Zig Zag ladder lace 1: on knitting machine

My previous posts on combining ladders and lace: 1, 2 . The chart below, found in a random Japanese publication, started the process of my sorting out a possible “how to” on the knitting machine
bulky zig zag lace

In hand knitting, the 2  empty circles generally indicate a double yarn over. On the machine these can be simulated by working with extra empty needles. For swatching, a few rows of stocking stitch will do as a start. In a final fabric, waste yarn may be followed by ravel cord and a crochet cast on. After the crochet cast on, the chain on the needles for the extra “yarn over” location can be dropped, leaving those needles “empty”, and the pattern may begin immediately.

One of the 2 yarn overs will be created by manipulating an empty needle, the other by transferring stitches by hand as one would in lace.

If the empty needle if moved back to A, a ladder is created that is essentially a float in front of the gate pegs up to the next knit stitch. For purposes here, the result did not give me enough yarn to be able to maneuver.

The first step is to decide on the repeat between transfers, and emptying appropriately spaced needles, seen here in A position

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for the longer “float”: before the first row of the pattern, the empty needle is brought out to work, a row is knit, resulting in loops on those needles, that will create extra yarn slack

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the loop is in turn dropped

IMG_1883a tool is inserted through the loopIMG_1893

turned  clockwise for  casting on  in one direction,

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and turned counter clockwise for casting on in the opposite. Note that in one instance the long leg of the e is in back of the knit on the purl side, in the second in front. This makes a difference on the knit side of the fabric as well.

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to get the look of ssk and ssp as seen in hand knitting (instead of a simple decrease),  depending on the direction you are traveling, the needle 3 stitch is moved to its right or left onto the center one to create the second “yarn over” . Both stitches are then returned  together to the needle 3 position

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and with the transfer and e wrap completed, one is ready for the next row of knitting. Bringing the 3 needles out to hold gives one the opportunity to check all transfers and wraps, makes the next row easier to knit

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the turn of the zig zag: pick up from row below for increase, instead of e wrapping for a neater turn

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my first swatch: 1/ ladder at start of row; 2/ shows chain moving along the knit side, emulating ssk and ssp decreases seen in hand knitting; all my e wraps were made clockwise, 3 shows the long leg of the wrap moving to front of fabric as opposed to the rear as in 5, each giving a different look to ladder’s edge; 4 indicated the pivot point for reversing the direction of the zig zagnumbered_1892below shows the results of alternating the directions of the e wraps in each section: clockwise when moving to left, counter clockwise when moving toward right. The large eyelet at the top illustrates what happens typically when an empty needle is brought back into work at the top of a ladder.

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Ladders may be created in any desired width. The look of the vertical knit edges becomes a matter of preference. Good note-keeping helps insure consistent results.

 

A simple shape, an exercise in DBJ, Brother KM

When first learning how color separations work for DBJ on any machine, it is helpful to begin with a simple, easily recognized shape, to play with as many variations as possible, and study the results both in terms of the resulting fabric, and how the motif is altered by changing the machine settings. Below are copies of the handout I used when I introduced new knitters to rib jacquard. They are Brother specific. Out of habit, I tend to leave the slide lever in its center position. If a ribbed edging is needed, it is a lovely surprise if one plays with lever settings, finishes a second piece of knitting, to find after its completion that the second piece has a rib that is a different size than the other due to a missed change in lever position. My design is planned for use with punchcard machines, but a single repeat may be isolated and used to knit patterns on electronic machines as shown at bottom of the second page.

For Passap knitters, a bible on using a single shape (triangle) and creating infinite variations by technique modifications, adaptable for use on the E6000, was published in 1988

passap deco

 

Brother KM

Brother Ribber Techniques Book illustration is missing lili position for the slide lever

lili_rib

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C500_2

some of my previous posts on  DBJ color separations 

More slip stitch experiments

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

A Missoni  knit  missoni comboSportmax Armida sweater   lyst combo

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

my starting chart

repeat start

 checking that that repeats line up

multiple repeats

possible mylar repeats

mylar repeats

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

striped slip ksidepurl side

striped slip p side

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

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

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

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

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

block shape

the knit side

block_front

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

block_back

Combining tuck stitches with lace 2 (automating them)

Working with 2 carriages when both are selecting needles brings up some interesting issues. Studio machines are able in most instances to select and knit in the same row. Brother preselects needles for the subsequent row, and on that row, while knitting the preselection, once again, the preselection is made for the next pattern row to be knit.

A couple of my earlier posts on the topic: knitting with 2 carriages and a lace round doily which combines lace with slip stitch selection to emulate holding for creating the needed spiral.

Following up on the previous post, now attempting to automate the stitch, some of the logic in needle selection needs to be explored. The chart as drawn below simply addresses functions that may create the desired fabric. It is incorrect in terms of accuracy in actual knitting it

theory

 symbols used

theory symbols

reworking the repeat for use with mylar

mylar selection

 the drawn mylar repeat, numbers reflect placement on my sheet

mylar repeat

mylar symbols2

When both carriages are in use for pattern selection, they will both engage the belt. While either carriage is in use, the alternate one needs to be off the needle bed, or the belt may actually break as one carriage holds it in a fixed position, while the other tugs at it toward the fixed spot from the opposite side of the machine. Lace extension rails are used on both sides. There were variations over the years, including a pair to fit the bulky 260 KM. They are not always exchangeable between models, need to sit properly on the machine for carriages to be stable while stored to the side, and also for moving them off and onto the machine easily.

Pre-punched standard Brother lace cards usually begin with the lace carriage selecting the first pattern row moving from the left side to the right. As with any lace or tuck fabric, knitting begins with waste yarn that is weighted evenly and any edge treatment of choice. On the 910, because of the preselection factor, and to keep the pattern continuous in proper order, the knit carriage is removed from the right side of the machine, and the lace carriage does a preselection row from right to left. That will be its start and return position for the remainder of the fabric. The knit carriage is returned in turn to its home on the right end of the machine, on the extension rail.

Two types of fabric are being created. The goal is to have the edge stitches knitting throughout. To accomplish this, if the LC is in use, eliminate any end needle selection by pushing needles back to B; when the KC is in use, if the end needle is not selected, to get it to knit, it needs to be pushed out to E. The pattern sequence is an easy one when up and running, with 2 passes of the LC, and 4 of the KC, as seen in the charts above.

The knit side is shown below, the arrow locating the larger eyelet points to operator error: I had a stitch caught on a gate peg, and was not aware of the problem for several rows. The extra loop of yarn can actually be seen. Tuck fabrics are often far more interesting on the purl than on the knit side

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the purl side, with an arrow indicating the same problem spot

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The question that follows is how to program the same design for use with a punchcard machine. Here things get a bit more confusing. The electronic machines advance the program or card a single row for each carriage pass, no matter their direction or sequence. When the punchcard carriage is at rest on either side and the alternate carriage moves toward it, the card does not advance, so the needle selection stays the same, is repeated for a second time. A bit more planning is required and the repeat needs to be shortened to accommodate for this fact.

The chart below shows the amended repeat for punching a card. The first selection row is made with the card locked, and the LC moving from left to right. The card is then released, LC moves to the left, transferring stitches selected from the previous row to the left while selecting those for the first row of tuck. The next row, using the alternate carriage, begins the ongoing sequence

punchcard chartA

the actions of the carriages with each pass

what carriages do

The actual punched holes are shown below. The writing on the card is a ghost from a previous experiment. The red line marks starting row 1 for Brother knitting, blue border outlines a single repeat. A minimum of 3 repeats are needed for continuous reading by the KM

punchcardFabrics with color change every 2 rows such as mazes and mosaics are easily knit on the electronic with 2 carriages. If worked on a punchcard machine, they would have to be executed using a yarn changer and only the knit carriage, unless the design motif is redrawn to factor in the issue discussed above. A previous post, part of a thread on mazes and mosaics, with a punchcard swatch photo.

The first preselection row in any patterning that involves color or carriage changes every 2 rows, is usually done toward the side of the machine that holds either the color changer or the carriage next in use. As seen above, there are exceptions to that “rule” as well.

Machine knit “dragon scales” update

I had previously posted on an Armani-inspired knit scale-like pattern that sometimes was described online as a machine knit “crocodile stitch”. A fellow Raveler just shared on her project page an interesting variation that includes variations in the scale of the scales themselves. All her transfers are made onto a single center point, eliminating the vertical separation that appears at the center of my version.

my previous smaller, machine-knit sample

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a hand-knit lace cousin to try with full repeat and directions, chart, and text generated in Intwined, border stitches not shown

armani hk

armani hk how

Combining tuck stitches with lace 1

A simple chart, from a random Japanese publication

tuck and lacethe isolated repeat outlined

tuck and lace2

symbols used

symbols1

of note: in the above pattern, all transfers are in the same direction. My test swatches were knit on bulky 260 KM. Held stitches form loops on top of needles brought out to E position. The original stitch formerly in the needle hook grows in length, behind the newly formed loops. When patterning is automated using the tuck cam setting, the non selected needle will not be worked. The original stitch gets longer here as well, while the loops that in the hand technique rest on top of the needles, will now be held in the hook of the needle along with the last knit stitch. The latter fact is the limiting factor determining the number of rows that may actually be tucked, especially on Japanese machines. Yarn used and needle gauge also matter. Tucked fabrics, like lace, need to be weighted evenly for loops formed to knit off properly.

How to for my swatches:

knit base row (s), set up repeat so some stitches knit every row on each side creating a border, set machine to hold stitches

row 1: transfer every 4th stitch to the right. If you are in the habit of pulling needles holding multiples stitches to D before knitting the next row after transferring multiple stitches onto a single needle, this is ruled out when the carriage is set for holding, as those stitches would then not knit as intended on the next pass. To produce an eyelet, emptied needles are returned to B position after each transfer sequence

rows 2, 3, 4 bring alternate every 4th needle as shown in chart into hold, knit 3 rows

row 5: push held needles back into work (D on brother km),  knit one row across all needles. Held stitches will knit off as a group, check that they have done so uniformly

rows 6, 7, 8: transfer alternate every 4th needle out to hold, knit 3 rows

row 9: begin sequence again, repeating rows 1-8

When transfers are made in a single direction, the fabric will bias in the direction of those transfers. In the bottom section of the photo below, the resulting lean to the left is easily seen. If a bias leaning fabric is desired, this is an easy way to get there. However, if the goal is to achieve a balanced fabric, then the transfers need to happen in opposite directions as seen in the top segment of the swatch.

knit swatchthe new working repeat

new_repeat

directions

the number of held/tuck stitch rows has been changed to 4 rather than 3. When the row that knits off the loops occurs, the total number of knit rows for the sequence will be an odd one, resulting in the carriage being at opposite sides of the needle bed at the end of each pattern repeat. Transferring stitches may then be made toward the carriage: COR – transfer to right, COL transfer to left. This makes it easier to track direction when working the fabric as a hand technique.

Next up: automating the pattern for standard gauge machines using the lace carriage, and tuck patterning in the knit carriage as well.

A swatch experiment: machine knit scales

A while ago the image of a sweater attributed to Armani caught my attention on Pinterest, and I became obsessed with creating a variant.

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Lace is actually an interesting 3D fabric until it is blocked and made to lie flat. I went the lace route to work out my “scales”. The swatch I created below is hand-knit knit, and could be reproduced as a machine-knit hand technique with the aid of multiple transfer tools. I would recommend a yarn with “memory”, such as wool. The bottom of 3 sets of “shells” were knit on #  7 needles and the remainder on #5. I found I preferred to control the lean of knit-together stitches on the knit side but did not deem it necessary on the purl.

the knit side

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and purl side!

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my working notes  (Excel) showing multiple repeats

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symbols used symbolsa printable PDF  scales_all_info

A mini-me version knit on a 4.5 mm. machine, using the same yarn as in the hand-knit sample above, at tension 10+. Repeats are worked out around 2 center needles, on which stitches are doubled as transfers are made. When the pairs of doubled-up stitches are reached with loops on either side of them after the last transfer/knit one row in sequence, and knit one additional row across all stitches before reversing the direction of transfers. That row is represented in green in the chart below. Symbols used are minimal since the same side of the knit is in constant view (incomplete full pattern repeat)

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knit side

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purl side

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see update3/28/2015

Hand knit lace to KM: combining different meshes, alternative methods

This is a blog post I actually began working on in November 2013, and never quite completed. A Ravelry thread on a hand-knit lace to machine knit pattern translation made me think of it, so here are my working notes on one approach to charts designed for hand knitting that require transfers every row, with the intent to automate them for possible use with the lace carriage for transfers rather than working from a chart as a straight out hand technique.
The Japanese publication hand knitting chart

the hand knitting chart in Intwined

the HK instructions generated by the program to match the chart

the chart flipped horizontally for machine knitting could be achievable using LC on the right side of KM, which would require the method used in the previous post: elongation X2, 2 passes LC toward KC, followed by one row knit  A.

In this chart note the 2 cols representing opposite directions for transfers, not a physical possibility when using the LC

here the chart is amended, keeping like colors together on the same row, starting with LC on right,  LC 4 rows of passes followed by 2 rows knit

repeats can be adjusted so spacing matches more closely between motifs after swatching (B);  if the first row of transfers is to the left, lace carriage must make a pass to select from left to right, the second pass will transfer from right to left; in row 1 and 4 there are no transfers, rows 2 and 3 transfer selections from the previous rows; row four lets the LC return to its original position

knitting with the mylar: in transfers observed on the purl side of the fabric, facing the knitter: the lace carriage transfers selected needles in the direction in which it is moving on the needle bed; if first row transfers need to be transferred to the right, the lace carriage starts out on right for selection row, and will transfer to right on its second pass, from the left to right

moving things around for a possible brick layout

the mylar markings for selection from right to left: A and B, C from left to right

A is technically an incomplete repeat for continuous use, 2 more rows would be needed

that fabric swatches:  CBA

the tuck pattern Passap 1030 using the method of elongation X2 as described

the resulting mesh, with some yarn issues

Previous related posts:
2013/09/19/studio-simple-lace-on-brother-electronics/
2013/11/30/a-bit-of-seasonal-lace/
2013/12/05/lace-mesh-motif-charting_-mac-numbers/
and the previous posts on translating HK patterns for use on punchcard or electronic machines
2013/08/29/from-lace-chart-to-punchcard-6-to-electronic/

A bit of history on my swatches

I try to test any directions I publish in my posts, those swatches vary in size and fiber content, and I often add other pertaining specifics. I also taught in a design studio for a very long time, where the first 9 of 12 weeks were spent exploring stitch structures and techniques, and at least one wall in the studio was covered with new samples knit by me each week. Textured ones were knit in wool, a yarn with “memory”, and many of the larger swatches pictured are from that stash, some have been in “storage” for well over a decade, and they are photographed “untouched” in terms of steaming, pressing, etc. I am not a “photographer”, the shots are casual ones now taken with an i_phone.  Keeping images in constant size on the blog page sometimes plays with aspect ratio in terms of getting a sense of the actual finished product’s width or length. As for the colors used: because the knit studios were open to anyone enrolled, yarn was stored on shelves unless purchased by individuals for personal use. I got in the habit of using contrasting colors that were easily identified to avoid my demo cones from being used, and also found this helped define edges in design changes, with lighter colors more visibly illustrating how stitches are actually formed in the hooks of the needles. Any use of “my yarn” was immediately recognizable, and as an added plus the colors used also helped reduce disappearance of samples at any workshops outside the school environment. The swatches were intended as sprinboards for ideas, not to be used as they were for any finished garments or to illustrate completely resolved fabrics.

Ruching 1: fern “pretender” and more

Ruched or manual pull-up effects can be created by rehanging stitches at regular intervals in a straight, diagonal, or random arrangement on plain knitting or patterned fabric. The pattern below could be considered a “fern pretender”, but is considerably quicker to knit. Again, for any textured fabric a yarn with “memory” is recommended for texture retention over time or after pressing, washing, etc.
Depending on how far over whether in this fabric, cables, etc or how many stitches are moved on the needle bed, adjustments may have to be made either in tension or in the number of stitches moved. Adding striping and changing its sequences or combining different yarn weights may vary the look of the fabric considerably, and because it is a hand technique, motif repeats may be varied in size, scale, or location of hooked-up stitches. The working charts represent the side that is facing one on the machine, so by default, all stitches are purl. Dark grey represents needles out of work, which will create ladders in the final fabric. All other squares are knit stitches. Green illustrates the location of needles where the stitch’s top purl bar will be picked up (in this case with a 2-prong tool), and where the tool will rehang those same stitches to create the desired texture. Red lines outline the repeats.
smaller repeat the larger.  The swatches are pictured below as they came off the machine, with no pressing or steaming. The smaller repeat curls considerably, and the larger lies much flatter. The longer ladder “floats” bear watching when rehanging the marked stitches to ensure free gate pegs and stitches knitting off properly. I prefer to knit nearly all fabrics without additional weight, using my fingers to pull down on what needs it as I move across the knit. The larger swatch required a tension change of + 2, in addition to the longer span of knit rows. The purl side, with notable curling on the smaller repeat sample. In any fabrics requiring needles OOW, unless waste yarn and weights are a necessity, one may simply do a crochet cast-on across the required number of needles, then drop off cast-on stitches where NOOW are needed, pushing them back to A. In binding off using the latch tool bind off, treat empty needles as though they had stitches on them, and the top and bottom edges will match in width.
Working with larger stitch groups and color changes: the pattern stitch is in groups of 5;  knit 9, 10, or 11 rows (depending on yarn and tension). Beginning on the left-hand side pick up 5 stitches from the first row, and hang them on the next group of 5 needles to their right on the last row knit. Skip the next 5 stitches, pick up the next 5 with a transfer tool, and hang them on the next group of 5 needles to their right, repeating across the row. After the whole row is hooked up, repeat the process, reversing the direction of hooking up. Starting side may be based on personal preference, consistency throughout is helpful. This pattern may be worked on an inset, resulting in ruffling on either side or on a fixed edge as well, with ruffling on one side.
The groups of 5 colored squares indicate each set of stitches and needle placement, and the arrows show the direction and order in which the stitches are moved. The same technique, used as a band rather than an all-over pattern