Swatches and Experiments – Page 11

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 the 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
The first preselection 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 the color changer. Settings on the 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, very thin yarn or monofilament in front may be used with a thicker or contrasting color in the back, with viewable inclusions against 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 backgrounds, 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 the 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/

A Ravelry question raised the possibility of knitting a flat tube with a different solid color on each side. This may be achieved using the same principle as quilting. The programmed pattern is for 2 rows of punched holes or black pixel rows followed by two unpunched or all blank rows. When all main bed needles are preselected, the ribber is set to slip for 2 rows, only the main bed will knit. When there is no preselection on the main bed, the ribber is set to knit, no stitches will be formed on the main bed, so each surface remains separate. The knit carriage is set to KC1 to ensure the sides of the tube will be sealed. If two knit carriages are used to select needles, then it is possible to easily adjust tension for the alternate color if that is deemed needed.

Knitting again, more block stitch, color changes

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 Ravelry post brought up the use of 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.

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 the second needle from the left when traveling from left to right, and the 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 the chart with the 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 on 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 setups begin and end on the same symbol ie. Dash or blank on the needle tape, in this case, the “dash”

If knitting begins with an even number of needles in work, 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 the 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

2023 :
Repeat steps between * and **.
To test the technique choose easily identified contrasting colors.
The main bed will be set to simply knit every needle, resulting in stripes in 2 rows of each color.
Cast on using the light yarn on an uneven number of needles on the ribber, with the first and last needle in work on the top bed. Set the ribber to slip with the lili buttons set for both directions.
COL, dark color: the second needle will be knit in it. Do nothing, knit 2 rows
*COL, light color: the goal is to fool the machine into thinking the light color will knit on the second needle. Bring an empty needle into work on the ribber on each side, shown here on the right. Knit to right. COR: do nothing, knit to left.
COL: there is now a pair of empty needles, they need to be taken out of work so as not to add new stitches. Change to the dark color and knit 2 rows** A sort of tune: light yarn cast on, follow with dark yarn, knit 2 rows
*light yarn: empty needles up, knit 2 rows
dark yarn: empty needles down, knit 2 rows**
For wider stripes, release the lili buttons.
Set the ribber to slip in both directions on an even number of needles.
Pairs of needles will need to be hand selected on every row on the ribber and brought up to E so they will be knit. The remaining needles will be skipped. Beginning from the same side, I chose the left,
*COL: bring up the first needle pair, #1 and 2, for color 1, continue across the row, knit to the right
COR: repeat the same selection, knit to left
COL: change color. Begin selecting pairs with needles #2 and 4 from the same side, and continue across the row. Knit to the right.
COR: repeat the same selection, knit to the left. **
The yarn used is thin, thicker yarns will fill in. Because alternate colors are slipped for 2 rows, the stitches that are skipped are elongated compared to those that are not. These methods may cause distortions on the knit side if used in patterned DBJ, seen slightly in the horizontal stripes. 2013 To knit:
*COL (carriage on left): color 1 knits to set up the base in pattern for 2 rows, ending on the 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 the left OOW, and bring an extra needle on right into work. Knit to the left, return to the color changer, drop the extra needle on the right OOW, and change colors*
Repeat the * *process throughout. Check regularly to make certain that the 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.
If loops are formed on needles brought into work, they need to be released before knitting the next row. This did not occur in the samples knit using the method described in 2023.
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 bed. Lastly, here is a tiny swatch in an arrangement beginning to explore the odd number of needles in work on the ribber in conjunction with the use of lili buttons, and adding needles to “fool the machine” as described above

Block slip 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 on the top of this jacket credited to Forquet.

The term block stitch is one used in published references with instructions for related stitch variations.
Following are some ideas for developing designs for these fabrics, the basic principles work for both punchcards 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 to be drawn or entered into a program that is capable of color reverse. One needs to be mindful of the size of the overall repeat when faced with so much “blank space”.

Until one sorts out what happens with the stitches, and 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, besides it is an expanded graph leaving every other row blank. Some books suggest erasing 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 ensure 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 squares. The grid on the left shows the 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 the 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 ensure 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, and 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. There is a long float on the back/purl side spanning 8 stitches. If the goal is to produce an unlined item, this could pose a problem in wearing it. Hooking up the floats 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 are lots more factors to consider and play with in test knitting. The yarn colors in these swatches are chosen for throw-away tests, not for any type of final item.

more swatches using both old and new repeats

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

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

Mosaics and mazes: drawing motifs

Knitting any fabric on the machine becomes easier if one thinks of black squares as knit stitches (selected needles on Brother), white squares as in this instance as either slipped or at times tucked stitches (non selected needles). Each number on the grids below represents 2 consecutive rows of knitting. The design may be elongated in the drawing of the final repeat itself prior to punching holes, marking mylar or pixels, or elongated in the built-in setting for the KM used, whether electronic or punchcard. Color changes are required every 2 rows.

The grids:

The patterns may be created by drawing shapes on the dotted grids, or “erasing” squares on the lined grids if more extended lines are desired. Some of the “rules” for mosaics were discussed in my previous post on the subject last October. A few more to consider in drawing your own:

color 1 is represented in row 1 and all odd-numbered rows

color 2 is represented by row 2 and all even-numbered rows

long horizontal lines in mazes usually occur on odd-numbered rows

even-numbered rows usually have no more than 2 black squares marked side by side

on odd-numbered rows, white squares slip

on even-numbered rows black squares slip

odd-numbered rows are knitted in the main color (black squares)

even rows are knitted in contrast color (white squares)

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

a quickly drawn motif

checking out the motif in repeat marking the knit stitches in odd rows marking the knit stitches in even rows markings for all knit stitches

the red squares show the alternative markings for electronic KMs with color reverseShared in an earlier post: using point grids, the pattern may be drawn over them; staggered units may require some cleanup and “erasing”, as represented by pink squares when the shape is what one desires, a color separation follows as for the design at beginning of the post

In knitting the pattern, the selection row is made in a non-patterning row toward the color changer. Unless each row is marked twice, the motif as above must be elongated X2

Test swatches for the resulting fabric, knit and purl side are shown respectively; note the lack of visibility of pattern where there is low contrast between the 2 colors used and the short floats on the reverse. Slip setting is used, though in row 11 the 2 side by side non-knitting squares may not pose a problem in knitting using tuck setting.

There is an online generator for patterns in this family by Laura Kogler. The image below shows one such generated pattern, in turn, saved and gridded in photoshop

Below are images processing the above design “by the rules”, based on red squares in the generated design. Figure 1 is the isolated repeat, figure 2 shows the stitches to be knit in color 1, figure 3 the stitches to be knit in color 2, in figure 4 the black dots represent punched holes, the red squares the areas that may be marked if the KM is capable of color reverse, the length must be doubled here as well, with the color changed every 2 rows, selection row toward the color changer. The resulting fabric using slip setting, rows 4 and 5 make motif problematic for tuck setting Working with the white squares in the generated design, now knitting the white on odd rows, the red on even: the grid on left shows the isolated repeat. In the grid on the right, the black dots equal the punched holes in the card, the white squares the mylar markings for use with color reverse. This motif would work in tuck <-> as wellThe 2 fabrics side by side, showing in this instance a slight difference in the overall repeat in the last swatch; in the left sample green is color one, in the right one white is color l the same motif knit in the tuck setting is wider, both sides are shown below If the yarn used is capable of being blocked fairly flat, because of the short floats, finished items in these fabrics may not need to be folded over or lined as traditional FI items often do.

Entrelac pretender 3

This larger cousin uses the slip stitch setting combined with short rows to create an “entrelac-like” fabric on punchcard machines.
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 blue tape is used on both sides of the card to mask off holes resulting from punching errors. 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 feeding and 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 the sides of the piece.

Studio simple lace punchcards used on Brother

My previous post and a few others addressed some of the issues in knitting lace and the differences between machines. In this instance, I am exploring the use of cards that are designed for transferring and knitting at the same time.
Brother transfer lace is the result of using 2 different carriages.
The studio card used the resulting fabric

To knit using LC for transfers:
cancel end needle selection on knit carriage underside if possible or push end needles back manually if needed to avoid their corresponding stitches being transferred throughout the piece; set up for knitting the pattern as usual, punchcard row 3 (marked in pencil) becomes row 1 of the design when the above card is used in brother machine; the arrows always indicate the direction the lace carriage will move across the knit to make transfers in the direction of that same arrow
begin pattern knitting with COR, card locked, change knob on KC, needles will be selected for transfers moving to the left
release punchcard
LCOR moves to left transferring and is released off the machine (same needle selection appears, but those needles are now emptied of yarn)
COL: KC moves left to right, knitting the single row, all needle hooks are full, and new needle selection occurs
LCOL: makes transfers in the direction of the arrow, and is released
These steps are repeated throughout the knit, with the knit carriage knitting and selecting, the lace carriage following its selection to make the required transfers
If there is no pattern needle selection with the KC pass on any row(s), continue to knit until there is needle selection, and begin the process using lace carriage to transfer in the direction of the arrow now in view above the card reader, and once again releasing it after a single pass
A caution: hesitation and reversal in the movement of carriages in Brother machines advance the card in the reader, and result in mistakes in patterning; if errors are to be corrected or such movements need to be made for any reason, it is worth locking the card, checking row numbers, remembering to release the card before continuing, and visually checking pattern after the next knit row.

Another option is hand transfers:
KCOL: lock the card on the appropriate row, row 3 if using a Studio brand one
The KC is set to knit, with no cam buttons pushed in. As a result, there will be needle selection, but no patterning.
KCOL: make the first selection row left to right, release the card, and set it to advance normally, disregarding arrow markings on the card
KCOR: transfer stitches on preselected needles onto adjacent needles to the left, away from the KC, and knit back to the left
KCOL: transfer preselected stitches to the right and follow with a knit row to the right.
After each selection row hand transfers continue to be made away from the knit carriage, with transfers on odd-numbered design rows toward the left and on even-numbered rows toward the right.
Blank rows on the original design repeat will have no needle selection or hand transfers, the KC continues to advance the card and knit, producing stocking stitch for the necessary number of rows.
Before any knit rows when using tools for hand transfers, check that needles have not been accidentally returned to the A position to avoid ladder formation instead of eyelets or proper patterning.

Color reduction/conversions, Mac Os

A recent forum post brought up the question that rises periodically on how to reduce colors in photographs, scans, etc. so as to be able to in turn use the image in a low-resolution medium such as knit. There are very many ways to achieve this. The post had specifically asked for low cost or free alternatives using Mac software, so I began playing, and compiled the following document detailing some of my processes, addressing large scale, non-repetitive images in Color reductions for knitting. The document samples were simple, straightforward conversions, with no further “tweaking”.

Mac Os: iPhoto, Preview, further software downloads:

Free: img2trak, HyperDither, XnConvert

99 cents One bit Camera
an option for Mac users, Bitcam

Free to try, $39.95 to buy GraphicConverter, the developer site
diffusion, halftone, pattern, custom A tutorial for owners of Photoshop diffusion, halftone, pattern, custom With thanks to my test subjects: Rocco One bit camera and my sofa fabric

An online service that will do the conversion for you: Knitpro, and a free service GitHub May 2019: ditherlicious

A later post on the topic, showing the many faces of Rocco

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 the last 2 stitches on right have been knit for 2 rows (green) transfer all the stitches to the 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, the starting side depends on whether one is using a punchcard machine or electronics

…

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

Entrelac pretender 2

This is another fabric combining holding and slip stitch to create shapes. Below is my first working 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 readers with some experience and familiarity with the combined use of patterning and holding.

My mylar repeat as used on the 910 appears in the direction as drawn on the knit side, while punchcard models using suitable width repeats knit repeats in the direction as drawn on the purl side. Later electronics automatically mirror programmed repeats, true of my later model 930. Depending on the model in use this electronic repeat may require mirroring before or after downloading. A newer chart of the design, with row numbers requiring actions highlighted on the left of each repeat. Machines that automatically mirror would be selecting this Air knitting is a good way to test pattern placement on the needle bed prior to any knitting.
When the slip stitch setting is used and segments are worked on only part of the needle bed or with needles out of work, end needle selection is usually canceled. On electronic machines, this is done using the KCII cam setting.
Each 22-row program is used across one full row of “entrelacs”.
The bottom repeat as given above preselects KCII <–, knits left to right, and the top repeat preselects KCII->, knits right to left on the 910.
Each horizontal segment knits on groups of 22 stitches and ends on “half” a repeat.
The half repeats combined with the reversal of the knit direction result in a balanced fabric.
As the direction is reversed, the alternate repeat needs to be programmed. A bit on method:
COR for bottom mylar repeat KCII <- knit all stitches color A,
COL set the machine to slip <->, bring all but the first 22 sts on the left to hold, and knit 20 rows.
The resulting shape is being created from left to right when the top is reached the stitches at the left of the sequence will be in the B position, and the ones on the right will be in work.
COL: at this point push the next 22 sts into work, knit to the right.
COR: return first repeat 22 sts to hold position, and 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 out to hold. Repeat as needed for the desired width.
When the full row of shapes is completed and the last group of needles is preselected, COR: cancel holding and slip, knit one row on all stitches to the opposite side, and change color to B if desired.
COL: program subsequent repeat, KCII, select ->.
COR: set cam buttons to slip <->, KC to hold, bring all but the first 22 needles on right into work, and reverse the full sequence.
My swatch was worked on needles 34L to 21R and had an interesting 3D texture until I pressed it.
The differences in the size of the eyelets at the tops and bottoms of the shapes are due to the fact that when stitches are brought out to hold on the carriage side, an automatic wrap is created, reducing the size of the small slits usually formed in short row knitting.
I like to press the initial studies to have a clearer definition of the edges of the resulting shapes and the location of color changes so as not to disrupt the pattern. There will be yarn ends to be dealt with where color changes occur, some could be knit in with the same color while making 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”.