Swatches and Experiments – Page 2

Revisiting automated shell shapes

My original posts on exploring automating shell shapes were written in my 910 electronic days using mylar sheets in early 2013: Thinking of modules: a shell “diary”“Automated” shell shapes
The repeat produced a visually successful fabric. I received a question on FB about executing the shells on a punchcard machine, and another on how I “come up with these things”. The repeats are not quick inventions, they take working out, sometimes through several first failed attempts.
Since the early posts posts my approach to explanations has changed as I became increasingly familiar with newly available software and updates, and a 930 and img2track made downloading pngs possible in a new way.
iPhone cameras make it far easier to “shoot and share”.
My original mylar repeat entered as separate programs in days when each mylar sheet was precious. The 910 in my default setting produced the “image’ as drawn on the knit side of the resulting fabric. The post was written prior to my tiling the repeats as a matter of routine to check their alignments. Doing so would have shown a couple of missing pixels, and pointed to any other errors in filling in mylar squares.All transfers were made in the same direction.
The start of the visualizing the shell shapes with errors later observed and resolved. As always, ideas need error-proofing and refining, easier done in a chart if possible prior to any actual knitting.
This type of design begins to address an uninterrupted repeat on the electronic on a limited stitch count, whether all in a single direction or reversing every other full row of shapes. It is applicable to joining several punchcards, but only on single 24 stitch widths.
There are a number of changes to make if it is necessary to get the pattern to reverse direction in alternate rows of completed shapes in a brick layout.
My first tests were planned with knitting moving only from left to right. To execute such a pattern on a punchcard KM, the repeat needs to be altered from 14X2 to 12X2 in width. This is the start of sorting that out:Attempts to visualize holding can happen in spreadsheets, documents, image processing canvases, or even simply on graph paper, moving/ “drawing” back and forth across the cells mimicking carriage movements and marking them accordingly.
Large staggered repeats can be programmed in electronic models
All shapes are limited in terms of the width of the repeat occurring across the number of available needles on any machine.
Some previous posts on electronic knitting such repeats:
Holding/short rows: hand tech to chart to automating with slip stitch 1
Ayab: short rows automated with slipstitch
A return to short row shapings: bumps and slits

The 910 produced the design as programmed on the knit side. On the punchcard machines, the image-as-drawn is produce on the purl side.
Lettering is likely the most familiar instance where mirroring is required for punchcard machines to produce it correctly, a consideration here as well. The 930 automatically mirrors downloaded motifs, if direction matters, as in these samples, either mirror the design horizontally prior to saving the png for download to the machine, or use the mirror button selection on the operation panel after the download.
I find it easier to fill in the shapes in the direction I wish to have them appear on the knit side.
An attempt at a continuous 24 stitch repeat, with the same technique applicable to electronic models while avoiding programming 2 different repeats and having shapes in different colors across full repeat segments.
This proved to be a fail.With larger gaps between changes, the yarn may be changed every X rows manually, making an easy fix to breaking rules for when using the color changer.
The next step is working out 12 stitch repeats with patterning needles to be brought in and out of holding position as well. The options on a punchcard would include 8, 12, and 24 stitch motif widths.
The machines will be set to slip in both directions throughout, end needle selection must be canceled. This method is not executable easily on km models that do not offer that option, electronics use KC II.
Note that machines sold in Europe in comparable models may have different names for the same functions, ie. SM in some instances is the equivalent of KC II, whereas in US it signifies a Single Motif.
Punchcard settings for end needle selection: I do not have any blank punchcards to test a repeat on at the moment.
The 930 essentially behaves the same way by producing the entered pattern on the purl side, making it possible to use the unaltered final designs.
The starting 24 stitch brick repeat Other shapes have previously been explored using slip stitch, and later, slip stitch combined with holding. A brief return to previous turns at holding and slip stitch used to create alternating color shapes: in 2013/02/12/an-entrelac-pretender/, a continuous slip stitch only card was used. The result on the knit side,while on the reverse floats between alternating shapes are the norm Results with no floats are found in the swatches in the posts, two designs are programmed alternately upon completion of each full row of shapes : 2013/02/21/entrelac-pretender-2/and a larger, 24 stitch motif used on a punchchard machine as a continuous repeat : 2013/04/11/entrelac-pretender-3/

Returning to the goal of the moment: to knit the shells in a float-less way, using a technique executable on a punchcard machine as well. The repeat as initially drawn is 28 rows high.
If the punchcard or the electronic advance every row with each pass of the carriage, the alternating shifting blocks of the repeat will be selected in full with every 28 passes.
In this instance, one returns to the start of the design repeat every 28 rows. Identical shell full shapes are created across the knitting rather than the shifting shapes desired in alternating full row repeats.
Separating the 28-row repeat into 2-14 row ones.
The 12 stitch repeat is tiled X2 horizontally, beginning with a half shape, while here the repeat for all full-size shells is planned, Marking up the needle bed with water-soluble markers or pencils helps track placements of repeats across the desired number of needles in work: dark lines indicate placement beginning with the mark for half a repeat to maintain straight side edges on the finished piece. Red lines mark the placement of the stitches when they are moved to the left in order to knit the full shells across the bed. On a 930, the image will be knit in the direction of the pattern as drawn on the knit side, as it would be on a punchcard machine.
To begin knitting the shells with COR, since the pattern is fixed on the needle bed, one option is to move the work in one direction or the other on the needle bed using a garter bar, so that the knitting is in the proper place for the desired anticipated needle selection. This was easier in my own mind than reprogramming the pattern repeat for each full row of shells whether by entering a new download or altering placement using the position option at the start of each row. One of my first working repeats amended later in several steps is shown here mirrored in black and whiteVisualizing the process on the needle bedScaling the image to render it a bit more legible:The machine will be set for slip stitch in both directions and holding. End needle selection is canceled.
The first preselection row is from left to right. Every needle will be preselected and will knit every stitch for the first 2 rows in the desired shell color.
Color changes are made manually.
At the completion of a row of shells, its corresponding color ends on the left side, a free pass is made, returning to the right. Knitting with the new color for the alternate groups of shells begins again on the right side.
After the first 2 all knit rows, as the carriage works its way back to the right on the following pass, preselecting will occur for a decreasing number of stitches. This is the first-row holding selection when using the above repeat:
Moving stitches on the needle bed avoids having to program separate repeats after each full stripe of shells.
Beginning piece with half a shell on each side: all but the first 6 stitches are brought out to hold. When more than the single needle is selected at the top of the first half-shell (6 sts to start, 1 at the end), COR: bring the next group of 12 stitches to the left into work, knit to left.
COL: bring original 6 needles out to hold. Bring into work any needles not selected in the group of 12 into work as well.
Continue knitting, repeating the process across the bed.
On design row 14 of the last half-shell remove work on a garter bar.
To execute full shells across the next row of shapes: using a garter bar move the work 6 stitches to the left.
Return emptied needles to A position (out of work, OOW).
With all remaining needles in B preselect the next row (1) from left to right. Cam settings need not be changed.
Change color if desired, knitting 2 rows across all the stitches.
Bring all needles out to hold except for the first group of 12 sts between red marks, and repeat the process previously described across the bed.
When the last shell is completed, design row 14, remove the work on the garter bar again, shift it 6 stitches to the right.
Push back the now emptied needles back to A (OOW).
With all stitches in the B position, make a free pass to the right, row 1 of the half shell row will be preselected, change color, continue across the pattern row as described. This yarn is far too thin but makes stitch formation easy to identify.I used two repeats side by side to eliminate having to consider and choose the position option on the 930 needle bed, resulting in having the pattern centered in each 24 stitch fixed segment of needle selection.
Using a needle tape for punchcard machines electronic models make transitions when using published or DIY 24 stitch designs.
It is possible to add all knit rows or even patterned ones between shell rows. On an electronic KM with 2 carriages available, adding a FI band would be simpler than trying to manage to change cam buttons in addition to the other number of steps already involved with the slip stitch and holding combination along with moving the knit on the needle bed.
Contrasting color row stripes can be programmed by adding 2 or more/ even number rows of all black squares (or punched holes) at the top of each 14-row segment of the final repeat. Reverse shaping of shells appears to not be necessary to avoid biasing on my limited tests. The proof of concept swatch:I was too aggressive with clipping yarn ends on the left side, especially while in the process of changing colors, not ever a good idea. Automating the pattern fully on electronic models using only slip stitch patterning is possible. The length of such patterns grows exponentially in proportion to the size of the repeats. Reviewing errors in the beginning concept An attempt to visualize the placement of the shape variations in the finished piece using the shell motifs beginning with the shapes created in order to create a straight side edge

Redrawing the pattern for a 36 stitch test. On the left is the drawn image of the pattern, on the right the mirrored image for downloading to my machine to produce it in the desired direction. Much of the time is invested in developing and testing the final and correct image for download, the knitting that follows that is fairly quick. My repeat is 36 stitches wide, 98 rows highCOR: knit a base row in color one from right to left
COL: KCII (no end needle selection) to right, the only needles preselected will be those corresponding to the programmed black squares, the remaining will be in B position. Knit to the right.
COR: set the machine to slip in both directions. Knit slowly and evenly. All needles in work on the bed must be cleared with each pass of the carriage.
Continue in pattern across the bed, checking that all stitches are knitting off properly.
When all needles are preselected, change colors for the next set of shells. These rows create the base for the next group of shapes. If a stripe or other pattern is wanted regularly, those rows are best added to the programmed pattern itself.
The automated test swatch: Preserving the 3D texture relies on using yarns with “memory”, ie wool and avoiding aggressive blocking. Using thinner yarns makes the stitch formation more evident. Hard pressing, in this case, knit using acrylic yarns, flattens the fabric considerably, and often, permanently. Both the hold/slip (top) and fully automated swatches (bottom) are shown.2023: a screen grab from the shell charts was cropped to its outline, opened in ArahPaint, and using the program’s tool “guess weave from grid“, the 36X98 png was obtained with a few mouse clicks,

Isolating like modules and looking for any differences in each of them to prepare for a larger number of repeats across the needle bed in each half of the design There are several methods for securing yarn ends both during and after knitting in the final pieces using these techniques. Testing such methods on swatches is the best way to determine what works for yarn and colors used as well as our own personal preference.
The pattern width may be adjusted to create considerably larger shells if desired. Punchcard knitters are limited to 8, 12, and 24 stitch repeats. For them, this would be the maximum size, including an added number of rows for contrasting color stripes, in this instance 4. A return to the original 14 stitch repeat, illustrating a way to begin editing for an extra row in width at the bottom of the shape and ending on 2 stitches rather than a single stitch at the topImagining adding increases and or decreases for shaping at sides, which in turn could lead to an evaluation of switching to entrelac approaches when creating large shell shapes for similar effects. The 3D qualities and distortions are obviously missing from these illustrations.A Prada sweater using similar shapes If you are interested in any large size clamshells, and intarsia appeals to you whether in hand or machine knitting, Cheryl Brunette has thorough directions for many such shapes, including 2 videos on shell shapes Part 1, and Part 2
More online inspiration using large shapes:
from a Russian blog

a hand-knit blanket from Garnstudio the common illustration for shaping triangular shawls using such motifs Similar pattern repeats are at times also referred to as scallops, fans, or scales. A “scallop” design a “fan”

Knitting with “unusual” fibers/ elastic 1

Decades ago UKI used to offer 92 colors in a 3M elastic, and for some time lots of folks were experimenting with using it as the second color in fair isle. A company now defunct called Impresario used to even sell pattern books for garments using the technique, with the no stretch ground yarns creating ruffled details in cuffs and sleeves. One of my students during that time made a whole collection where the elastic was used in shaping segments of pieces and even in a whole dress. Since pleating, folds, blisters, bubbles have been intermittent themes in my blog posts the elastic and “unusual” fiber use seems to be a natural follow up in my swatch knitting experiments.
Early published designs can be found using elastic in patterning. Thread lace was an early feature in Silver Reed machines, so if that is a fabric that is attractive, downloading Studio specific punchcard books or those for their electronic designs is well worth it and provides a wealth of inspiration for the related knits. The knitting technique is often referred to as punch lace in early pubsIf a clear color contrast is desired, FI is the better option. One such source: The above patterns are decoded for use on Brother electronics in a subsequent post

In an earlier post on “pretend cables” I shared a demo swatch from my teaching days (shown sideways) that became the springboard for the mentioned student collection
and its accompanying punchcard repeat:UKI is no longer available. I recently acquired some Yeoman elastomeric nylon-lycra yarn. The latter is supplied on 1450 yards per pound cones in 23 colors.
There were several things to be sorted out for the elastic to feed smoothly. The first was to separate it into more than one cone with the intent of using at least 2 strands since one did not seem to work predictably. After trying a variety of trial methods including bypassing the tension dial in the yarn mast, ultimately the best results were obtained by threading the elastic as any other yarn but taping the metal disks spaced apart in the assembly thus reducing the pressure and upper tension on the elastic as it advanced through the mast for knitting.
The normal threading

Here the white yarn shows position beneath the pin and scotch tape in place to adjust the amount of pressure exerted on the elastic. As a matter of routine, even if the goal is to knit the fibers double bed, it is always best to make certain one gets familiar with yarn feeding, tensions, changes when larger widths of knitting are attempted, etc. on the single bed. The first tests were knit using the fair isle and thread lace settings single bed. Though I am using img2track to download to a 930, I do not have a 930 carriage (910 ones do not have a thread lace option), so I worked the swatches using a punchcard model carriage. The repeats used were planned to include borders on each side to ensure those stitches would knit in the second, B feeder color in fair isle (black squares, punched holes), or together in white squares (unpunched holes) in thread lace. Fair Isle produces a double set of floats on the purl side. Thread lace produces a single set of floats (in this case the elastic), the white border is not visible in the repeat below, it is the same as the above fabric, with colors reversed. I prefer the single float backing. In addition, for these fabrics the elastic is placed in the A feeder, the yarn in BI found the standard sinker plate kept having issues with the thread lace option, getting needles caught up in it as it attempted to move across the bed. The sinker plate that was provided with the punchcard machine was actually different, and when I switched to using it I had no further problems. Arrows point to differences, I have long since replaced all brushes with wheels on all my sinker plates. Be aware when purchasing any of them that the bulky KM ones are slightly larger. A second thread lace variation:
The multiple folds and creases, as opposed to smooth blister in all the above, are very interesting to me.
There are many scientific papers being written on 3D knitting that explore pleating achieved by using knit and purl combinations which to some degree could be emulated on home knitting machines equipped with a G carriage. Other work explores properties achieved by using elastics in the mix, they can be found by searching for “axometric knits”.

Many interesting pleating effects may be achieved by using knit and purl combinations. Unless one has a mechanical aid such as a Gcarriage transferring between beds can be tedious and hard to do correctly for lengthy pieces of knitting. I illustrated one sample in the post I decided to now test a similar block structure using the thread lace setting, first with a large check and then a far smaller oneThe spots, where the elastic and yarn knit together, are compressed, so the results are quite different than what might be expected from studying the chart A quick, imperfect sample using a fine cotton and a single strand of the elastic, each with its own upper tension disk adjustments.a close-up of the elastic and cotton, though they are knitting stocking stitch together, the cotton does not have the same stretch factor, so the loop formation as viewed on the purl side is different What of knitting on a double bed? An axometric shape, a tentative repeat worked out and in turn elongated X2 and tiled to check alignment. The original repeat is composed of an odd number of rows in height. Usually, double bed knitting relying on color changes or automatic DBJ KRC separations require an even number of rows in the motif. The first sample was executed using single-ply cotton and elastic yarns respectively, fed through separate upper tension disks but knit together as a single color. The swatch is 72 stitches in width but measures only 14.5 mm (5.7 inches) in width, producing a gauge of nearly 13 stitches for inch, not achievable when knitting with standard fibers on a standard 4.5 mm machine. The pattern is subtle, more visible on the knit side, hard to tell there are pockets in the knit. The cotton is space-dyed, and as true when using such yarns, that causes some confusion in immediately identifying a clear pattern. The ruffled effect is simply from a plain knit start and color-changing stripes to test tension and knittability on the planned needle width. Machine settings: opposite part buttons, no liliHere the same pattern was executed on the same number of stitches with the white wool used above, but the elastic was plied with a 2/24 acrylic yarn and knit as DBJ with the blue, stretchy combination creating the solid color backing a comparison in scale My future intent is to try for some of the 3D shapes obtained with racking, but prior to that, I tested the yarn and tensions on some simple every needle rib racked patterns. Because of the movement required across the metal bed for racking to occur, I chose to continue using the same wool as above, rather than thin cotton likely to break from the stress of those movements. A plating feeder would do a better job of distributing the colors, which here become muddied as seen any time 2 contrasting colors are knit together and are used as “one strand”. Racking every 2 rows (swatch bottom) will stress the yarn less than every one row (swatch top). The knitting was fairly easy at tension 4 and 3 respectively. Both carriages were set to knit in both directions. The weighted rib on the machine measured 16 inches, 10 when off it and relaxed. The width nearly doubles when fully stretched. I was curious to try a pattern previously tested in an all woolThe stitches were quite compressed, the color mixing makes the shapes harder to trace, the fabric measures nearly double in width when fully stretched in width, the needle arrangement is more visible at that point.The needle arrangement was changed. The finished swatch measured 24 inches when weighted and on the machine, approximately 18 inches when off and relaxed. The maximum width was expanded from 4 to 12 inches The “pleating” arrangement is noticeable in this view Working with a similar arrangement I decided to try having patterning on the top bed, with the aim to tuck on the single needles in work in the repeat (bottom line of black squares). Not all ideas are an immediate success. Wanting to see the effect on the single-ply wool I began with that at the tension that appeared to be required for knitting it along with the elastic and stitches were far too loose.I had more success and a bit better definition of the fabric by knitting with both strands together from the bottom up. In an effort to attempt to have better color distribution I used the plating feeder and had some issues with stitches not knitting off properly. The result was not significantly different than that obtained by simply feeding both yarns together. When using plating feeders both on the single and the double beds one of the yarns may have a tendency to jump out, to prevent that from happening here is one “hack”.The tuck stitches do help with the definition of the shapes, as do the dropped stitches, a fact worth keeping in mind with a return to pleats and their formation, but likely in another post. Likely the last test in this series, I attempted a version of dragon scales at first using a yarn I knew would be too thin for the effect alone, then added the elastic. The combined yarns did not tolerate tuck and racking combined, so I then used slip stitch <– –>. The yarn alone sample was too loose and thus nearly flat and when the elastic was added the resulting knit became compressed and lost any semblance of 3DThe same yarn as above, also knit in tuck setting, showing the difference in size and dimension between slip setting on left, tuck on right As with any knitting, keeping an eye on what your yarn is doing still matters. Such as this will lead to a series of circumstances that may bring your project to a far earlier end than planned ;-(
A very last effort at attempting the scales with elastic and wool knit at a far looser tension that in previous tests, ended when elastic broke as a result of above, IMO an unremarkable fabric For more swatches and information see post on knitting with elastic 2

DBJ: more than 2 colors per row 1

I began to machine knit in the glory days of using the tool and developing techniques. There were internationally attended seminars, hosts of wonderful teachers, and a community of potential peers brought together physically in pre-internet and online forum days. Punchcard machines were the standard. As more electronic models became available it was not uncommon to find the rep for DAK at one end of the market spaces at seminars, and Cochenille at the opposite end, promoting early interface and design programs. My choice at that point was the Cochenille products. I attended design school beginning 1989, the computer lab at the time was all Amiga, and I never really became interested in DAK or for that matter, Garment Styler. I was up and running soon with Bitknitter for the Passap, had the option of the Forma on the Passap or the Knit leader on Brother for less traditional shapes, and the magic formula worked for any of the math I needed in days of using graph paper or that other paper that has lots of lines in it for keeping notes. The calcuknit and styler at the time worked on established default curves, the same that could be achieved by charting math or even simply connecting lines between dots on graph paper, drawing lines in between the dots, and following the drawn lines guesstimating increases and decreases along the edge of the drawing. I have never had any experience with DAK, was never really interested in owning it. 😉
A bit of early low tech: when aspect ratio mattered pages of acetate sheets with vertical lines spaced at different intervals could be lined up atop of each other and placed on a design to approximate knit gauge, and the result could then be charted out and planned for a punchcard repeat or intarsia. Some acetates were sold gridded to approximate stitch and row default proportions, there were also published paper charting aids for both standard and bulky gauges. Some examples:

Laying acetate or even plastic wrap on the computer screen itself and outlining designs and processing them with overlays, was a version of “poor man’s digitizing”. The technological advancement of black and white security cameras used in combination with RGB filters made the first digitizing of non-repetitive images possible.
I had never really planned on teaching. As it turned out I interviewed a few weeks before completing a textile program, had several finished pieces with me from my undergrad work, and was amazingly hired instantly as the machine knitting instructor for apparel and textiles. I found myself faced with a Brother punchcard lab and a summer of crash learning on the specific models followed. In order to teach effectively, I learned to analyze and break down stitch types and techniques in order to help others understand them. Summers would often include studying trends and knitting lots of swatches. Many of those are still in a couple of bins I held onto when I downsized a few years ago, giving up my studio space. It is that analysis that keeps me interested still in working out how-tos. Although I use electronics, I still like to break things down when I can so punchcard knitters are not left out.
Getting to the topic of multiple colors and nonrepetitive images in the “early days”: punching holes in cards is time-consuming and without the aid of electronics or specific software, color separations for dbj and assorted double bed fabrics need to be worked out manually before punching, and accuracy is important. Consequently, some knitters found compromises to achieve the look of multiple colors per row. Julie Schafler Dale’s Julie-Artisans Gallery on Madison Avenue became the central plug-in point for the wearable art movement, eventually representing artists, some of whom are no longer knitting, and some may still be found presently online
Susanna Lewis, Norma Minkowitz, Jean Williams Cacicedo, Linda Mendelson,
Nicky Hitz Edson, and not caring about floats, often working single bed with some linings and over-dyeing additional colors Janet Lipkin .
The non-repetitive image was worked out in length by dividing the image lengthwise into panels often 40 stitches wide for use with early Passaps and continuing on to the desired height. Widthwise, the design was split into the maximum width of 40 stitches with added seaming allowance and consecutive panels were joined to compose the large image. The kimono was the most common shape because of its simplicity in components. As for getting the look of more colors per row: multiple thin strands in color families were used in each yarn feeder. For example, one can knit with 4 strands of red shades, 4 yellow sequentially lined up, used in pairs in the same feeder. Keeping the red constant, for the second strand, the work may begin with either the lightest or darkest yellow, knit X rows, switch yellow to the second shade for X rows, switch to each of the next hues, and in theory, the final set of rows should look like a different color than the one used in that feeder at the start of the process. the ratio of red could be played with as well, expanding the range. Knitting pieces in black and white particularly allows for limited edition knitting. The third color may be applied on portions of the white, providing a look-alike for 3 colors per row. With the range of space-dyed yarns or custom dyeing blanks and then unraveling them for larger pieces to control pooling one can also get the look of more colors per row. Not to be forgotten are hand embroidery and fabric applique.

The question remains as to how to knit more than 2 colors per row on home knitting machines, and color separations to make the fabrics possible. The more colors per row, the more passes to complete any design motif. The final result may be thick and unyielding unless thin yarns are used. More rows are often knit in the back than on the front of the fabric, resulting in further elongation of the shapes involved. The easiest default separation is to knit 2 rows of each color for 2 rows sequentially, allowing paired passes to and from the color changer. This results in an elongated design, even with playing with standard backing variations to reduce vertical stretch such as in birdseye. In a post years ago I began to look at 3 colors per row and some potential issues with separations for dbj using it the initial method:

Each row will have to knit twice to get 2 and from the color changer for color changes every 2 rows, for less punching, each row can be represented once, but the result will need to be elongated X 2

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) prior to elongation.

The repeat was not workable when using the standard method used to avoid elongation, where each color for each design row knits only once. There are segments where the new color would not align properly on stitches knit on the previous row, and to get the design to work I had to amend it.
Fast forward 5 years. I now have access to both ayab and img2track, no longer use Photoshop and Excel, still use GIMP and Numbers as my way to color separate and produce charts for my blog. There are active forums both on Ravelry and Facebook with general machine knitting information, or specific to both interface options and methods for using them.

Sarah Spencer @ heartofpluto developed code that reduces the number of rows knit making the common impossibles possible. The code is freeware, has been implemented in Ayab and available there as a menu option. Adrienne Hunter’s posts on Ravelry explore the concept involved.
To begin, I was interested in using part of the concept on my own while keeping the color sequence constant ie 1,2,3,1,2,3,1,2,3 and so on throughout the piece and always begin tests with simple shapes that allow me to note what is happening to stitches, changes in scale as the result of the techniques used and started with designs where each color is represented at least once in each row. The color separation used: The ribber was set for birdseye at the start of the swatch pictured. At its top, N in one direction and slip in the other were used, with the ribber set for knitting every needle when the main bed slips them all on blank punchcard or pixel rows. The tension remained constant throughout. The KC preselection row can happen from either side with this particular color separation depending on whether one starts the design with a blank row or one containing pixels. Since 2 rows knit in each “color”, I prefer to start the first preselection row on the right. Both birdseye and N settings on the ribber produce a single row stripe on the back of the piece for every 2 passes of the carriages and completed 2-row color change sequence. The N setting contributes to elongated stitches on both faces, leading me to prefer the lili birdseye one.

In theory, because of the way the birdseye rows set up a base for the next row of knitting, that makes the stitches in any color workable in pattern colors. I created a new repeat for that motif working in Numbers following that up, I planned for the 60 rows needed to complete the repeat, hid 30 rows, using this menu

copied and pasted the black and white repeat on the above right, then unhid the 30 hidden rows (see previous posts using command key selections), having a new color separation repeat, created the final 2 color BMP in Gimp (whew!)Since my separation is planned on 2-row sequences, I began with COR and my preselection row was from right to left. I initially had issues with the lili buttons behaving erratically, once the ribber carriage was oiled again that seemed to solve the problem for me. I did not arrange colors in the yarn changer to match the illustration in any way, but that could certainly be done to match a chart. With COL pick up the first color in the sequences, there will be no needles selected on the top bed (no black squares on the first row of repeat). Remember to have both carriages set to slip in both directions and the rule for even the number of needles in work on the ribber. As the carriages move to the right, every other needle will knit on the ribber, the first row with black squares will be preselected. With COR on the pass back to the left, the pattern squares will knit, a blank row will be preselected, and the ribber will complete a single row of the background color by knitting on the alternate needles from its previous pass. As a result, one row of backing and one design row for each color (including no color in some instances) are completed with every 2 passes of the carriages.
I had a better edge and needle selection on the ribber with an extra needle in work on its left as compared to the main bed, adjusting after the cast-on row, maintaining the ribber needles in pairs, and evaluating the swatches after the fact would probably set up an extra needle on the right side as well.

This swatch and the ones following it use yarns in 3 different weights and different fiber contents. The blue is acrylic and the thinnest of the three. Some bleed-through of the colors traveling behind the blue shapes, in particular, can be seen behind it. The magenta is cotton, the yellow wool. Better choices of both the fiber content and colors of the yarns used would improve the overall look. If one plans color changes to match the chart, a paint program can help visualize some of the possible results

What of shapes with fewer than 3 colors in some rows? Again, there is some bleed-through, and even with this technique there is some elongation of each of the shapes, but less so than with other techniques. The backing of all these fabrics produces single lines in each color used Even fairly small repeats can take time to color separate in this manner. The technique, however, is the only method available to punchcard knitters. Electronic machines with download cables and varying software open a very different world in terms of ease and range in repeat size possibilities.
Here the repeat is adjusted from 11 stitches in width to 12, making it suitable for punchcard machines, and widening the center shape by one stitch may also reduce lengthwise stretch and help it appear rounder after knitting

Long stitches meet transfer lace

Eons ago, when I was exploring long stitches I shared directions for a tuck stitch combination fabric At about that time I came across this image on Pinterest.
It combines transfer lace and long stitches, has characteristics that make some lace patterns unable to be reproduced on home knitting machines. Upon inspection, one will see that the number of stitches varies in different parts of the repeat. Aside from creating eyelets, the smaller triangular shapes increase in width, the fan shapes are decreased by half on their top row. Long stitches are created across all needles in work, then they are reconfigured so the center single stitch of the triangle and the center 2 stitches of the fan shape realign in the same position. The number of stitches at the start of the pattern and after the long stitches are created remains constant. Trying variations on inspiration sources can lead to success, failure, somewhere in between, but also increase learning and skill that will carry over into other knitting techniques, even if the results are never used for a finished piece.

The Brother ribber is used to produce the long stitches. A bit of review: the bracket lever has 3 positions:

Dropping the ribber down 2 mm on each side gives enough clearance for thicker yarns. At a seminar, I saw Susanna use the position to create transfer lace in ribbed fabrics, something I have been threatening to try for decades, but have not yet. Here the lace carriage is shown in position, clearing the ribber’s gate pegs. My preference is to create a chart in order to visualize and plan an “attack” prior to any knitting. White squares represent needles emptied by transferring their stitches to the right and to the left respectively. One must remember to keep empty needles in the work position to form eyelets. I found making the transfers easier an the process more visible if I dropped one side of the ribber to the second, 17 mm. position

The ribber remains set to slip <– –> on all transfer rows, and any all knit rows on main bed only. The ribber is set to N <– –> for three rows. On the first pass, all its needles will pick up the yarn, creating loops on every needle
With the ribber carriage alone, still set to N/N, free it, and make two passes to and from its starting side. The first pass releases the loops, the second returns it for coupling with the knit carriage. Below the long loops can be seen. My needle tape is “somewhere”, has not yet been returned to the ribber after my racking handle adventures were completed. Return the ribber settings to slip in both directions, and repeat the process. Dropping the ribber to the lowest position at any point can verify goings-onHere one row has been knit on the main bed only, anchoring the loops, returning carriages to the opposite side prior to starting transfers once moreA word of caution: if loops are picked up on any single row that in theory was set to slip and was to be worked on only single bed, check to make certain the tuck lever has not been accidentally brought up to the tuck position. Although tuck <– –> can serve for a free pass on the main bed, having this setting on the ribber will create loops on all needles in work My test swatch had a couple of different# of transfer trials in horizontal segments and a few operator errors. It was knit in wool for the “spring” of the fiber, and unpressed formed pleats of sorts, while with a hard press it flattened out considerably, with not as much of a wave as I might like. My later effort led to a fabric that was different from the inspiration one, but far more interesting to me than the one above. I began with a schematic, originally planning only 4 eyelets, then adjusted for 5 (yellow line marks the change) I cast on 55 stitches 27 left, 28 right. A ribber comb and weights are required.
Having a chart with any numbering that makes sense to you is helpful.
I used a water-soluble pen to mark the center needle location for the start of transfers on either side, in this case, 18 left, 1 and 19 right. The 55 stitches include 2 full repeats of 18 plus a half (9) on each side edge.
Brother has 2 #1 positions, one on the left and the other on the right of center, separated above by the red line. The fact is something to be kept in mind with stitch counts for hand techniques where needle selection is not automated across the needle bed but is reliant on accurate counts by the knitter
A 3 prong tool was used to make transfers, the pattern could be translated for use with lace carriage if one desired to do so.
At the bottom of the swatch I stopped after 4 transfers before creating the long stitches, and then switched to 5 guessing I would like the transition better, also a clearer stopping place occurred when a single stitch was left with doubled-up ones on either side of it.
I did not find it necessary to drop the ribber at all to check on the progress of transfers. Below the swatch is shown on both sides, both relaxed (to my eye the more interesting) and after light pressing

It appears to me to be the sort of fabric that is worth revisiting after a break. 😉

Machine knit fringes 2/ pretend hairpin lace

Several methods for creating fringes including some that may apply to this fabric as well were explored in the collection of fringes 1 post

Hairpin lace, familiar to many crocheters, is based on a central column with side loops that can be produced in strips, in turn, joined together in different configurations to compose open inserts, shawls, garments, serve as trims and joins.
A double-sided machine knit fringe can serve the same functions. My first swatch is knit using the #1 punchcard. Tension is totally dependent on the yarn used, the fabric may be executed on any machine, but as is often the case I am writing specifically for Brother.
The needle arrangement includes 2 center stitches, an even number of out of work needles to determine the width of the long loops, and one stitch at each end that is knit for the duration, then unraveled to loosen loops for various joining methods or uses as seen in hairpin lace references.
COR: to start with, 2 needles are cast on in the center of the piece, knit one row on them alone. This will produce a small tab that is woven in upon completion of the strip, as are yarn ends, and creates a base so whole loops may be added in equal numbers on each side.
Bring the side stitch on the carriage out to work skipping the chosen number of needles, knit one row to the opposite side, bring the outside needle on that side out to E, set machine for preselection row, knit back to the opposite side. Proceed to knit with both tuck buttons pushed in with end needle selection on.
A separate cone or ball of yarn will be needed in matching or contrasting colors to anchor stitches in the central vertical column. Bring the row counter to 000.
Multiply the number of loops required X2, since it will take 2 passes of the knit carriage to complete each pair, one on each side of the center.
I brought the side stitch on each side prior to knitting the next row out to E, rather than settling for using KCI alone, found that kept the side edges stable and I was not getting dropped loops.
If long strips are to be knitted, control over what is happening on each side matters in their assembly.
As you knit the two center needles will alternate coming forward, a separate strand of yarn is used to e wrap around the needle that comes forward with each pass of the carriage. Even though the illustrations for the technique show equal loop widths, they can actually be created asymmetrically as well, or the central column may be moved on the knitting machine as one advances through the piece for an asymmetrical version.
The dots on the metal bed are from another piece

the first selection of a needle forward by punchcard e wrapping with second yarn before moving to left e wrapping with second yarn prior to returning to right, completing a sideways figure 8, end stitches out to E before prior to each carriage pass When the required number of rows has been knit, end COR. Unravel the first stitch on the right,
at the center transfer one of the two center stitches onto the other, and secure it with the center yarn.
Drop the strip off the machine, unraveling loops when you are ready to join the strips.

Using the finished sample as an insert brings up the topic of joining knits. Here there is a single stitch on each edge. The unbound off stitch at the top on each side can be hooked on and secured with the first pick-up.
Stitches in the sides of knits form “loops and bumps”. The loops are formed carriage side as the row knits, can be used as possibly the least satisfactory single stitch increase. Opposite the carriage, as that same pass is completed the yarn will twist and create the “knot”, an easy and often acceptable single stitch increase. Which of the two is used to pick up for joining depends on yarn thickness and desired effect. Swatching will serve as a guide. Being consistent gives the best seam/join, without bumps and lags. The single edge stitch side border needs to be stabilized if it is going to serve as the detail at the bottom of the piece.
E wrapping every other needle as shown above with separate strands of yarn for 2 stitches on each side may be used to produce a no-roll edge on the sides of any knit fabric.
Knot vs loop: Using thinner yarn for knitting after the join even if on the same number of stitches, will gather the fabric More on seaming and joining knits 1 and 2. Extensive accumulation of images (crochet) for inspiration and possible technique links may be found on Pinterest
On the left is a sample using an asymmetrical width, latched join method, while on the right loops are twisted broomstick lace fashion, and there is a crochet stitch join strips of different colors used gathering tightly on one side can be the start of circles and shells

Japanese design books include their own symbols, here is part of a schematic for a shawl. It precludes an understanding of crochet symbols. The latter is simply illustrated and there is more convention as to their meaning than that for knit symbols, particularly as more and more designers are adding homegrown ones to self-published patterns The convention for joining strips of machine knitting by crocheting or latching side loops together suggest having a ladder space (white square, one or more may be used) and a side edge stitch on either side in segments of the final piece ie. afghan strips. When binding off at the top of the piece, the first and last stitch on either side is skipped, leaving them open so that they may, in turn, be unraveled. The easiest method if the goal is to join pairs of strips is to line up two of them side by side, unravel side stitches from the top-down, only enough rows to match the number of loops that will be latched through each other, and proceed for the length of the piece.
Depending on the yarn, work can be rehung on the machine, followed with a latch tool bind off, a segment at a time if needed, while maintaining a continuous piece of yarn.
Steps may be repeated for a crochet pretender edging at both ends if the number of needles on the machine will support that. Another alternative for the horizontal edges when no fringe is planned is to bind off with a crochet hook as follows: knitted edge: slip stitch in each knitted stitch, open section: chain 1, 1 single crochet stitch into first jumbo stitch, chain 1, 1 sc into second jumbo stitch, chain1 repeating across the row. If desired, sc again across all stitches. A row of single crochet may be needed to balance cast on edge as well.
Then there is the option of “winging it” and making a personal decision about other suitable alternatives.
When strips approach traditional hairpin, if you wish to work bottom-up or arrangements of loops are planned to be varied, whether, by crochet sequences or rehanging loops on the knitting machine, unraveling may be done while also threading a length of yarn through the loops akin to a lifeline in other types of knitting, making them more manageable. A hand knitting video by Bernat Yarns illustrates the principle on conventional hairpin laceThe technique is sometimes referred to as a cable join. The video also provides a reminder that if all the latching through is done in a single, same direction, the fabric will bias. To avoid that, start latching on right for one pair of strips, on left for the next pair. Finishing side edges by latching is shown in the Bernat #4 video along with adding a fringe to finish the top and bottom of the piece. If you enjoy crochet patterns longhand in the “old fashioned” way from out of print sources, here is a reference for inspiration, with hairpin illustrations # 448-456.
A join and side finishing, one side of each strip chaining strands of loops through each other, the outside edge twisting loops akin to broomstick lace: A partial illustration from Pinterest from an unknown source showing how the loops coming together to make shapes might be charted out: the ovals represent chain stitches, the v slip stitches, the different colors the finish of a complete strip’s edge Tuck lace is a fabric produced with needles out of work in combination with tuck patterning on the main bed. Patterns for it can serve as the starting point for either the center strips in double-sided loop fabrics or they can be worked in repeats with wider ladder spaces between them for a far quicker “pretend” version. This is one of my ancient swatches for the technique from a classroom demo, using the 1X1 punchcard, shown sideways to save space.
The card is used at normal rotation. Any time there are needles out of work, end needle selection is canceled to maintain patterning throughout including on end needles of each vertical strip. Tuck <– –> is used resulting in texture as opposed to simple stocking stitch and ladder fabric (center of the swatch). In the right segment, the ladder threads are twisted, in the one on the left they are not. This is what is happening: for twisted ladders on an even total number of needles have an even number in the selected pattern (4), and an even number out of work (6). This is one fabric that definitely benefits from the use of some evenly distributed weight and a good condition sponge bar. End needle selection must be canceled Here the stitches are arranged with an odd number in work (3), an odd number out of work (7)

A way of determining needles out of work vs patterning/ in-work ones for both tests: the first is knit on a multiple of 10+4, the second on a multiple of 10+3These fabrics will narrow considerably when off the machine, here is an image of the above swatch after a period of “rest”.

A collection of fringes 1

Fringes are not a personal favorite of mine on machine-knit garments in their “simplest” forms. I can recall using them rarely. Here a cut Passap version was applied to a piece made in my student days, a ruana for which I no longer have the measurements. It was composed of wool DBJ, worked in 10 panels, using a mylar sheet on a 910 for patterning, hand pieced, and is still being worn by its owner. I made a few items with twisted strands inspired by those seen in wovens produced by my weaving friends. I have no photos of those, failed to document my work for quite a few years. One excuse was the quality of any photos I attempted, and even back in the day, professional photographers charged $180 an hour plus model fees if used. It seemed that adding the cost of such photography to limited edition runs that were planned for sale would make the wholesale price higher than the market would bear. We all make choices based on information we have at that particular time, which was long before the recent easy-to-use photo technology.
There now is a very good video by Diana Sullivan showing a machine knit version of twisted fringe produced on the machine.
For a while, I was on an i-cord kick. I liked the look, but they were very time-consuming on production items, with lots of ends to weave in, and there was a balance to be sought between far too many to be practical and too few and skimpy to be attractive. Here a ladder space created by needles out of work is left between vertical fair isle repeats, producing a fringe in 2 colors. The design was not planned, a standard punchcard was used for the purpose of the demo. A planned repeat would have more impact. End needle selection is on, which is usual in FI, not for most patterns with either tuck or slip stitch settings combined with needles out of work, is also true here so that a vertical line on each side of the needles out of work between repeats aids in sewing the strips together. Width is limited since the fabric will be gathered by seaming and become significantly narrower and likely turned sideways. Both sides are shown. Joining could be planned to occur only at the bottom of a piece if desired, stitching lines will be less visible if thread color matches that of the yarn A needle in work away from the edge produces a side “fringe” followed here by felting partially, cutting the single edge stitch, and finishing the felting process
Adding thicker or multiple strands of yarns in long loops on edges, isolated areas, or all over Let us not forget knit weaving with several strands of yarn, adding strips of the result as one knits, or simply hooking on strips of fake fur or thrums (the bits of yarn that litter the floor after you cut your weaving off the loom) at chosen intervals

Finished edges on woven or lace trims, strips of fabric, and even roving along with self-made tassels may all be added at any point. Jolie tools, intended to aid in picking up dropped stitches can sometimes be helpful in picking up close to the woven edge (and pricking or piercing body parts on some days). The tool is available for both standard and bulky machines Most often every other needle use is best. Here lace and pom trims are used, purchased fringes of all sorts could be applied the same way anywhere in the piece, joins to knit can be seen. A length of roving may be twisted in its center and applied as you knit. For a while mittens using it as a lining for warmth were popular. A video by Carole Wurst shows a method used in socks https://www.youtube.com/watch?v=4FWmH6XW_FU. Roving will felt together to varying degrees over time, as seen here in another of my ancient swatches. The “sparkle” is there as a result of using an angelica/wool blend. the same twist in the center/ knit through method may be used with torn strips of silk or other thin fabrics, mine here are 1.5 cm. wide. Background yarn may knit fine at standard tension commonly used for it, testing will determine it and the spacing required to meet your goal

How-tos: to begin with, this is the “passap” version illustrated in the Duo Manual. One may choose wider knit bands between the floats that will be cut or folded over and doubled up

The thickness of the yarn chosen is of critical importance. When I first attempted to knit a version of it on my 930 I encountered problems. To start with, I kept dropping off the stitches on one side or the other. I checked the ribber alignment, proper placement of the cast on comb, switched ribbers, and carriages, and continued to have problems. After all that, the solution turned out to be simply adding another 4 stitches (2 on each bed) toward the center of the piece (I did not count). Here I used a 2/24 which obviously does not have enough body to use as an edging. The Brother equivalent for the Duo setting is half fisherman rib, where one carriage knits in one direction, tucks in the other on every needle for every 2 rows knit, while the other bed’s carriage does the same, but in opposite directions. I used 3 needles on each side rather than 2 as in the Duo repeat, starting with the first needle in work on the left on the ribber, the last needle in work on the right on the top bed. One may begin to knit on either side, but when manually setting the cam buttons lead with settings so that first stitch knits as it moves to the opposite side. Using waste yarn at the start of the piece will produce a better cast on edge for the trim. Operating from the right:

A 2/11.5 acrylic provided more of a tension adjustment challenge but made for a better fringe.The first and last 3 stitches on either side were transferred to the top bed and bound off, the center stitches were not, allowing them to be unraveled if desired ie in case the fringe is to be folded in half. Those extra center stitches also provide a guide for cutting either down their center (bottom of photo) or on either side of them (toward the top). I found the latter method to produce a cleaner cut lineSuggestions for going wider with racked half fisherman rib on Japanese machines: begin with needle arrangement below, out of work needles can be as many as needed, set up and cast on with preferred racking position ie on 5, knit several rows in waste yarn making any adjustments needed so stitches knit are formed properly, weigh appropriately. Add needles on the main bed and remove one on the ribberContinue the test including in pattern, switch to a couple of rows of plain knitting and end with one knit row using ravel cord in a contrasting color. Cast on for fringe, knit 2 rows. Set for tuck rib, knit 2 rows, rack to position 4, knit 2 rows, rack to position 5, continue racking for the desired length, end with 2 knit rows and bind off or scrap off in case any additional length might be needed. When knitting lengths of trim, ending the piece on open stitches and waste knitting will give one the opportunity to either unravel or add more rows if needed.
Knitting fringes with a center band and cutting side edges will form variations on “feathers”. Pretend “hairpin lace ” produced on the knitting machine also uses related ideas.
An aside tip: if knitting pieces with strips of stocking stitch between ladder spaces often the side edges of the vertical knit columns will not hold and become wider and distorted. Using a single stitch in from each side of the columns on the ribber as well and racking one to left, one to the right from the original position every one or 2 rows will stabilize them. This swatch was knit in a very slippery rayon/cotton blend over 20 years ago using single neighboring stitches on both beds the edge that holds the fringe together is to be very narrow (or even added as one continues to knit) and one wishes to work on the single bed there are several options. With 4-ply and a “matching color” 2 ply I began with the top needle arrangement, and then switched to the one below it, knitting on a 4.5 mm machine. A permanent cast-on needs to take place in the preferred method over needles in work knit 2 rows. The stitch on the second needle from the left is going to want to stretch and tends not to be stable. To reduce that happening, there are 2 options involving the second strand of yarn. Here using a 2 ply helps serve that purpose and keeps the fringed strands closer together. The slower method is to remove the second stitch from the left on a tool after every 2 rows knit, then bring the separate yarn strand behind the now empty needle first from the right, then in turn from the left, returning the removed stitch to the machine, knitting 2 rows. I found that too slow for my patience, switched to just laying the second strand over needles before knitting each pair of rows, and decided to eliminate the out of work needle on the left side, moving the second stitch in work to its left. The single stitch on the far right of the chart need not be bound off. There will be 2 options after the work is off the machine. One is to unravel the single stitch column on the far right if loops are the goal, or cut it off, leaving a fairly good trimmed edge here, and what, in this yarn, appeared to me to be an acceptable edging. The 2 edge stitches on the left in my swatch did roll, making a very tight edge. Adjusting the tension used to change that effect would be another choice. Yarn use and personal taste contribute to a range of “successful” results when using any of these techniques. This version creates a true i-cord edging on one side, and produces a double fringe. Begin cast on with 5 stitches on one side, 1 on the opposite side to accommodate the desired width. As I knit my sample, I added a second stitch on that same side to make for an easier, more stable cutting line. Any changes in tension will affect the width and rigidity of the i-cord, and more markedly any stitches on the opposite side, and the length of the cut loops. As when knitting any slip stitch cords, the tension needs to be tightened by at least 2 numbers from that used in knitting the same yarn in stocking stitch. The carriage is set to slip in one direction, knit in the other, producing a float the width of the knit. Cast on. Beginning with COR knit one row to left, set the carriage to knit in one direction only (I happened to use the right part button, either can work). The process that draws the left side vertical column together into a cord : * transfer the fourth stitch from the left onto the fifth, move both stitches back onto the just emptied fourth needle, leave the fifth needle in work, “knit” 2 rows*. Technically, the 2 passes of the knit carriage to and from the left will produce only one knit row. I used the 2/11.5 acrylic, on the skimpy side. Thin yarns may be plied for the best effect. Here that second stitch has been added on the right, a few rows have been plain-knit. This shows the length of the slipped row, and that a loop is formed on the return to the other side on the empty but in work needle # 5. The transfers from needle 4 to 5 and back have been made, leaving the empty needle 5 in work. At the top of the piece, I transferred and doubled up the stitches on left, bound them off, and the yarn end(s) can be woven back into the cord. The side with the transfers is the “public” one, the finished fringe is usually hand sewn on, but it may also be used to cast on or be applied to several places in the knit both close together or at various intervals. Tension changes may be observed viewing from left to right, as well as the difference in length of loops as opposed to after the cutaway edge. The third stitch in work on the right may make for a more stable cutting line if looser tensions are preferred. Because the sinker plate used on the single bed has brushes and wheels in use, the width of the fringe can be considerable, without having to be concerned about stabilizing the center as it is when working on the double bed.

Introducing patterning single bed: knit weaving is perhaps the best way to control the number of plies, color mixing, designs in vertical bands, and knitting 2 fringe lengths at the same time. The 1/1 brother card is the most basic, but small repeats can be isolated for more interest or syncing with designs in garment pieces. To start: cast on and knit at least 2 rows on the chosen needle arrangement. Hang claw weights (or smaller) on each block of stitches. Combining strands for weaving adds fullness to the fringe. When any fringe is removed from the machine it should be stretched lengthwise and steamed to set the stitches (which I did not do in any of my swatches). As with other samples, the odd small number of stitches in the center or on the side are cut off to release the fringe. A sample arrangement: odd number of needles on either side and center, even number of needles out of work in-between. Visualizing the punchcard or electronic needle selection on the same number of needles in work as above helps. Here the first and last needle on each side knits at the start. End needle selection is off; if it is not the outside automatic needle selection will give that edge a different look. Using both settings will help determine if one is more preferred than the other. A closer look at both sides of my ancient swatch knit in 2/8 woolLong loops are best in a thicker yarn, here they are shown in an every other needle arrangement using mohair on 2/8 wool ground related post reviews some of the methods for creating the loops, there is at least one other. Published directions have taken it for granted that thinner yarn is in use: if working on a machine with a ribber use the gate pegs on the ribber as your gauge. Wind the yarn around the needle, then down to the sinker plate below it with ribber down one position, then around the same needle, down to the same gate peg, then up and around the next needle, continuing across. When the row of loops is completed, knit several rows, and lift the ribber up to release loops.
My test is with yarns of 2 thicknesses, one half the number of plies in the other. Cast on with background yarn, knit at least 2 rows. I wrapped the 4-ply on every needle on the main bed counterclockwise when moving from left to right (think e wrapping in either direction), clockwise when moving from right to left, bringing it down and around the corresponding gate peg. I found it easier to work with needles that were to be wrapped and moved forward from the B position. The loops prior to being lifted off sinker plates The first ribber height drop produced short loops (2.5 cm)With ribber in the down most position (4.5 cm loops)I found that just by knitting 3 more rows in this yarn I could lift the loops off the ribber gate pegs easily, dropping them between the beds and repeating the process. No need to raise the ribber back up. Whether these loops will bear being cut or be too slippery to stay in the ground will be determined by yarn choices.
There are times when a fringe is desired on one or both sides of the piece. Simply leaving needles out of work and an additional one in use to determine the width of the fringe can have skimpy results and an unstable edge stitch on the knit body. This is my solution for solving both: I began by knitting a couple of rows in the background yarn, then added a strand of yellow, and eventually the third strand in light blue, e wrapping the extra strand(s) in the direction away from the carriage. In this case, knitting ended opposite the fringe, only these stitches were bound off, not the single one on the far right The single stitch column was trimmed off, leaving a fairly full, stable fringe. Cut lengths of yarn may be added to edge or in the body of the knit, eyelets could be used as markers or for an all-over fabric, guiding placement. This illustration is from Annie’s catalog Fringes could also be crocheted or hand-knit, used to cast on the piece or be stitched in place upon its completion. I do not have the source for this, will credit it if I can find one

Translating Passap model book pattern/use on Brother 1

A Facebook member recently shared this photo, followed by a “wish I could make it” comment, it is from the Passap #60 pattern book. I began a spreadsheet on my blog intending to update it over time that may be useful when traveling between Brother and Passap
The style in the photo is that of a generously sized dropped shoulder sweater. I will not share pattern instructions but will try to interpret some of the possibilities for knitting it as written or for achieving similar textures on the Brother machines To start with, you will note the recommended test swatch size is 100 stitches by 100 rows. When gauge matters as in dbj or heavily textured knits, this is a necessity. In turn, math calculations also become easier in metric. If using the knitleader I have sometimes reduced the swatch size to 80 stitches by 80 rows. Even for scarves where calculations may matter less when transitioning from smaller gauge swatches to larger stitch counts there can be surprises. What knits on 60 stitches may refuse to do so on larger stitch counts, requiring tension and gauge adjustments. Although Passap promoted that it knits easily with no weights, I always cast on with ribber cast on comb, and then, if needed, the addition of weights may be easily made.
Strippers, which push down on the knit from the lock as it moves from side to side, have no equivalent in Brother, where weight is an absolute necessity when working ribbed fabrics. Stripper handles come in varied colors: orange is for double bed work, black is for single bed work, blue is for very heavy fabrics. A suggested rule of thumb is that if you are knitting on both back and front bed in a stitch pattern where several needles in work are opposite needles out of work use black strippers ( 3×3 rib or cables and Aran work would be examples). Sometimes spacing between the 2 beds will make black strippers harder to use, other times 2 different types may be used concurrently for best results.
As the size of the piece changes ie. in shaped sleeves, any weight must be adjusted proportionately to keep the gauge constant in order to avoid sizing surprises.
The Passap is a true double bed. The image on the left is of the Passap locks and on the right, of a stripper. The position of the beds is reversed to the Japanese, the knit bed is in front, the “ribber” in back. The locks (carriages) pr select pushers, they, in turn, select needles akin to Brother pre-selection. That is the reason why the Passap needle set up diagrams include more information bits than those for Japanese machines. Additional details for any of the above are only provided in publications if they are necessary to create the particular stitch type. That said, one is free to add a knitting bed or alter lock settings simply based on the goal for the piece and an understanding of what black and white squares “do” in a pattern download. Looking at the Passap back lock, one can see the larger variety of the equivalent of cam button settings in Brother. The Passap buttons also referred to as arrow keys at its very rear make altering and automating patterns on the back bed easier and possible in a far wider assortment on any number of needles. The Brother lili setting, the equivalent of the #1 punchcard, must have an even number of needles in use on the ribber.
The arrow keys on the back lock reverse the Passap position of the pushers. Pushers that are down are brought up, pushers that are up are brought down. Arrows reverse when knitting in the direction of the arrow (think Brother preselection row), but cause needles to perform that function that same row. The O button releases any arrows, therefore pushers remain in the same position. N will knit disregarding arrow selection on the back bed. One arrow key reverses the pattern every 2 rows, 2 arrow keys do so every row.
Slip setting with pushers on Passap E6000 back lock is also BX, on the front lock it is LX. That differs from diagrams in the model and pattern books and magazines, which generally refer to Duomatic (Passap punchcard) settings. The assumption in the directions for the E6 is that the built-in techniques will provide you with LED prompts for any of the lock settings matching them to the right of schematics for the DUO, rather than that you would attempt to knit the pattern in some other way or on a different KM brand.
Scrolling down the pattern: Pintuck Pattern A: Deco card 77, E 6000 # 1130, technique 251 No pushers are illustrated. Back bed (N) knits every row. The front bed is set to slip in both directions (BX on Duo, LX on E6), pushers will be selected in the pattern by the console. When using Tech 251 two rows are knitting on the front bed forming pintucks where there are black squares in the stitch pattern. Brother probably would reach its limit with the original 1130, might be able to handle a thin yarn in a repeat slightly wider and taller. The Passap repeat becomes twice the length but is unaltered in its width. My swatch has an extra repeat before switching to normal knit, the red line highlights where the trim would have ended. The blistered pockets will appear as knit textured shapes on the purl side. The knit side will show a pattern of elongated stitches created when those needles are slipped. The red line in the photo shows the approximate ending for the repeat used in the trim in the magazine, I was on a roll and kept on knitting.
Pintuck pattern B: Deco repeat is 20 stitches wide (Duo cards are 40 stitches wide)The directions at the time the model books were written for knitting with the console were designed to have the knitter work with built-in patterns and then to use the alter possibilities to manipulate them to achieve the same result as the punched holes might in the final repeat in the Duo. The Passap console had a card reader that operated with sheets that were in turn inserted into a sleeve and were drawn on with “special” pens. C6, proprietary early software that operated with a dongle, came a bit later. There was a large factory built-in pattern library, and the manufacturer, Madag, supplied free files for the Duo pattern books in formats that could be used with the program for “easy” download. The 910 had variation buttons and instructions for combining multiple patterns using the factory-supplied mylar sheets. The intent was to allow the knitter to maximize the use of both. I honestly have avoided altering patterns that way intentionally most of my knitting career, finding I simply prefer programming black and white squares for the function intended, which for me is easier to visualize and reduces errors. The trend explains the E6000 instructions in the magazine, but in fact, the 20 stitch repeat as drawn can be downloaded and entered as-is, bypassing the alter loop manipulations. Technique 253: a pintuck is formed where there are white squares. For each row of squares, one row is knitted on the front bed. Pushers will knit for one row, rest for 1 row. 1124 is the console built-in pattern used in my test swatch and below it, its mirrored image tiled repeat to get a sense of the movement of the triangles:note: the direction of the chart pattern repeat for 1124 is reversed in the blisters. It appears as drawn on the knit side of the fabric, where stitches are slipped and elongated to create the pintuck texture on the purl side

In the Duo HX setting the front bed normally knits or slips according to the design for one row, and slips the next row. Again, the chart illustration is for the Duomatic and the lock there takes over the function performed automatically by the E6 technique. The back bed in this instance knits every row. In the E 6000 the front lock is set to LX (slip <– –>). The fabric created may be referred to as blister or pintuck (nothing to do with tuck stitch/brioche). The bubbly texture appears on the purl side. Stitches that slip on the bed with needle or pusher selection elongate, pulling extra rows together eventually, helping to form pockets that are sealed periodically by all knit rows. With pushers down, no needles selected the front (knit) bed skips/ slips associated needles. With the back bed (ribber) set to N, its stitches will knit every row.

Pusher selection is down when the front bed slips (akin to no needle preselection on Brother)This selection happens between each pattern row, as the design is advanced This shows the pattern as knit on the Passap, reduced to black and white squares Taking a closer look at the pintucks on the sweater body Going for the safe repeat on Brother machine: color makes a significant difference in how visible the pattern will be. Both yarns are supposedly the same weight, the white was hard to knit, and there was a needle that dropped stitches regularly. The blue yarn knit with no problem here the repeat is rendered twice as long, and the texture becomes more visible a sideways view: The last swatch in the series: I am now able to use Ayab once more, img2track is having issues for me with its use on the 930. My repeat, therefore, is planned for the maximum width I may wish to test knit on the 910 machines, emulating tech 253. Every other row there is no needle selection on the main bed except for the first and last needle if KCI is used. On those rows the ribber only knits, there are more rows in the blister “pockets”. I knit the sample quickly, not checking every row, and in this instance had two dropped stitches on the main bed and no breaks. Yarns with memory ie wool are the best for texture retention, acrylics such as my blue yarn would flatten permanently if pressed, resulting in a very different fabric. It takes experimentation to sort out whether the extra step is worth the effort or is problematic during lengthier knitting

In summary: Passap E6000 knitting techniques 250-255 are used to produce pintucks. When using 250, 252, 254, the pintucks are formed on the back bed on the needles that are opposite those with the pushers selected down in accordance with programmed black squares. The corresponding odd numbers 251, 253, 255, select pushers down according to programmed white squares (253 in the manual should say white, not black squares). Since the pintuck is formed on the back bed, setting it on FX (Tuck) may also be used, the pintucks then become blurred, producing a fabric that is wider. The width of the resulting knit may be significant when producing garment panels. One option in cross-brand might be to use every other needle selection on ribber, with its carriage to tuck in one direction, knit in the other, resulting in a spotted pintuck. My Passap manual is filled with scribbles, often including notes on alternate fabrics produced with the same technique numbers.

Returning to the specific sweater pattern: below the back bed is set to GX in the first 2 instances, which is akin to setting the Brother ribber to slip in both directions, no stitches are knit. There are no pushers or needles illustrated on the back bed, so the implication but not necessarily the fact is that these are single bed fabrics. How to transition between them and the double bed would need to be considered (see notes at end of the post). The pattern is an elongated one, using slip stitch and color changes every 2 rows, carrying one color at a time. Again, on the E6 front lock Duo BX is LX, the arrow key function on the front bed is replaced by the technique console instructions. The E6 front lock has no buttons or arrows.
Tech 176: knits one color selection for 2 rows, then the alternate color selection for 2 rows; Pattern 1100, the Brother equivalent in the next sample the same repeat 1100 is programmed via the console and enlarged <–> X2, which means in the number of stitches only this is what will be knit, translatable to Brother, also with color change every 2 rows

Tech 183: long stitch backing, back bed knits every stitch, every row. Brother would require the separation to be made for the elongated triangle to match the Passap knit where each design row color knits twice in succession. Ribber or back bed settings could be altered to suit if preferred.
The shawl is what some may call a scarf The above is the first illustration showing pushers on the back bed in alternate positions of rest (down) and work (up, toward the front of the machine) in groups. The pushers here at the end on either bed create the colored border on each side. The selection is opposite to the one on the end needles on the front bed. When the latter pushers are up, the back bed are down (slipping/not knitting), when they are down (not knitting the color in the yarn feeder), the back bed are up. This is an instance where to achieve the same, hand selection would need to happen on the Brother ribber on every row, or 2 sets of paired carriages, each carrying a color, could be used. Tech 181: is used for double bed fair isle with background color only on the backside. To seal the edges usually the first and last pusher on the back bed is brought into work, here 2 are used, creating a 2 stitch contrasting color border. Color is changed every 2 rows. To me this is an instance of because it is published, you may still not want to knit it. This is the first-row initial needle and pusher position on the front bed It is altered every other row (same is true on the back bed with the arrow key in use). My blue yarn is the body color, the white the border one. I only knit a very few rows, but that is enough to observe what is happening: the blue knits everywhere but on the stitches intended for the contrasting border when the border stitches knit only on each side, floats are formed the width of the needle bed between border stitches for two rows they are then enclosed by the next row of blue every needle riband there is considerable bleed-through of the white on both the knit and the purl side of the fabric

Tech 183: produces a double bed fair isle with striper backing. It essentially knits the elongated pattern 1130.

One then comes to actual knitting and putting the pieces together. Instructions are not always clear. There are several transitions in this piece. The trim at the bottom of the front, sleeves, and back is a double bed every needle rib that transitions easily from one textured pattern into the next. Its purl sides face the outside. The same is true for the back and sleeves, both are both knit from the trim on up. The front top portions are knit sideways as are the button bands, and they are in turn joined to the mixed stitch type “front border”. The “front border” is puzzling. Since the geometric pattern shows on the “knit” side, the trim by default then would have the slip stitch front bed pattern showing on the outside in order for it to transition directly to DBJ, not the pintuck. Looking closely at the photo there is a clue that that is indeed the plan in that the edge closest to the cast one has the triangles at the start facing in the opposite direction of that in the test swatch purl vs knit side.
I also see extra colored hems in addition to patterned “FI” ones. The back bed can be set to slip (GX), the patterned section knit on the front bed, then the back bed returned to knit to seal the hem. This is not indicated in the schematics or the written directions. The same can be done with added solid color changes (purple and blue in the photo), knitting several rows on the front bed, then sealing it with a return to N on the back bed. That same row can also be planned as a selection row for DBJ. I am still knitting my swatches in 2/24 acrylic, which is also not always the best to use. If I were to knit the piece, the cast on would get some work on it, as well as the tension adjustments for each fabric segment.

Pattern 1130 is also used in the same issue # 60 in the body of a man’s sweater. In using Tech 250 pintucks are formed where there are black squares in the stitch pattern, for each row of squares 2 rows are knit on the front bed, elongating the pattern X 2

The Passap magazines generally also included a strip of heavier stock paper with samples of the yarn recommended for the particular pattern ie this one from another issue, which facilitated substitutions and provided a better sense of color than the garment photosBrother ribber and DBJ settings reviewed including for solid color backing.

Because of the Passap capacity for heavily textured stitches, many of their early pubs included several patterns for use with tuck or slip stitch settings. This issue is dated 1990, may be found with accompanying pattern instructions in French online, the sweater on the right uses a pintuck pattern with appliqued pockets in a different knit structure the repeat is 20 by 20 stitches wide, E6 Tech 253 is suggested, white squares form the pintucks, the same technique used in my sample knit using console design 1124Working with simple shapes such as triangles can be an easy way to help one begin to understand how various techniques build up stitch or row counts, altering the original. Several of my DBJ posts are written using a cousin of pattern 1130 and include images of corresponding swatches executed on the Brother machine. In Brother, with rare exceptions (such as when needles are left out of work while in pattern) black squares (punched holes) knit, white squares (unpunched areas) slip. Slipped stitches are held until a black square or punched hole is reached, getting longer while the stitches on the opposite bed knit every stitch every row with that bed set to N/N. It is helpful to be using a yarn that does not break easily. Pockets are created of varying depths. As with any knitting, the color reverse option may produce an interesting variation or a “disaster” depending on the original motif. In the above chart, if knit as is, white squares would be slipped for 1-9 rows. Blisters of knit stitches will appear on the purl side. Tiling helps visualize the movement of the design in repeat.

In the color reversed image the number of consecutive white squares is now increased along the center lines from 9 to 11 its tiled view the expanded view of the original repeat emulating tech 253 now increases the height of the pattern to 40 rows from 20and its color reversed equivalent

In both expanded repeat variations of the “pinwheel” black squares create knit stitches. In double bed knitting, this seals the layers created by each bed together. The original design would create large pockets/ blisters, while in its color reverse version white areas would slip for one row, keeping the pinwheel effect, but the fabric will be predominantly sealed together. Thin yarn use is best, I used a 2/13 wool.
The original 20X20 design is shown on the knit side Left, its color reversed result on the knit side, Right. The elongated slipped stitches are noticeable on both purl sides Using the expanded 20X40 repat I did not have a slipped stitch issue such as yarn breaking, but because the pockets were so deep and so many stitches on the ribber were knitting for so many consecutive rows, the ribber stitches began to refuse to stay on their bed. I got this far: a large knit area can be seen, as well as slip stitch loops Can the same expanded repeat be used in another way? The color reversed version results in a subtle large scale pattern that might be quite interesting in a shiny rayon or other fiber To review: Passap E6000 knitting techniques for pintucks are numbered 250-255. When using 250, 252, 254, the pint tucks are formed on the back bed on the needles that are opposite those with the pushers selected down in accordance with programmed black squares. The corresponding odd numbers 251, 253, 255, select pushers down according to programmed white squares (253 in the manual should say white, not black squares).

On any machine, the size of the pleat creating the ripple/ pintuck depends on the number of rows that can be knit on the all knit bed before the fabric begins to ride up and becomes difficult to retain on the needles in work. Tolerance depends on knitting machine brands as well as the type of yarn used. Bold patterns read better than smaller ones. Weights are usually helpful. The Brother Ribber techniques book (now available for free online) addresses the topic on pp. 20-22. I have added a few patterns from published sources in a flickr album , most take into account any single stitch not being slipped for more than 4 rows. Doubling the length if using electronics is not recommended. These fabrics may be created in combination with needles out of work.

A return to short row shapings: bumps and slits

One is limited to imagination, skill, and patience when working short-rowed fabrics. The techniques may be used in borders, on isolated areas, symmetrically or not, and the yarn, in turn, may be able to be pressed, stiffened, felted (which minimizes any slits), or otherwise processed to achieve desired effects. The scale of the shapes affects both the final look and purpose. Development for large sculptural pieces is very different from that used if one is aiming toward a comfortable, perhaps even flattering variable in a garment, but both can blend for interesting one-offs or even collections.

The usual conventions apply: stitches are brought to hold opposite the carriage side, or floats will be created, indicated by yellow curved lines That is a rule that may be broken when planned angles require decreases every row, and a decision is made that such floats and their respective width are acceptable.

There are many more variations of the patterns I have previously referred to as “wisteria”. This is one, using different (2) width repeats in a systemic manner across a piece. I find myself going to a spreadsheet prior to any actual knitting nowadays. Low tech can achieve the same, and be as basic as colored pencils on graph paper. Representing actual rows knit would make for a very long chart. This is a compressed version with red representing rows knit on that portion of the needles in work, the other colors for each of the 7 and 9 stitch repeats respectively some sense of how repeats would line up, again not to proper scale To knit: cast on and knit at least 4 rows on the desired width for the planned piece. I prefer to end COR, but directions could easily be reversed for a start from the opposite side.
The row counter may be set to 0 and used for each segment, or the tripper for it can be turned off as preferred. With labor-intensive fabrics, I sometimes calculate based on a minimum number of repeats rather than row counts. The gauge can be even more difficult to calculate even if rows are tracked somehow. In addition, the choice of yarn, its weight, whether each segment is weighted down or not, and the tension in masts and carriages all can make the result uneven or harder to predict. The use of claw weights is a personal preference. I prefer to avoid them whenever possible. They can help control the length of the slits at their side(s), but sometimes distort the length of the knit stitch on either side of them. COR: set the carriage to hold, bring all the needles to the left of the first group of 9 needles to hold, knit 12 rows (even number), returning to the right.
COR: push back to knit groups B (7stitches ) and C (9 stitches) to the left of A into work
Knit one row to left
COL: bring A (9 stitches) and B (7 stitches) to the right of C out to hold, knit 11 (odd #) of rows on C, ending with COR once more (one row had already been knit on those stitches, so the total remains constant).
Repeat in groups of 3 as described in the last 2 steps across the row ending COL
Knit a few rows, ending COR
Bring the first group of 9 stitches on left out to hold, knit one row to left
Bring all stitches to the right of the first group of 7 stitches out to hold, knit 12 rows, ending COL
Bring the next two groups of 9 and 7 needles out to work, knit one row to the right
Bring the remaining stitches to the left of the new group of 7 out to hold, knit 11 rows (odd #), ending COL. Continue across row. At the end knit a few rows, ending once more on the right.
I found at least 3-4 rows were needed between sections of segments to achieve shapes that did not meet to create extended slits with threads across them and to achieve a look I preferred. In the interim, all knit rows could serve as the opportunity to add other stitch types or techniques including purl ridges on the knit side, which could be achieved easily enough with a G carriage, but may prove perilous with a garter bar.
The needle bed or the needle tape may be marked with a water-soluble pen between needle groups to help make tracking easier.

Proof of concept purl side knit side slightly scrunched up with a touch of steam and light pressing

Planning your own pattern in scaled-down numbers of stitches and rows is good practice, and may also lead to pleasant surprises. As with any test, keeping notes while in progress is well worth it. What may be obvious while knitting may escape recall after the fact. Then there are “little things” that factor in as well. For decades I knit on a 910 or a punchcard machine. On the 910 settings stay as preferred unless changed manually. In my electronic default, the repeat direction was set to be as seen on the knit side, on the punchcard, it is fixed as seen on the purl. At one point I received an orphaned, frozen 930 that I was able to get moving following online video advice. I have often forgotten to set the number one variation button or to change the default isolation to an all-over-one in knits where that mattered critically. If programming a repeat, the starting side for a preselection row matters, and it will change based on which side of the finished fabric reflects your planned motif.
The start of an idea with points to be considered, some observations, and questions Working it out on a spreadsheet: arrows indicate the direction in which the carriage needs to be moving, I prefer to start COR, the image can be flipped horizontally for starting with COL. The repeat is outlined with a thick border, is too wide for automating for punchcard, but as hand technique variations can be endless. To produce longer slits and raised shapes, add an even number of rows to the red colored blocks, for more distance between raised motifs, add an even number of rows to the side to side all green areas, maintaining the directional arrows. This is the isolated repeat for converting the pattern to a file suitable for download and its mirrored version for knitting from the opposite side My test swatch was knit on the 930, using img2track. Because not every needle on the bed is in work throughout the knit, end needle selection must be canceled (KC II). The knit carriage after the preselection row is set to slip in both directions. Because only a few rows are knit on the red blocks in the chart, the result is subtle. The white yarn used in many of my tests happens to be a 2/24 acrylic, so on the too thin side, and likely to be well flattened if pressed.
Often, the edge stitches on the carriage side will tend to be a bit tighter than those formed away from it. The same repeat may be used to create very different fabrics. Eliminating the all knit columns on either side of the center produces a piece with “ruffles” on either side of the center as the outer edge of each shape is no longer anchored down. The principle was used in knitting “potato chip” scarves popular in both hand and machine knitting for a while. Having a repeat on one side of an all knit vertical strip creates a ruffled edging. Note the effect of the added all knit rows on the “wave” of the piece on the right.

Many patterns are published for hand knit variants as well, Lion Brand Yarns offers the opportunity for learning both knit and crochet stitches. Some patterns are free with login (website info access is also free). Here are 2 such designs with slits and bumps to the maxThe shapes for the “bumps” may be changed, moving away from rectangular formats. Small repeats are used for the purposes of illustration here, but they, in turn, may be scaled up, rendered asymmetrical, vary in placement, and more. My design steps began with this idea

Following the goal to achieve bilateral placement along a central vertical knit strip, with vertical knit strip borders at either side, here shapes point in the same direction
Aiming for shapes pointing in opposite directions, following those arrows for “pretend knitting”, a repeat is highlighted with a dark border on the left, while to its right placement for extra rows of knitting is suggested (must be even numbers). The repeat is then isolated and “grabbed” for use in GIMP

In Gimp the bucket fill was used to fill all colors to black, the image was converted to bitmap BW, scaled, and then knit. This feature changed in Gimp 2.10, requiring the use of the fuzzy select tool to achieve that goal. This is the final repeat used I ran into an interesting problem for the first time. I had entered the row and stitch counts on my chart, used those counts to scale the image used for my repeat down to size for knitting, kept getting floats where there should not have been any, could not understand what the error in the repeat might be. What was happening is that because of the wrong row number used in scaling, there was an extra pixel row in the first test swatches resulting in knitting errors. The final repeat is 29 stitches wide, 38 rows high. This is the resulting swatchOnce more, the repeat could be reduced down to eliminate side knit strips, or limit shapes to one side only for a one-sided ruffle. What about repeating the same slit horizontally across a row? Repeats become very long, arrows are intended again as guides in the knitting direction. An even number of rows (green) at the end of the outlined repeat will return the carriage to begin knitting it from the right side once more. An odd number of rows added at its top will prepare for knitting the motifs beginning on the left. Again, motifs may be brought closer together, laid out directly above each other, in brick fashion, mirrored, or as otherwise desired. Adding rows at the center of the shape will make the “smaller” eyelets at the corner larger as well as the ones created by its outer edge. The possibilities are endless. If an automated slip stitch is used, it is the selected needles that knit. This is my final test repeat, flipped because I insist on forgetting to turn on the #1 variation button on my 930, and I like to begin sequences from the right.BringingBPushing unwanted needle groups back to the D position will make them knit rather than being held, which is another way to vary the texture distribution across any single rowIt is possible to add color changes between or within pattern repeats as well as needles out of work.
A free pass may be made to the opposite side by bringing all needles out to hold, and once there, returning the next group of stitches to be knit into work. If electronics are in use for automated patterning, the carriage may be removed from the needle bed and brought to the other side before continuing. If a punchcard is in use, an odd number of rows will need to be programmed for one of the colors in order to maintain proper needle selection.
Repeats in the charts below are for illustration purposes, not fully worked out Adding color stripes, with or without ladders Needles out of work with lateral transfers alternated with needles returned to work will add eyelets to the piece and allow for every needle stripes of colors (or plain knit). If a lot of eyelets created from needle transfers are in play, it may be necessary to change the direction of those transfers. It is also possible to combine patterning and holding.
As needle groups are brought in to and out of the hold position, the needle selection must be maintained in order to keep correct patterning. There also seems to be a sweet spot in most machines for how far back a needle needs to be pushed for it not to “bounce” to an undesired position, thus picking up and knitting in the wrong color or dropping stitches off. Some variations are also found in how far the active knitting needs to be cleared with each carriage pass on each side. One row in my test swatch has obvious extra stitches in white, my feeder B color. I am not certain as to the cause.
The introduction of patterning adds yet another layer of complexity to track. Once again I am using 2/24 yarns.

“Wisteria” meets hems

I have previously posted on a series of fabrics related to this swatch, including suggestions for possibly automating some of their variations. The earliest blog post includes some of the histories for this fabric, is repeated here. In the 80s there used to be a yearly machine knitting seminar in my area that was fairly well attended. There were droves of machine knitting publications for sale, demonstrators, and device creators with their wares. Susan Lazear, the founder of Cochenille, was just beginning to develop her knit design software ideas on Amiga Computers, DAK was getting off the ground as a competitor, and a fellow Californian, who happened to be Japanese (Yo Furuta), used to travel here with the Pandora box of foreign language knit magazines. At the time translating knits from one language to another amounted to guesswork and some leaflets. Subsequently, there were fliers, then articles, and even books on translating from Japanese to English and more than one on multiple language instructions for knits and crochet.
One year there was a “guess how this was done and you get a prize contest” for a technique appearing on a sweater with only Japanese instructions. The design was dubbed wisteria by some, has been reincarnated as a trim, insertion, bandings on sleeves and cardigans and is reappears in magazines and on the runway with some regularity. For more information see horizontal cable (2012)wisteria cousin revisited: holding vs slip stitch, wisteria 2, and fern leaf A foreign language video tutorial with wider ladder spaces executed on a Silver Reed knitting machine

Recently I have been giving more thought to 3D knitting folds, and in an online search I came across the hand-knit designs by “Olgajazzy“. I became curious about developing a machine knit relative of the texture shown in her Kune Kune shawl and began my own search for a way to add hems to the above fabric. I am sharing photos of the test swatches in progress and some of my observations, not intending them as a full tutorial. Before adding variations to any technique it is always helpful to have practiced the simpler version. Having needles out of work can help make certain the correct width groups are brought into hold each time. Ladders do change the look of the final fabric and soon the choice becomes as to whether they are unnecessary or used as a purposeful design feature.
As with any eyelet fabric, if all openings are created in the same direction the fabric will bias. To avoid that, the direction of transfers is altered in direction at the completion of each row of repeats. With transfer lace that is achieved by transferring in turn to the right and then to left, here stitches in hold are worked from right to left and then in turn from left to right to achieve a more balanced fabric. Cast-on and bind-off must be loose enough not to draw the top and bottom of the fabric in too tightly, and it is possible to make them decorative. Test swatches began and ended in a waste yarn of sharply different contrast color, making it easier to observe what is happening to the stitches creating the fabric. In this sideways view, missing a row of hemmed segments at its top, the difference in height on one side as opposite the other is quite noticeable. The reverse side shows the same issue. Areas can be identified where the held stitches have been hung up to create hems. Note that as the knit grows in length, at the completion of each row of repeats there is one segment with no hem on alternating sides. A longer test swatch follows
I created my hems on the carriage side, immediately prior to bringing the following group of stitches into work opposite it, and knitting a single row across that new group of 3 segments. The highlighted area indicates the stitches to be hung to create the hem. The eyelet on the top, right, will be smaller than the one at the opposite side of the stitches to be hung up Start with waste yarn and ravel cord if preferred. Work the first segment, hang the first hem. First segments are generally knit for an even number of rows. The second hem is not hung until the third group of stitches has been knit. The process is repeated across the width of the knit Reversing the direction of segments What about a related edging? One to try: cast on with waste yarn and ravel cord (if desired). End with COL. Knit one row with the main color to right. COR bring all but group 1 stitches out to the hold position. Knit an even number of rows. COR: hang hem, bring the second group of stitches into work, knit one row to left. COL: bring the first group of stitches out to hold, work the second group for the preferred number of rows, end COR. COR: hang hem on stitches worked on the carriage side, bring next group on needles to their left into work. Knit one row to left, bring the now sealed hem on the group of stitches on the right to hold, and continue across the needle bed, working a hem on the last group as well. Reverse direction as illustrated above.
The same edging could be used and followed by other stitch types. The cast-off at the top might look better if done using a different technique but is not capable of matching the bottom edge because of the direction of the knit stitches composing the folds. These fabrics are time-consuming, requiring skill and concentration, especially when knitting large pieces. There is always the option of using such techniques in an isolated area of the final piece or in edgings and borders, keeping in mind the possible changes to gauge when combining stitch types.

Passap knitters are not left out of related explorations. Slip setting (BX) and pusher selection are used. The lock change to N overrides the pusher set up to achieve a row (or many more) of plain knit across all needles in work. It is the equivalent of canceling cam buttons in Brother while maintaining pattern needle selection. N tends to be king no matter what bed or KM brand. Since both beds in Passap are fixed, the back bed (equivalent to Japanese ribbers) is set to slip (GX). An interesting variation is found in Passap #60 p. 24 (1995). Directions are given for both the Duo and the E 6000. The technique relies upon hand selection and changes in cam settings in both. Early magazines and manuals translated from other languages at times require additional interpretation. Shapes in many are “out of date”, but in terms of knitting techniques, they provide a boundless source of inspiration. This is one of my early graphics trying to imagine what is happening in chart form, which also references the repeat in the Passap garment, followed by plain knitting

The sides of the piece bow in and out respectively, so when the sweater is seamed the curved areas will meet to create a fairly flat side seam. Choosing a yarn that will “lose memory” when pressed helps create a flat finish. Yarns such as wool will tend to roll toward the purl side, and this is likely to occur on the edges of the eyelets as well. Both can work depending on your goal for the finished piece of knitting. Ladders created by leaving needles out of work make for a more open, very different look. They also can be easily counted to check on how many rows have been knit.

This is a sweater by Patty Boutik, for sale on Amazon, introducing eyelet striping and selective use of the repeat For use of the stitch family in a variety of scale see the work of Mary Callan

If one is a fan of straight edges or lines, they are not left out either, and slits can be placed at one’s discretion. This fabric is worked out differently, in groups of 2. After the first segment is completed, COR if the starting group 1 worked is on the right, bring group 2 into work, knit one row to left, immediately bring group one into hold, and continue across row. That “float” is created as the yarn traveling between the last stitch on the right now coming into hold and the first stitch to its left knits for many more rows gets pulled on as the piece grows. If hems are added to the piece it can be done in many ways including in contrasting color, across individual pieces as in the edging shown earlier in the post after knitting one or more rows, and sizes of eyelets and any added hems can be varied as well. If the”float” is hung up at the same time as the hem it will be less noticeable. From Stoll Trend Collection Europe Spring/Summer 2012 a sample fabric utilizing the floats between repeat segments as a design feature

In a world of glitch knitting and asymmetry in design and fashion, random “ruching” may be applied here as well Hems in knitting can be created on any number of stitches, anywhere on a garment, by definition join segments of the knit together permanently. Folds are freer. Here is an attempt at a different wisteria cousin with organized repeats. More on creating it will follow in a subsequent post now that holding techniques are back on my radar

Origami folds inspired pleats 1

I have long since wanted to experiment with a variety of folds in knits other than “simple pleats”.
I am sharing some of my earlier starts looking at some concepts beginning with the single bed.
For a diagonal pleat, I began testing the waters by bringing some needles to hold-position every other row and creating a “moving ladder” or eyelet in the center space between tucked stitch columns. The modified eyelet performed better than the simple one in creating a fold. The next question for me is always how to automate any part of the process. Tucking for 2 rows seemed more likely to create a sharper crease. Since the transfers associated with the ladder space are all in the same direction this is a fabric that will definitely bias. The swatch below shows the results, the blue arrows point to operator error in ladder placement, the red arrow at the top of the swatch points to multiple rows of knitting. Multiple rows of stocking stitches at either end are likely to flare out and “ruffle”.The fabric had an interesting twist and roll if tugged in opposite diagonal directions when first off the machine. This is the working repeat, suitable for a punchcard machine. On the far left it is shown for use with electronics and color reverse, with the green grid highlighting black squares indicating holes that would need to be punched in a card, and lastly, as a tiled repeat looking for any errors in repeat sequences. Below the actions taken in part of the overall repeat are represented. The model year Brother machine in use may require you also flip the image vertically before knitting it. This is what is planned for the purl side. One of the issues with self-published patterns is the adaptation of or use of symbols that are different than that in any published consensus. The transfers to the left are commonly indicated this way in lace knitting. If the needle that is emptied is left out of work, a ladder will form. If it is left in work the first pass creates a loop on that needle, the next pass to the opposite side completes the stitch, resulting eyelet on that same needle. Picking up from the row below is usually represented this way This shows my swatch in progress. ? indicates operator error, in evidence if needle count on each side of the future tuck stitch or ladder space is checkedpicking up loops from the row below to keep ladder width constant transferred stitch (blue) and 1 needle ladder (pink) marked by arrows Check that stitches have knit off properly Needles with transfers or moved stitches may be brought out to hold position (E in Brother machines) for easier knitting. If this is done, be sure not to disturb needle selection or lack of it in location for next pair of tucked rows.

If one is exploring a DIY search for creating fabrics, the journey is often one of trial, error, and an investment of time with not always yield good results, but may yield pleasant surprises and an opportunity for learning and new ideas. These were some of my trial swatches in thinking of more varied directional folds single bed I was led back to slipping or tucking every other row for creating some of those folds, and the possibility of having both actions happening on the same bed automated in some way. Often forgotten and unused in the Brother machine settings is its capability of tucking in one direction and slipping in the opposite one. These are the 2 possible settings. It does make a difference in resulting fabrics which stitch type happens first as one travels back and forth across the knitting bed. Arrows in opposite directions are chosen for each stitch type. Setting up a working repeat with blue representing tuck, purple slip (or vice versa). The distance between the vertical column, in this case, is fixed and seven stitches in width for a center folding repeat width of 16, color reverse is required 12 stitch version color reversed for actual knitting This is the purl side of the fabric with both stitch types happening on the main bed. It pretty much flattened out with some light pressing, not much of a pleatThis is what happens once the ribber needles are brought into action. Set up the cast-on as preferred. I used plain knitting, weighted it, and began my pattern work from the right-hand side of the machine. COL my preselection row was made from right to left. White squares in the chart with black ground and green grid become non selected needles on the main bed. Transfer nonselected stitches down to the ribber. Set the ribber to slip to the right, those stitches just transferred will slip moving to the right, knit on the return pass to the left. The knit carriage is set to knit until that first row is completedCOR the ribber will knit on the next pass to the left. Set the knit carriage to tuck while the ribber is knitting
Continue in pattern to the desired length. Fabric narrows considerably, so several panels may be required for items ie. skirts. The repeat on the knitting bed should also be adjusted to allow for as close to invisible seaming as possible. The stitches on either side of the single needle in work on the ribber may be inclined to drop off. I was unable to use tuck on those same needles for any significant length for that reason. It pays to visually check for stitches knitting off properly to avoid this The start of vertical pleats, with the slip stitches folding to the purl side, the tucked stitches folding to the knit side on the machine, just after binding off. The two fabrics side by side
Different fibers can produce varying results in fold and drape. Setting either bed function for the wrong direction will produce an all-knit fabric (top of the red swatch). This starts to address incorporating hand techniques and manual ones from the diagonal swatch and the one with vertical folds while also developing a design repeat to aid with planning or actions to be taken. It will be altered in future experiments The yarn choice is a poor one. The fiber is a very softly spun rayon, which could benefit also from being knit at a tighter tension, and since rayon has no “memory” it fails to have any spring back and is flattened out permanently with pressing and steam. This swatch is knit in wool, trying to sort out what does what and by how much. I am starting to get a bubble, but not a dramatic folding effect. The bottom folds more than the top. The filled eyelet technique has a hand-tooled tuck column on the reverse side. The top is automated using tuck stitch. A different repeat: the bottom with carriage set to knit with needle selection as a cue to hand transfers, the top set to tuck automatically. Transition rows need to be considered further and altered where the twain meet. Returning to simpler creases and folds: a first experiment in racking double bed with NOOW. The setup and racking positions were not pre-planned. I knit 4 rows without racking at unplanned intervals as well; they produce a noticeable change in texture. The fabric is reversible, I actually rephotographed it adding a marker to make certain I had not shot the same side twice. The needle set up: the resulting swatch presented sideways for the sake of space: working with single needles out of work rather than two, with even spacing between them on each bed both swatches flattened to note differences between needle arrangement folds getting more organized, with a planned repeat: the needle set upcast on with racking position on 5, rack every 2 rows, move from position 5 to 0, to 10, back to 0, to 10, end on position 5; the yarn is a 2/17 wool, definitely retains a more 3D quality than the acrylic 2/24. The fabric may benefit from 2 rows not being racked added at positions 0 and 10Here the arrangement here is with 2 needles out of work, racking every 2 rows in the same sequence. The resulting fabric has clear “spring” and foldsRRReturning to the previous needle set up, now racking every row from position 5 to 0, knit 1 more row with no racking; rack to position 10, knit one more row with no racking, reverse direction, end knitting on position # 5This last in the series is a personal favorite. I found racking from the center to 10, to 0, and back easy to track. One moves in the opposite direction when not allowed to go any further in the continuing direction by the machine. Single needles out of work appear to be enough to create the folds.
Exploring starting the pattern at 0, to 10, and back. The bottom segment is knit with no needles out of work, the middle with NOOW on the top bed only, the top with NOOW on both beds. Dotted lines separate each, and outline a second, smaller shape occurring along with the beginning of changes in the larger one. I had issues with edge stitches on the main bed. My final needle set upRacking starting position on 7:Consider playing with racking positions within the total number of needles in work on the main bed. For other possible needle arrangements and more on pleats created with needles in/out of work on both beds please see 2015/04/22/ribbed-pleated-folding-fabrics/