Swatches and Experiments – Page 4

Quilting using Ayab software

My last post reviewed the quilting on the machine topic so far. Ayab does not allow for the first preselection row to be made from right to left. In any fabric where preselection needs to occur from that direction, with pattern instructions written with that requirement, to match the fabric, the solution lies in shifting the last row of the repeat down to the first. If you are working on an odd number of needles and set up matters, pay attention as to whether the program places the extra needle on the right or the left of 0 before you commit to placement on your needle bed; the software is not consistent in this. Here, the odd # is placed on the left, in a later swatch on the right. From Adrienne Hunter, the tip “I think you are expecting that the odd number will always be on the left. But that’s not it, the rule is that the larger number will be on the left, which may be even or odd. ”

Ayab settings:
I began with this partial repeat from an older post

To avoid any confusion with which KC (Knit Carriage) slip buttons to push, simply push in both. The selected needles that should knit in slip stitch will knit, and the ones that should slip (not selected) will slip. Knitting starts COL, prep the interface, travel to the right. With COR, proceed to the left. The machine can be set to knit those first 2 rows, or to slip both beds if you do not wish to have the extra 2 knit rows. Now with COL set main bed to slip <– –>, ribber to slip <–

My first repeat for a “square” pocket was wrong. The total number of rows in height needs to be an even one. It takes 2 passes of the carriages to complete one circular row. The first repeat below is 17 rows high, so I got as far as one series of pockets, followed by mis-patterning that was the fault of the design, not the program. The software gives one the opportunity to easily check for stitch and row counts. Though I loaded images 60 stitches in width, my samples are knit 40 stitches wide. The amended repeat, now 16 rows in height

I had a problem when I first paused to stuff pockets with the software advancing a row even though I was outside the left mark, but no issues after I restarted the process and continued. Because the pockets are knitting stitches separately on each bed except for where shapes are joined, the resulting knit approaches stocking stitch qualities and tension settings. It lacks the stretch of every needle rib, where twice as many needles are in work. The joins on the knit side (L) nearly disappear unless the fabric is stretched, while joins on the purl side (R) are more visible.

A “diamond” 12 stitch repeat as it would appear across the bottom of a punch card, with the option for first preselection from either side, followed by appropriate cam settings. The repeat adjusted for preselection from left, illustrating row shift on the right
The repeat adjusted for knitting across an Ayab 60 stitch swatch. The bottom of the swatch, with absent pockets, shows what happens if wrong slip/knit combinations are in use. Knit side is shown on the left, purl side on the right, with a bit of cotton ball “stuffing” poking through
While trying to work with the circular and other settings, I found an easier way to achieve one color quilting, still working with that “diamond” from my early post

I use GIMP to create most of my images for download to either the Passap or, now, also the 910. In order for the elongation not to be muddy with an image outline in multiple colors, or to cleanly tile it, the image will need to be converted. To draw or paint, begin in RGB mode, then change the image to the BW palette for scaling or tiling.
Make certain the number you wish to remain constant is highlighted,
click on “chain” to break aspect ratio,
change the second value to the desired one, click on scale, here is the single repeat, without the necessary last row shift to tile the image across the width of your swatch. Make certain the value you want to remain constant is highlighted,
“break the chain”, change the width to the stitch count of your swatch,

the tiled image will appear in a different part of your screen, it will be the repeat usable for the first preselect row from right to left. More on using GIMP.

For use with ayab with a repeat that is already tiled but needs “correction”, using snap to grid, dot to dot, copy and paste all but the last row onto a new image at the top of a new canvas with the same pixel width and height. Then copy and paste the last row from the above tiling to the first, blank row of the new image. You may also simply work on the original image if you are comfortable with moving the larger cropped image around, pasting it in place at the top, and then editing the first row by hand. Finish with “export as” in your preferred format for download. The smaller diamond would also be workable, but the resulting shapes would be very small. The initial, unaltered tiling: for use with Ayab:
Ayab setting is for “single machine type”. The carriage settings: opposite part buttons, right on KC, left on ribber, are set after the first 2 preselection passes, with COL

the resulting elongated diamond fabric, knit and purl sides respectively

Thickening the outlines of the “diamond” varies the joined outlines; solid geometric shapes may also be created and used, as seen in other posts. I like to work with the same or similar shapes to understand what the different settings do to their knit structure and scale

Working in more than one color: using the color-separated repeat double height. The first chart below illustrates it as it would appear on the bottom of a punchcard. Here first preselection row would need to happen moving from right to left, toward the color changer, with subsequent color changes every 2 rows
adjusted repeat/ top row shift to bottom for use with Ayab’s preselection from left. This fabric requires changing the ribber settings manually every 2 rows, thus creating a solid color back. Set the ribber to slip /levers up when most needles are selected on the top bed, set the ribber to knit / levers down in both directions when a few needles are selected on the top bed. The latter selection forms the “stitching” lines on the “quilt”. The first color to knit after preselection toward the color changer knits the black squares on rows 2 and 3 in the chart above, so it will create the dominant color in front of the fabric. The second color change will knit the background / white squares on rows 4 and 5 above, and seal the edges of the diamond / black squares
Reminders: no matter what stitch type, if you forget to select the proper cam buttons after N/N settings, you will only get plain knitting (stripes at the bottom of my swatch). If you are working on a Mac, make certain to set your energy-saving preferences to ensure it stays “awake” for the duration of your knitting time. I happened to knit my samples with the cam button set to KC II. KC I is the better setting, giving a slightly different seal along the edge away from the color changer.

What about using the Ayab circular setting and letting the software do some of the “work” for you? The setting was developed for tubular fair isle, so the main bed with slip stitch <– –> knits alternating colors. When the one color knits on the main bed, it skips and forms floats in front of the needles not selected for that color. The process is repeated with each color change. There will be a pair of floats on the inside of the knit for each completed design row. For some how-tos to achieve color separations involved, and more info on tubular knits, including Passap techniques, please see previous post

The goal had been to use the ayab circular setting to produce quilted fabrics, joined at intervals rather than as an open tube with a different pattern on each side. When attempting to utilise anything “off label” for a use other than intended, lots of trial and error can be involved. Ultimately, the choice needs to be made as to whether the final technique is worth using simply because you can. I habitually double-check my settings and fabrics at least once a day or more after I knit my samples and post. The work-in-progress posts actually show some of the editing as it happens, with corrections and mistakes included. The heading goes away when I think I am done with the topic. A day after my pink and white adventure, I tried to reproduce the fabric with absolutely no success. This was as close as I got, with different carriage cam settings; the knit side is shown.

After quite some time and a collection of expletives in 2 languages, it appears the solution to my inability to produce the fabric is that the ayab setting I used for knitting it was not the circular one. After a software patterning error and a program restart, I apparently selected ribber rather than circular machine type and proceeded happily to success. To produce the fabric in my redo, the ribber “machine type” setting was chosen.

The green yarn is thinner than the pink, so the bleed-through of the white on the reverse side is greater. The remaining information applies. My first samples using a single stitch outline, length X 2 for the €œdiamond€ were a disaster in terms of stitches falling off, the fabric being a squishy, shortened mess.

Back to the drawing board: I thickened up the outline of the shapes, grading up and down in 2 rows in height sequences, needed for getting to and from the color changer. I chose to continue to test on a narrower repeat. An added consideration: in knitting fair isle, the first and last needle on each side is normally selected, whether by using the change knob on KC I in 910, or adjusting the knit under carriage in punchcard machines. One can program black squares on either side of the full pattern repeat for the width of the fabric to ensure that any number of edge stitches are knit every row on each side. Working on a smaller repeat, now 47 X 24. Note: the odd # and even number needle positions for this new repeat are in reverse order from the one at the top of this post. Here, the odd # is placed to the right of 0, not the left
If, for any reason, you choose to work in color reverse, the black border on each side will be lost. The amended repeat to keep that knit border (black squares/ pixels filled in; this was my working repeat It takes a few tries to sort out what may work. These were my first efforts, switching ribber settings around until I reached creating pockets. The color choice needs to be made for solid color for backing and sealed areas of the fabric; for me, it was pink. This is where things get a little fiddly. The fabric settings once the first design row is preselected: KC is set to slip in both directions throughout (remember to change the main bed to slip if the preselection row has been with KC set to knit). I began with pink for my “sealing” stitches/ solid backing color.

After returning to the left, change color (white), no stitches are knit on the ribber, only on the main bed

here, the floats become increasingly apparent. The ribber now dropped a notch on the right side,
stuffing pockets with cotton balls; the ribber is returned to the up position, and knitting continues

A: setting operator error creating a solid color row. B: same, ribber not set to slip in both directions, resulting in white joining all selected needles. C: stuffed pockets, tending to make fabric wider and shorter. A, B: extra sealing rows (2 in white). C: stuffed pockets and a bit of peek-through cotton. D: points to the bleeding through of the backing color due to white floats on the inside of the pockets. A helpful tune: pink down, white up in reference to the right ribber slip lever.

Revisiting machine knit “quilting”

In 2013, I shared my first post on the topic, covering single bed quilting as a hand technique, with the aid of a punchcard to pre-select needles only, and with an intro to a simple ribber repeat in a single color. It was followed by a post explaining the color separation for 2 color quilted fabrics. It is also possible to use an altered knit carriage to knit rows on the main bed only while leaving the couple of carriages on the left instead of changing ribber settings from slip to knit and back with color changes, see post on ribber-fabrics-produced-with-2-knit-carriages-selecting-needles/

One color experiments using monofilament

In my swatches below, the red stars mark the spots where one fabric surface separates from the other. All use 2 color patterning, with a single color only appearing on the reverse side. In Brother machines, to achieve this result, the ribber settings are changed manually every 2 rows. The ribber is set to knit when carrying the backing color, which also creates the “stitching/ joining” sections, while it is set to slip when the color creating the pockets is worked. The settings on the illustration on the left create the foreground color pockets, and the ribber slips for 2 rows. The settings on the right will knit every row on the ribber. Two rows of each color are knitted alternately, the same as in DBJ. Since there are as many “blister” rows as there are rib rows, the blister/ pocket design will lie flat against the backing. If the goal is a lined Jacquard, the yarn tension must be evenly balanced to produce a fabric that lies flat. The texturing of the quilted surface is produced with uneven tension, knitting more loosely on the main bed. The looser surface may be left as is, or wadding may be inserted between the beds as knitting progresses while dropping the ribber partway. Commercial versions of these fabrics are sometimes referred to with the terms eightlock or interlock, and double jersey. The punchcard instructions for the first swatch, from the Brother Ribber Techniques Book,

The reverse of the fabric (black) is folded over on the bottom

Passap Technique 181

Here, the large areas are obviously “stuffed.”

Pockets may result as a part of any larger, DBJ design, when monofilament or thinner threads may be used for the second color

Possible problem areas: stitches may be dropped along areas where fabric is joined (A), sealing side edges (C) will keep them from separating (B). The end needle on each bed must knit the opposite selection as its neighbors to close the selvages. The last needle at the side opposite the color changer may require pushing needles to E manually if not selected by the KM at regular intervals.

Blister fabrics and pintucks are cousins.
Quilted fabrics are sometimes referred to as “single blister”. Both rely on one group of stitches knitting more rows than another and can occur both in a single color, or multiple colors. The ribber slips while the main bed knits X number of rows in pattern, and pleats/ pockets are created, eventually sealed by knit stitches on both beds. The number of rows for which this action may be taken in Brother machines is far more limited than in Passap, where the strippers help keep the fabric in place.
Single-color pintucks/ blisters began to be addressed in my post, which reviewed Brother ribber techniques suggestions. A multiple-row blister sample executed on Passap, in turn, programmed from an ancient DUO 80 magazine, eliminating hand selection on the back bed, and programming it in terms of black and white squares on the front bed.

its reverse side
My E 6000 manual is annotated extensively, and my scribbles make a good argument for keeping better notes. I immersed myself in learning the machine when I first purchased it.
Knitting techniques 250-255: when using even numbers, the pin tucks are formed on the back bed on the needles which are opposite those with pushers selected down and according to the black squares on the card. The corresponding odd-number techniques select pushers down according to white squares on the card.

The technique for solid color backing, tubular FI illustrated in the manual, is a workaround to create “quilting “automatically. A bit of translation and a different setup from my working notes are offered after the scanned image. The circular setting in the Ayab software performs the same automatic color separation. With this arrangement, pouches will be formed on the white squares of the card. If you think in terms of the colors of the squares, then it is not important which color is determined as the background color by the console.
The setup may be different in your copy of the manual.
Knitting four consecutive rows with either color reverses the position of the colors in the pattern.
Every 4 passes of the locks complete one design row.
Reversing the BX <– pusher selection (manually, on the right, before color change) will reverse the areas quilted.
The first pushers on both left and right are aligned in the opposite position to rest.
Floats are created between the layers by the color not knitting on the back bed, and the altered pusher position will keep them from jumping off. Depending on the size of the pockets, you may want 2 pushers in that position rather than one. Always swatch before you commit to a large piece of knitting.
The identical design methods as those offered for Japanese machines and the associated fabrics may be reproduced by entering the separations as a pattern and then, in turn, entering technique 129. The PDF suggests a method for using Japanese designs as drawn on the punchcard knitting machine in an E6000.
My scribbles from my Passap manual. The console and manual recommendations are only guidelines.
Any technique lock settings may be altered to suit planned fabric, and if the machine offers beeps and reminders for the factory program, simply disregard them.

It is recommended that pushers not in use for any pattern be kept in the rail.

Double bed work requires at least 80 stitches by 100 rows for gauge testing for finished garments. Any machine: for blankets or warm jackets, the pockets may be filled with padding every X # of rows, and the front bed may be dropped to make this easier. Monofilament and /or fine wire may produce structures that have objects dropped into pockets, i.e., marbles, sequins, sponges that will expand into space when wet with fluid, etc.

While working on a later post on knitting this fabric using Ayab software in a hacked 910, I found using a simple single pixel height per row diamond shape outline, elongating it X 2, and working in the circular setting produced the single color quilted fabric with no other fuss, ie, a color separation. Below is the working repeat for use with the first preselection row from right to left, knit with the right slip button on the main bed, and the left slip button on the ribber throughout. The same settings and approach should work in punchcard Brother machines.

Ladder back double jacquard: backing variations

Periodically questions come up with regards to how to manage float control other than using familiar DBJ settings, or the best way to proceed to achieve it when one prefers to work in thicker yarns. In this technique, all main bed needles are in use for patterning and in working position, the ribber needles can be arranged in nearly any configuration in groups with 1 needle in work, and one or more needles out of work. The main bed tension is close to what would normally be used for a single bed fair isle, while the ribber is set at least one or two whole tension numbers tighter, thus reducing bleed through or vertical separation lines on the “outside” of the knit. The fabric uses less yarn than every needle rib DBJ, is lighter in weight, has more stretch, but will not lie as flat. In Brother, if needles are arranged in groups of 2 (pairs of lines and spaces on the needle tape with even spacing between them (i.e. 2 X2, 4X4, 2X4, etc) then lili buttons can be used. The latter method has less chance of the backing showing as a vertical line/ separation on the pattern surface. Sometimes the ribber needle arrangement may result in a secondary, interesting pattern on the purl side. It is still a good idea to have floats that are limited in width, generally less than 5 stitches. For the purposes of illustration, I knit 2-row stripes on the main bed, while altering settings on the ribber.
This was my initial setup. The ribber needle tape is marked in what I think of as dashes and blanks, in continuous pairs. When using single ribber needles for the ladderback, the number of out of work needles may be even or odd between the ones in work

As each row is knit the ribber will pick up yarn, or not, depending on carriage settings, creating a knit stitch vertical chain on the purl side of the knit
If empty needles are simply brought in to work above plain knit rows, eyelets will be created. One way to reduce their size would be to pick up loops between stitches on the main/ opposite bed and use them to œcast on your ribber needles. With ribber carriage set to knit in both directions, each color will knit with each pass of the carriages (2).
With it set to knit in one direction, slip in the other, each color will knit on the ribber for a single pass, slipped in the opposite direction, and the slipped stitch becomes elongated (3). Having a needle in work on the ribber close to the edge of the knit may help reduce the roll along that edge (4). A slight separation may appear on the knit side in the location of the vertical columns created by the ribber stitches, it is less apparent when ribber knits on every other row It is possible to only have one of the 2 colors knitting on the purl side. In my case, it was white knits, blue slips. Here the ribber carriage settings need to be changed with each color change, so for white I used

for the blue

Setting up for using lili buttons: needles need to be in pairs, each with a matching “dash and a blank”, even number of out of work needles in between them. My previous set up required a bit of moving stitches around
ribber is set to slip both ways, lili buttons engaged With the above settings, the needle on the right of each pair will catch the yarn on the pass to the right, the needle on the left of each pair will pick up the yarn on the way back to the color changer. Stitches are elongated because they are slipping alternately for one row, and are slightly offset from each other with a bit of a “jog” because they are not knitting on the same pass. This is noticeable in lili backed full DBJ as well. The color change from blue to pink is simply because I ran out of blue yarn. My ribber stitches should have been tighter throughout, but even in this tension situation, the knit side has the least noticeable vertical separation along vertical column edges in the series of tests The technique may be used on any machine. This sample was knit on a Passap, using one of the patterns built into the console, pushers 2 up, 2 down for long stitch alternating color vertical lines, fixed distances between them, BX <–/LX, Tech 179.Similar backing may be produced on the Brother machine, but now a hand technique is involved. The ribber remains set to slip <– –> throughout, no lili buttons. The spacing may be chosen on the basis of the interaction with the main bed motif, or in a different configuration for each color, making the hand technique easier to track. Needles are brought to E position on the ribber for each row to be knit in that color. Here the different colors are easily identified

the ribber settings

There are 2 options: one is for bringing appropriate needles to the E position for each color only once. I chose to do so immediately after each color change, with carriages on the left (below dots). The other is to bring them to E for the second pass of the carriages on their way back to the color changer as well (above dots). There is elongation in stitches in both options, less so when each color knits on the ribber for 2 consecutive rows, where one short and one longer stitch for each color may be observed. The first option also caused a bit of puckering on the knit side, which disappeared with pressing.

the reverse side

Similar ideas, playing with the configuration of color blocks on either or both beds, can result in applique, embossed jacquard including pleats, and a whole range of other double bed knit fabric variations. A quick sample with transfers between beds

Lastly, here is a tiny swatch in an arrangement beginning to explore the odd number of needles in work on the ribber in conjunction with the use of lili buttons and adding needles to “fool the machine” as described in the post

Revisiting drop / release stitch lace 1

Hand knitters may be familiar with drop-stitch patterns where the yarn is wrapped multiple times around the knitting needle, followed by knit stitch(es). On the next row, when the wrap is reached, the extra wraps are dropped off the needle, and the remaining single loop is knit regularly. On the knitting machine, this technique is called drive and mesh lace, release stitch or summer fair isle by Passap, and drop stitch lace in some of the pattern books. Drive lace typically has lines of patterning where loops are formed between rows of all knit stitches. The main fabric, stockinette, is knitted and produced by either bed. Selected needles knit pattern stitches on the other bed for one or more rows, then are dropped from those needles, unraveling back to their starting point, creating the larger, open stitches. Sometimes a distinction is made between terms used; in drive lace, the bulk of the punchcard is left blank, and there are far fewer marks than in drive lace. In mesh lace, the balance of holes to punched or blank areas is 50/50 or more punched areas than blanks; often, the “holes” or black squares are side-by-side.
Drive lace marks out the shape of the pattern, mesh forms the background. Blank rows across the width of the repeat allow the knitting of plain rows between dropped stitches, including ones separating the series of holes, or stabilizing the fabric.
Both types of mesh may be combined in the same fabric, with dropping planned on the same rows. The diamond on the left represents drive lace, and the one on the right is a mesh version. On the right, solid “lines” echo the shape. Repeat is suitable for punch cards but may be altered to suit both cards and electronics. Revised with fewer single dots and solid lines in the ground.The fabric may be created both as a hand technique or using automated patterning. In sources that show loops being formed on the ribber, stitches are released by uncoupling the ribber carriage and moving it across the knitting and then back to its original spot, thus dropping the stitches. In Studio machines the P carriage may be used to drop stitches, see previous posts on modifying one for use on Brother KM.
The tension setting on the patterning bed affects the loop size and its tension is frequently one to three numbers looser than the all-knit bed tension. In Brother machines, the ribber knits at a tighter gauge than the main bed, so take that into consideration and adjust it when knitting all knit rows on every needle on the ribber, where the tension may need to be loosened one or more numbers than when knitting same yarn in stocking stitch on the main bed. Matching tension numbers on both beds may provide enough of a difference in stitch size for loop formation. The difference in gauge between the beds also merits calculating adjustments when knitting in circular or U format.
Releasing stitches may happen after every pattern row, after groups of pattern rows (such as bubbles or check patterns), or even at times when knitting is completed. With groups of pattern rows, I have had better results with more frequent stitch releases. Two types of mesh can be created. Stockinette mesh has an equal number of rows on both beds. The result is enlarged stocking stitches along with narrower, single-bed ones on any one row. Half Milano mesh has a horizontal ridge on the purl side with 2 rows knit on the all-knit fabric bed, to every one row on the patterning bed. One of the rows has the patterning bed slip every needle, with the ribber only knitting, the second row forms the combination size stitches as discussed previously. In patterning in Brother KMs, this would need to have such rows added to the programmed design. The fabric is a bit more “stable”. Passap offers multiple techniques for dropping stitches, often referred to as summer fair isle, and using 2 colors per row. Different looks are achieved by changing the built-in technique number, as well as when using a stitch ditcher on every row knit, as opposed to using empty passes of locks to drop the stitches.

Previous posts on the topic
2012/09/24/working-out-the-kinks-in-my-drop-stitch-lace-saga/
2013/10/19/drop-stitch-lace-2-colors-per-row-Japanese-machines
2013/10/16/drop-stitch-lace-2-colors-per-row-passap-km/
2013/10/19/drop-stitch-lace-2-colors-per-row-Japanese-machines/
2015/06/14/geometric-shapes-in-drop-stitch-lace-brother-km/
2015/06/16/geometric-shapes-in-drop-stitch-lace-2-brother-km/
2015/06/18/geometric-shapes-in-drop-stitch-lace-3-end-release/
2018/01/16/drop-stitch-lace-using-ayab-software

knitting patterns with no blank knit rows between loop formation 2015/06/16/geometric-shapes-in-drop-stitch-lace-2-brother-km/
2015/06/18/geometric-shapes-in-drop-stitch-lace-3-end-release/

stitch dropping tools
2012/09/21/knit-bubbles-and-stitch-ditchers-dumpers/
2015/06/10/brother-kms-pile-knitting-ribbed-stitch-dropping-tools/
from an old Studio KM Japanese publication, using their tool and what appears to be a lace repeat

another related fabric: 2017/10/18/revisiting-knit-bubbles-brother-km/
using ribber cast on comb for an open cast on either bed
2017/02/14/ribber-cast-on-comb-open-stitch-single-bed-cast-on/

Working with positive and negative space variations: the repeat is suitable for any machine, my sample is executed on Brother KM. Since alternate, all blank rows have no needle selection, before knitting that row (ribber only will knit), dropping stitches knit on the main bed on the previous row will not alter the pattern using any method you prefer, set up knitting so all stitches are on the ribber. If you prefer to set up complete repeats prior to watching, “air knitting” prior to ribber set up or using the position option on the main bed if that is available, will help achieve that set knit carriage to KC II (used when patterning does not occur on every needle across the needle bed), both part buttons pushed in for free pass to the opposite side of km, no knitting occurs but the first row of pattern knitting is selected. Ribber is set to N<–> throughout the carriages now move to the opposite side, selected needles on the main bed pick up loops, and nonselected needles stay empty. Ribber knits every stitch using a ribber cast on comb, stitch “dumper”, or another tool, move needles holding stitches forward to drop loops, and return empty needles to work position (B)as carriages move to the opposite side, needles are selected for next row of knit stitches to be knit on main bed carriages now move to the opposite side, loops are picked up on selected needles all needles are now not selected, above stitches/ loops are dropped, needles are returned to B position before the next carriages’ pass carriages move to the opposite side, selecting pattern needles carriages move to the opposite side, picking up loops before carriages move again, drop stitches formed. Watch loops after they are dropped, if tugging knitting it is not enough to pull them out of the way of needles returning to patterning, take a tool, or something like a credit card. Slide it from one side to the other between the beds, thus keeping loops clear away from the main bed

In summary; assuming one is starting on the right side of the machine COR
step 1. <- the carriages select needles that will form loops
step 2. -> the carriages knit, picking up loops
step 3. drop the loops just formed, returning all empty needles to the B position
step 4+ repeat 1-3 for the entire length of the piece
My sample was knit in slightly fuzzy wool. Smooth, thinner yarns result in longer stitches whose patterns get read more easily. Because wool has “memory” the vertical edges tend to roll to the purl side and return to rolling even after heavy pressing and steaming. There are a couple of spots where no long stitch was created due to markings on the mylar not being dark enough.
Other things to consider: this fabric widens when blocked, so cast on, bind off, and beginning and ending edges need to accommodate that. This particular design creates a fairly balanced fabric. In many drop-stitch fabrics, it is recommended that edges contain stitches dropped in the pattern in order to maintain vertical length at the edges. To achieve that, the first and last needles on both sides should be on the main bed. That said, having an all-knit border (stitches knitting only on ribber, no dropped stitches) may work well in your pattern, or pull edges in too tightly when compared to the all-over motif released repeats. Testing on your swatch can be achieved easily by simply taking some needles on the main bed out of work on one side, thus creating the “all-knit border”. The latter can happen by accident if not all needles are returned to the B position properly after dropping stitches.

It is possible to produce a drop stitch pattern on the bulky machine or depending on the yarn, knit with heavier yarn on EON on the standard machine. The resulting “patterns” happen with varying the number of rows used to knit in each color, which has not been addressed in previous posts. I prefer to use patterning on the top bed to select needles, but this pattern may also be knit as a hand technique, using the ribber to produce the loops that will be dropped. This page from the ribber techniques book reviews the baseline process and settings

purl side is shown first for each segment, followed by its knit

Punchcard knitters are not excluded from creating these fabrics. Some punchcard sets supplied with machine purchases were published for Silver Reed Machines; two such sets are available for download ie. Silver Reed-Singer R-2 Standard Punchcards For SR360 Ribber and the same in a 30 stitch version making them suitable Silver Reed-Singer FRP70 30 Stitch Ribber Punchcards. One such card easily translates to one color drop stitch. Changing fiber content affects the scale of resulting patterns and the size of the dropped stitches, the yellow sample was knit using a wool rayon, and the purple cotton used the same tensions. If using punchcard machines, factory issue punch cards provided with the KM may be usedPlaiting is also possible, but depending on the color choice the pattern may become muddied A slip stitch edge may be planned to keep edges of items such as scarves from rolling consider top and bottom edgings that include the technique (illustrated in the previous post) Adding complexity: dropped stitches may be combined with other stitch types, shown here in combination with tuck stitch on the main bed, dropped loops created on the ribber. Stitches are transferred up to the top bed. The KC is set to tuck, the ribber episodically picks up loops across the whole row, and they are dropped on the following pass; it is then set to slip when the main bed is returned to tucking An alternative way to produce this fabric on Brother is to use the knit carriage with no yarn to do the “stitch ditching”. The basic design programmed into any brother machine, electronic or punchcard will need to be altered. The intended design in my sample is a 4 X 4 square, colors represent what would be punched holes, black squares, or pixels. Simple block patterns such as these may be released upon completion of each “square” series, in this case, after 4-row segments. Two rows are added at the top of each “square”, one repeating the motif width, the next completely free of any markings Rows 5 and 6, 11, and 12 are not part of the original repeat. The 5th design row provides needle selection, traveling from right to left. When the carriage passes in turn from left to right with no yarn, those preselected needles will drop while preselecting a blank design row (6) that allows the carriage to return to the left-hand side. As it moves back to the left, the carriage will preselect the first row of the design. With COL yarn is picked up in order to knit the next set of dropped stitches. A color change may be made while the carriage is on the left.
Begin with all stitches transferred and in the work position on the ribber only. Every needle will be in work on both beds for the remaining fabric. The ribber half-pitch lever is on H. With COR set the change knob to KC, preselecting from right to left for the first row to be knit after pushing both part buttons. This allows the KC to travel to the left without forming any loops or stitches, but the preselecting first row of the pattern. Change color if using more than one color, knit 4 rows. color 3 (or 2) can be an empty feeder. Change to color empty so yarn(s) in use are held until picked up again and there is no yarn in the ribbers sinker plate yarn feeder. There are 2 options for dropping stitches. One is to disengage the KC from the ribber, it will be picked up again as you move into the color changer to pick up the yarn once more. The other is to keep the carriages paired, set the ribber to slip for 2 rows, then back to knit as you return to the color changer, pick up the yarn again, and continue to knit. If row count is important ie in making a garment, the row counter gets turned off for the 2 rows when stitches are dropped, remember to turn it back on when knitting the next 4 pattern rows. I personally find this fussier and more error-prone than other methods I have described. My swatch is knit in acrylic thin yarns and lightly steamed, so bubbles have flattened out considerably. The fabric is related to that shown in the ribber techniques book, page 23, created by picking loops up from the ribber combined with racking.
This is my ayab repeat, this time executed by configuring the knitting to begin on the last pattern row 16 for that first preselection row from left to right instead of altering the repeat itself More to try: the typical appearance to look for in the source inspiration is that of single-row horizontal geometric designs with all blank rows separating them from each other.
Studio pile knitting patterns such as those found in may be used as published. It may be worth color inverting or spacing out the designs with many more white squares in between the motifs for more recognizable designs in the dropped stitch areas and for a more stable fabric in repeats such as these. On rows where there are no punched holes, resulting in no preselection in Brother machines, stitches are dropped prior to moving the carriage for preselection of the next row of patterning. The results are easy to test and amend. One such pattern: the original repeat The yarn used here was a softly spun rayon that began eventually to split, and get partially caught up on gate pegs, leading to the ending of the swatch Switching yarns made knitting easier and quicker to produce, planning for a different sort of wave, an amended version of the original design was used Fair Isle
a 24X60 design repeat was randomly chosen and used double length The first pattern row will pick up loops on the top bed, using any tool, drop the loops and return empty needles to the B position.
The next pass will drop the stitches and preselect the next row of loops.
Knit to the opposite side again picking up loops, drop them, return needles to B, repeating the steps.
The knit grows in length very quickly, the side edges and cast-on and bind-off methods would need more careful planning in a final project. On electronic machines, the repeat can be adapted to yield more knit stitches between the flower forms
Beginning with a 23X31 isolated motif, the shape is expanded to 30X36, and two potential dispersals with the flower drawn in symmetric repeat in width and height X3 Transfer lace patterns: use patterns that have at least 2 rows knit between repeat segments. The results are likely to be subtle. On electronic machines: cast on as preferred, transfer MB stitches to ribber, where all stitches will be knit on every row. The main bed will be knitting the stitches that will be dropped, the lace carriage will not be used. As the carriage moves across the bed selected “lace” pattern needles will be knit, and the non-selected ones will be skipped. Program the pattern in the usual manner. Set the change knob to KC II to cancel end needle selection, the knit carriage to slip in both directions and continue knitting until all needles are in the B position. At that point disconnect the main bed and ribber carriages, unthread the yarn or have it held for you in the yarn changer. Set the main carriage to knit, move across needles in B, dropping them since no yarn is in use. Bring the disconnected carriage across the knitting again, reconnect to the ribber carriage, and rethread. Set KC to slip again, repeating the process. As an alternative for dropping stitches, leave KC set to slip, and push all needles out to hold. With no yarn in the feeder, any loops will be dropped. Make the 2 passes with KC only as described, reconnect carriages, rethread, and continue until no needles are selected again.
If on an electronic machine with 2 knit carriages available: the number of rows is usually an even number, so an additional knit carriage with no yarn could be positioned on the opposite side to the one selecting pattern, set to do plain knitting, holding no yarn, and it may be used to drop the stitches on “plain knit rows” on lace card without requiring the other additional steps and cam button changes.
Tuck and drop: use color reverse if appropriate (black squares for knit stitches, white for tuck) set up as for other drop stitch fabrics, choose patterns that are broken up by 2 rows of plain knitting between the tuck rows. KC II is used once again. Since in such cards, you one is working with punched holes or black squares, the empty knit carriage alone may be taken across with no yarn, dropping the complete, all knit rows. It is not necessary to change the knit carriage setting from tuck to knit to do so.
Tuck is an alternative option for a free pass as well, realizing that helps avoid errors in patterning by missing resetting the cam buttons between the two functions.
Racking patterns: a few variations are suggested in Brother punchcard volumes. Sometimes translations are what can be described as interesting. One such pattern Yarn choice as always can make a good deal of difference, here a wool rayon was used. The zig-zags would be more visible if worked using a larger number of all-knit stitches

Revisiting knit “bubbles” brother KM

Sometimes months or even years go by before I revisit previous posts. As I review the information, it may occur to me to think about it further, and /or to present it in a slightly different way. I find it hard to believe how much time has passed since 2013/09/06/more-knit-bubbles/ got published. Here is another way to look at the fabric on Brother KM. Since I knit on a punchcard model or a 910 electronic one, I will refer to pattern repeats in terms of punched holes or black squares.

Bubbles and drop stitch lace share some of the same principles, the effect is created by stitches that are larger than others. Slip stitch setting can be used to automate needle selection. Black squares or punched holes will knit, unpunched areas or white squares will not, with needles left in the B position. Brother preselects needles for the next row of knitting, so when combining hand techniques with needle selection, one has the option to intervene before the next row in the design is knit. Using the card or mylar to read row 1 of the design helps determine where on the needle bed to set up your repeats. In this instance, the ribber knits every stitch, every row, with one extra needle on the left (or more on each end if preferred) in addition to repeats # required to achieve the desired width. All needles are in work every row on both beds. Main bed knits in response to programming.
Working in multiple of repeat -1 on the top bed, plus one needle in work at each end on the ribber. Considerations need to be made to align the design properly. The markings on my metal bed are from a different project. The goal is this needle arrangement “air knitting” with carriage set to KC will help identify patterning repeats. Groups of 7 include a needle on each end which will be pushed back to A position in the body of the knit/ NOOW (needle out of work) indicated in the chart for the main bed needle setup the first selection row a needle on either side of the groups of 7 is pushed back to A position, remain there throughout the piecean extra needle is brought into work on the ribber on either side of repeat ends. Machine settings: main bed set to slip <->, ribber set to normal knit
the ribber has now been set up for knitting every needle, every row, with the caston and desired edging completed. The first row is selected on the main bed for pattern knitting. since there are needles out of work and pattern knitting is involved, if KCI is used or end needle selection is not canceled, the end needles on the areas being slipped will be selected to the knitting position, so patterning errors will occur. The first row knit on both beds is shown on the remaining needlesBrother knits a row while preselecting for the next one. Here the needles in B would slip/ not knit on the next row, and needles out to D (Brother skipped the letter C in needle positions) will knit. Before knitting that next row, stitches on the now non-selected needles should be dropped across the bed this shows those stitches have been dropped, their needles are now empty, and returned to B position

end knitting with the same treatment as it bottom (swatch was simply dropped off).
It is possible with solid geometric shapes such as these to release stitches after each shape. The type of yarn used and loop behavior upon dropping stitches are variables that influence success in doing so (other swatches ).
An acrylic yarn was used: the first image is the fabric’s “relaxed view”.after steaming and pressing
the variation in width is due to adjustments in tension, the swatch folded over itself shows the difference in another way

“Camino” bubbles, hand knit

I was written an email asking about the possibility of creating bubbles in hand knitting, this is my attempt, may serve as a starting point for DIY.

Below a small sample serves as an illustration of my first attempt. It was knit in acrylic, steamed to the point of death, but shows the type of elongation of the “bubble” stitches using this technique. To keep things simple I stuck to a “square” shape. Stitch counts and placements of shapes may be adjusted to suit. It is possible to knit or purl the yarn overs, unraveling the extra stitches before knitting the original number of stitches when the top of the bubble is reached, but the resulting look is a bit different. It is worth trying, depending on preference for the type of result, or the way one is accustomed to dealing with elongated stitches and yarn overs in hand knitting.

So I now own a new Mac, no longer have Microsoft Office available, and am now working my way through charting diagrams using Mac Numbers. Below is a possible working chart with a different stitch count than above. I would suggest larger blocks of all knit stitches and rows between “bubble” repeats

The further step of taking the technique to a brick repeat follows. I have been experimenting with a varied number of rows and stitches. Subsequently, I was happier with knitting or purling the yarn over as an extra stitch/ increase until I had worked the desired number of rows, then dropping those extra stitches, thus working once again on the original number cast on. The shape also seemed a little less square to me if a second row was worked before returning to making yarn overs. A border of more than one stitch on either side helps stabilize the shape edges.

This sample was worked in my “throw away” acrylic 4 ply. To my eye, the most pleasing and effective bubble happened on the least number of rows of dropped stitches (diagram provided above). The top and bottom edge of the “bubble” looked the best when stitches were taken off the needle on one row, and not allowed to “run” to the yarn over row until after the next row was knitted or purled all the way across. That may not be the best idea, especially when working much wider pieces of knitting. Dropping back to yarn over row as you work row 6, 13, etc. of chart provides a more controlled way of checking “runs” for individual stitches, making repairs for any errors easier. Dropping yarn overs with each pass seems to me to be the easiest way to track knitting as it progresses or gets wider, and counting bubble rows is far more easily tracked. Below, variation #5 matches the above chart.
the reverse of the fabric, lightly killed with steaming and pressing

A last swatch: here a row is knit or purled as seen in the chart above after yarn overs and their treatment is completed. If the aim is bubbles which will not be flattened out, dropping the yarn overs on each row worked gives a flatter (bottom of the swatch), less of a “bubble” effect than knitting or purling the yarn over before dropping it at the appropriate point (top of the swatch). If the fabric is to be “killed” as flat as possible, dropping the yarn overs each row may be good enough.

My machine knitting posts on this topic: https://alessandrina.com/2012/09/21/knit-bubbles-and-stitch-ditchersdumpers/
https://alessandrina.com/2013/09/06/more-knit-bubbles/
https://alessandrina.com/2013/09/07/a-bubbles-cousin/
https://alessandrina.com/2017/10/18/revisiting-knit-bubbles-brother-km/

My new knitting projects

Back in 2015 I met a math teacher in a group setting, and as a result of some discussions I became interested cellular automata. Since my blog post Fabienne has come a long way.
A related youtube video, Art Zone: KnitYak-Mathematical Knitwear
Follow up: KnitYak shut down as a project May 3, 2021. Their industrial knitting machine to a university computer science department.

My own repeats on the Passap are limited in size by an early chip. The download happens using wincrea and a Croucher cable and switch switchbox. At present I work out repeats on my mac, share them with an ancient dell.

This is my first scarf, produced using a segment of an automata in repeat. When viewed vertically and from a bit of distance there is a movement created by the varied sized shapes that is interesting to me, and that I want to explore further.

9/20/17 My new Mac is here. At present I am designing on the Mac, using a flash drive to transfer the patterns to my ancient Dell laptop, and going on from there. This is the second in the series. It uses the identical yarns to the scarf above, yet because of the colored stitch ratio distribution, looks to be knit using a charcoal shade for color 2

Here are the 2 fabrics side by showing the color contrast. The scarves are air drying after hand washing. The fabric is DBJ, so little blocking is actually needed, but the fiber is wool, and I am testing the waters to see if hand washing the pieces will soften them up a bit 10/7/17: a third in the series after some technical issues with pattern downloads to PassapThe plan is to continue with one offs, photography to be sorted out for consistency as well 😉one with a color reverse border on only one end

Unconventional uses for punchcards 2: thread lace cards for “filet” mesh

Mock filet crochet machine knit lace has surfaced in a Ravelry blog of late. The sample in question was made by Tanya Cunningham, using a hacked knitting machine and software to download the repeat. Sometimes, punchcard machines or early electronic users feel left out of creating particular fabrics. If one can settle for working with simpler and far smaller repeats, however, one can achieve interesting results on that scale.
Several years ago, I wrote a series of posts on lace meshes and lace patterns inspired by filet crochet. They are interspersed in the mesh category. There has also been a thread on this type of lace in Ravelry, and today’s avoidance of housework led me to think about pre-drawn thread lace patterns to create a filet-like mesh.
What to look for in a first experiment (Brother punchcard machines only): large unpunched areas creating motifs, with no side-by-side punched holes, and no more than 2 consecutive punched rows. Some samples are provided in-stock cards that come with machine purchases, such as this. The lace carriage (LC) selects on the first pass, transfers on the second. It advances the card with each pass of the carriage if it is operated consistently from the same side.
If 2 knit carriages (KC) set to select needles for any technique are in use in punchcard machines, as one is put to rest and the other one begins to move from the opposite side, the card does not advance on the first pass, so selection for the previous row is repeated one more time.
If all lace transfers are made in the same direction, the resulting fabric will be biased. For balanced lace fabrics, the direction of the transfers needs to be reversed, whether in alternating series of rows or with every other set of transfers. In a situation such as this, the LC makes one set of transfers operating from the left, with the next set of transfers operating from the right.
For the correct setup, the first-row selection with the card is made on the row just below the one marked #1 (in this instance, that would be row #40), then the card is set to advance as usual.
If the first selection row is made with the card set below the #1 line, the card needs to be already joined with snaps into a drum, or the card reader will be selecting the all-punched row, which is normally part of the overlap that sits over the last 2 rows of the pattern repeat.
I began with my LC on the left for transfers to the left and alternately placed it on the right after knit row(s) for transfers to the right.
A “simple” lace is produced with only one-row knit between transfers, and a more complex lace if 2 rows are knit between them.
The LC moves left to right and transfers back to the left. If the knit carriage is used for one pass only, it stays on the left. The LC is now taken off the machine and moved to the right, used for 2 rows, and will be removed from the bed to ready it for its return to the left side.
The KC follows with one pass from left to right.
The LC is returned to the left and operated for 2 rows, starting the sequence over again. The LC is always moving toward the KC to select, and away from it to transfer.
Brother knitters are used to knitting 2 rows after lace transfers.
It may be done with this card as well. The problem here is that when knitting for 2 rows, the knit carriage consistently returns to the same side, so that when transfers need to be made from its starting side with the LC, the KC needs to come off the machine until after transfers are made.
There is a lot more juggling of carriages and keeping track of what needs to be where. The elongation that occurs with 2 rows knit after each set of transfers, and the differences in the appearance of the yarn forming the eyelets (single/magenta arrow vs crossed/glow green arrow strands) for the respective methods are shown below. Three more candidates for experimenting with the technique. Working the fabric on an electronic, the repeat used: Related PNGs:
24X60 24X72 The single knit row between repeats is fairly easy and rhythmic to produce. The first preselection row is made with the lace carriage, beginning on the left, the design is used as given in the punchcard.
LCOL preselects for transfers to the left as it moves to the right
LCOR transfers preselected needles to the left and preselects the same needles, now empty, a good time to check for any dropped stitches or split yarn. Remove LC from the bed to place it on the right before transfers in the reverse direction
KCOR knit one row to the left, leave it there
LCOR preselects for transfer to the right as it moves to the left, transfers on its return to the right, and preselects the same needles, now empty of any yarn. Again, remove it from the bed in order to place it on the left before transfers in the reverse direction
KCOL knit one row to the right, leave it in that position
LCOL begin the sequence again
preselection with the LC is always toward the knit carriage, and transfers are always away from it If working the same repeat as transfer lace, the knit carriage moves to and from the right with every 2 rows knit, so in order to make transfers with the LC to the right, the knit carriage needs to be moved off the needle bed for the LC to be able to operate from that side.
The process is a tad fiddly, if the technique is to be used for an all-over design, converting the design to the traditional transfer lace format would be worth the effort. Barring that, some sort of note-taking to serve as a reminder of which side the LC carriage should operate from is also helpful. The BMP for the full repeat including blank rows at the top Returning to another Brother punch card, more possibilities in ways to experiment
The above shows long vertical lines of transfers are possible in design motifs (punched holes).
Adding shapes to all over mesh may require some editing along edges where the shapes meet the mesh. Varying size swatches are recommended before committing to any large piece.
As always punched errors may be taped over. Red squares in the image below reflect holes missing in the card if the goal is to achieve a smoother circular shape.
When this technique is used, selection, transfers, and knitting occur in each single, completed row of the design. note the differences in circle sides a wider, amended repeat The slight bias zig zag at the top of the swatch results from a missing reverse direction transfer before continuing with plain knitting and binding off. Ultimately whether the final fabric is worth the effort in making it is a personal choice.
Sometimes small swatches work like a dream, and when large pieces are produced, problems multiply or the result is disappointing.
In the past, I have also tried to use thread lace-inspired patterns for drop stitch lace (ribber fabric), but have found the result far more subtle than expected.
As always yarn and color choice make a significant difference. The yarn used in these samples is a 2/15 wool blend, knit at tension 6.
BTW: Studio pattern books have multiple sections of published 24-stitch thread lace patterns. Not all Brother machines have the capacity for knitting this type of fabric, so not all of their publications include “suitable patterns”. If one understands what punched holes vs unpunched do, some of the Brother weaving and “pick rib” perhaps another post’s topic) can be used as-is or adapted.
punchcard http://machineknittingetc.com/pattern-library-for-punchca…
previous blog notes on thread lace 2016/11/03/thread-lace-on-brother-km/

2023 Brother electronic 930, the image is automatically mirrored
Using StitchWorld #545 Use a yarn that has previously worked well in lace transfer knitting.
On the 930, the Knit Carriage ends On the Left, after casting on. As in any standard transfer lace, it knits stocking stitch rows, does not advance the pattern.
The Lace Carriage begins On the Right, selects needles as it moves to the Left
LCOL the LC transfers to the right, slide it off the machine
KCOL the Knit Carriage makes a pass to the right, knitting a single row, stops and stays there
LCOL returned to the knit bed, the LC preselects as it moves to the right
LCOR transfers as it moves to the left, slide it off the machine
KCOR knits a single row as the carriage returns to the left and stays, knitting a single row
LCOR the LC is returned to the knit bed, preselects moving to the left and the process continues.
At times patterns are best executed with hand transfers as opposed to using the convenience of automating them. In instances such as them, begin the same way, with KCOL
LCOR make a pass toward the knit carriage, transfers stitches manually away from the lace carriage
LCOL make a pass away from the knit carriage, the same needles preselect, they should have no stitches on them now, this is a good time to check all transfers have been made properly and that there are no dropped stitches, slide LC off the machine
KCOL makes a pass to the right, knitting a single row, stops there
LCOL the LC is returned to the knit bed, preselects needles as it moves to the right, hand transfer selected needles away from the LC
LCOR the same needles will be selected on the way back to the left, and are now empty, slide the LC off the needle bed
KCOR knits a single row as it makes a pass returning the the right, and the process begins again
In both automated and hand technique, the LC always moves toward the KC, transfers are always made away from it.
The final mesh is quite different than the standard meshes produced with LC performing all selection and transfers, followed by the KC knitting 2 rows

Tuck lace trims and fabrics 2

Working between electronic and punchcard machines needs to take into account that repeats on a punchcard KM must be a factor of 24 (2, 3, 4, 6, 8, 12). An electronic tuck stitch repeat may be any width. Since the above is seven stitches wide, if punched accordingly it would occupy 21 out of 24 stitch units on a punchcard. As is unless those extra needles on the far right or left are left out of work for ladders or transferred down to the ribber, it would not be suitable for an all-over fabric. It can, however, be used for a trim. If the latter is the intent, only one series of vertical repeats as seen in the chart needs to be punched. The numbers below the image indicate Brother needle tape markings. The Brother needled tape has a center O position marking, with numbers beginning count with one and radiating out marked in groups of 5 in both directions. This is a 6-row tuck fabric, thinner yarns should be used if the pattern is automated, as tuck loops build up in needle hooks. If you wish to experiment with slightly thicker yarns, decrease the unpunched areas to 4 rows, or execute the repeat using holding. Held stitches sit on top of the needle shank, tolerance is determined by how many rows it either takes for knit stitches on sides of the loops jump off needles or accumulated loops in hooks or any stitches become unable to knit off consistently on the next all knit pass.
To test the yarn and repeat out, try the technique by using holding, then punch your card. Automating makes the process less prone to error and faster if great lengths of trim are needed. It is also possible to punch or program only the part of the card that is planned for the repeat. The single-width repeat may be programmed as pixels, on left, or punched holes on right. In electronics a single 8-row repeat is adequate, punchcard knitters repeat 5 times to 40 pattern rows punched. I prefer starting such designs on a knit row. To do that, the design repeat start may be shifted Using the trim as the cast on edge for a garment: determine the length required after a technique test. Knit a bit extra and remove on waste yarn, so more may be added or some be unraveled if needed or you wish to change the configuration using it as your cast on. Rehang and cast on later when it is completed. The flared-out portions of the trim will be used to “cast on” the edge of the piece, continuing with some needles out of work. An attempt at a line drawing of the “trim” sideways Using the curved out edge of the trim, hang half stitches if possible, or one full stitch away from its edge as illustrated below. Knit 4 rows. With a tool pick up all ladder loops created by NOOW (RC 1-4) and hang them on the center empty needle. Knit rows (RC 5, 6), hang ladder loops on still empty needles, knit across all needles, continue with garment

needle arrangement picking up loops

The yarn used is cotton and appears to have a tendency toward biasing on knit rows as seen in the tendency to lean in one direction in the above photos. It has no stretch, so stitches that knit off several tuck loops remain elongated. A look at the structure on the purl side: For more trims in this family, please see later post Tuck trims 4 and other edgings

In Brother knitting when needles are out of work, the automatic end needle selection may interfere with the pattern, and this is a consideration in many stitch types.
All over fabrics, analyzing a published Brother tuck lace punchcard repeat:
Single bed: to test the pattern, arrange the needles as shown below the full pattern repeat.
Cast on and knit a few rows, set the change knob to KCII, knit one row. Push in both tuck buttons, and knit the desired number of rows. If using the pattern on electronic machines, the needle selection needs to match on the top bed. Depending on the model electronic, the pattern may have to be reversed for accurate needle selection.
I prefer to start on a row where all needles in work are selected, providing an added visual check that indeed the proper needles are in use.
Begin with waste yarn and ravel cord, followed by a permanent cast on.
I like to use a crochet cast on and bind off, with extra chains where needles are out of work. The fabric will stretch sideways depending on the number of rows tucked as well as needle set up, so casting on and binding off needs to accommodate that stretch in finished pieces.
Punched holes or black pixels represent knit stitches, as always unpunched areas of the card, or white squares represent tucked rows. The knit stitch (blue) above which tuck loops (red) are formed becomes elongated for as many rows as unpunched cells or white pixels in the pattern until that same stitch is selected forward to be knit When using card 304, tucking happens for 3 rows forming loops that span across needles out of work, then all stitches on needles on rows with numbered markings on blue cells knit for one row. Orange gradient-filled cells represent rows on which tuck loops are being formed on the held single stitches, which in turn grow in length. The full 24 stitch repeat, shifted for my preference, with the smallest electronic 8 stitch repeats outlined with red border In electronic knitting, repeats may be planned across the number of needles in work based on personal preference. Here the repeat is adjusted to produce knit stitches on both sides of the swatch, 35 stitches X 16 rows. On the 930: the odd number of needles are automatically placed on the left, with the pattern used in the isolated design setting.
Air knitting the selection for the first row will bring proper needles to forward position, odd number on left, even number on right.
Unselected needles on the right and left must be taken out of work, knitting will continue on the remaining selections. Double bed: there are a couple of options for varying the fabrics. In one, to retain the laciness of the knit transfer only stitches creating those long vertical columns on the top bed down to the ribber. In the other, any or all out-of-work needles on the main bed will be transferred down to the ribber. Hybrid combinations of both modes of transfer could explore the knit further in yet more ways.
If casting on in rib, set half pitch lever on H, racking indicator on 5. Cast on the desired number of stitches and knit base rows.
Set half pitch lever on P, transfer stitches between beds arranging them as shown with NOOW on both beds. Set change knob to KCII, knit one row. Push in both tuck buttons on the main bed, knit in pattern for the desired number of rows.
Lately, I have been experimenting with chain or crochet cast ons and bind offs with extra chains between needles in work, and actually began my single bed swatch in pattern immediately after the cast-on row on the needles preselected in air knitting for row 1. Some weight, distributed evenly across all stitches is necessary. The main bed remains set to tuck in both directions throughout, the ribber when used is set to knit in both.
The bottom of the swatch shows the single bed fabric, the top a double bed version.
When knitting on the double bed, in this instance, the stitches where those all knit vertical columns occur on the main bed, marked with red dots, were transferred down to the ribber. Here the main bed needles, continuing in pattern, are selected forward for knitting on the next carriage pass, here the elongated stitches and tuck loops are shown after they have been knit together on the main bed. Transferring all non-selected needles down to the ribber: the tuck loops still form on the main bed, the ribber is set to knit every needle in both directions. The resulting knit, very different in appearance and in width than the previous sample, using the same tensions
For how-tos, illustrations, and swatches showing fabrics knit with all needles in work on both beds, please see post: Ribber fabrics with main bed tuck patterning 1/ pick rib

“Crochet” meets machine knitting techniques: working with short rows 1

Another Ravelry thread recently looked at knitting this pattern, from an old Knittax pattern book

I found this in a different manual, with a similar structure, and “English” directions. Translation of symbols used in Knittax patterns. On the purl side, this creates structures that emulate crocheted shells. My first attempts at trying to knit anything like this were with thin yarn, and I had enough issues to give up for the moment. Things worked out much better when I switched to a sport weight yarn that seemed to like knitting at T 10 for stocking stitch. With NOOW set up, my sample was knit at T 9. Waste yarn and ravel cord are often a good way to start, but not always necessary; the same is true of weight. I began with a crochet cast on, every needle, multiple of 4 st + 2, then dropped the alternate pairs of needles between the first and last 2 pairs of needles in work, pulling the needles back to A position, determining the width of my “shells.”
My initial experiment was an adaptation of the concept, with more needles in the work than in the inspiration photo.
Working from right to left, starting with COR; the first pair of needles on carriage side in work, remaining needles away from carriage are in hold position moving toward left, the adjacent needle in the first pair in hold gets wrapped; be sure to retain proper positions for knitting and holding the first wrap completed, needles in position to continue the process is repeated X number of times. I chose to wrap X 5, which requires 10 rows of knitting, making the row counter usable to track rows in easy increments. When wraps are completed, push wrapped needle and its partner into work, knit one row make certain all the loops have knit off, wrap the first needle to their left, bring pair on the right to hold continue for your desired number of wraps return wrapped needle and its partner to work position, knit one row, wrap next single needle on left remember to bring needles to right of the pair just knit into hold repeat to end of row. Reverse process moving from left to right (in progress photo). I found a single tooth from a claw weight on the pair of stitches while knitting helpful.

Variations can include the number of needles in and out of work, yarn choices, etc. The needle arrangement to match the symbols with 3 in work, 3 out of work The same steps sequence is followed as for the first swatch, using a 2/8 wool. Summarizing the beginning series of movements starting with COR The full series of patterns may be found in the Portuguese language booklet. The illustrated needle arrangement for #4, I like to begin using a chain cast on, and then dropping chains off needles out of work1: COR, leave the first needle in work, pull the remainder out to hold, knit 1 row
2: COL, bring the thread under the first needle in hold position 3: COL, knit 2 rows, repeat 1-3 5 more times, creating a total of 5 wrapped loops, ending COL
4: COL, put the needle storing the wrapped threads into work, and knit this stitch by hand twice, leave it in work
5: push the adjacent needle to its left into work, the needle on its right out to hold, knit one row, ending COL
Repeat steps 2-5. The fabric shares knitting sequences with the first 2 samples. Here, a similar technique is used for a trim, and both sides are shown. Visualizing the process in chart format.

Online inspiration:
a YouTube shawl
techniques that use holding while similarly moving across the needle bed, though not necessarily producing “crochet-like” fabrics: https://www.youtube.com/watch?v=XR_7Ys9KIaU&t=4s
A follow-up post with more fabrics inspired by the Knittax pattern book