<–

swatch is not pressed, resulting in a more pronounced texture

Re_editing the repeat can help change/ plan the areas for solid color blocks to occur on the knit side. Slipped stitches become elongated ones on the front, knit side of the fabric, and the color they assume has to do with the last row knit before the needles with that color yarn. If a color changer is in use, the repeats must be an even number of rows in height. The repeat below is a variation of the one above. The slipped stitches are numbered, with the assumption that in this case, the fabric will be all one color, or with changes at the start and end of each repeat (now 16 rows)

Below are some of the options for color changes, with slip stitch areas renumbered as any of the colors create knit stitches on the face of the fabric, the bar at bottom of the chart indicates starting color prior to the first needle selection row toward color changer. Only 2 colors are in use in the actual knitting, the other color blocks in slipped areas are to help visualize what stitches are being slipped and for how many rows, in each color

Personal fabric and surface preferences may vary greatly between individuals. The swatch below shows variations in the above, including some dropped stitches that were “missed”

My personal preference is for the top of the swatch, where the difference in yarn weight also results in an interesting dimensional effect

a couple of the many sources on this particular stitch type

…

Tuck and slip color striping

There is a very early Brother “how-to” publication, which can now be found available for free online

The diagrams accompanying some of the tuck and slip patterns illustrating how the color changes combined with the stitch type affect the knit presented the information in an interesting manner. With both tuck and slip the unworked needles’ stitches get longer (unpunched holes, white squares), carrying up the last color knit in them until they are knit off again. If the subsequent color change is in the same color as at the start of the sequence, the in-between color (dark in diagrams) travels behind the longer stitches in slip, or is caught in with interim loops in tuck. The swatch photos show the knit side, the charts the purl side in symbols and color change sequences

slip stitch

tuck stitch

More stitch types and techniques are represented as well in the publication as well.