Trims and Edging – alessandrina.com

Unconventional uses for punchcards 3: lace in rib

Lace patterns for drop stitch: 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 (lace carriage will not be used), cancel end needle selection, program your repeat, push in both part buttons. As the carriage moves across the bed selected “lace” pattern needles will knit, the non-selected will be skipped.
Continue to knit until no needles are selected. At that point disconnect the main bed and ribber carriages, change the setting on the main bed to knit, remove the yarn from the feeder, bring the knit carriage alone across for 2 rows, and stitches will be dropped. After the disconnected carriage is returned to the opposite side, rethread, and connect again to the ribber carriages, set the knit carriage to slip and it once again will knit selected needles. Repeat the process for the length of the swatch. If on an electronic machine with 2 carriages: 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 will drop the stitches on “plain knit rows” on lace card without requiring the other additional steps and cam button changes.

Transfer lace on the top bed: the question periodically comes up with regards to the possibility of using the lace carriage when knitting every needle rib fabric. The lace carriage does not operate with the ribber bed in use in the standard up position, there is not enough clearance between the beds for it to travel from one side to the other across the needle bed. It is possible to drop the ribber down one click, opening up the space between the beds, supposedly to allow for the use of thicker yarns.

My machine is old enough for the ribber to be bowed in the center, increasing the space between the beds there. Trying to use that position for every needle rib in my desired yarn I got yarn breakage in the center of the bed, some skipped stitches, and the sides of the needle bed were still up too high for the LC to have a clear passage. The problem appeared to be due to its brushes hitting the gate pegs. With the brushes removed, but with some grinding against those same gate pegs the LC was able to move along the top bed. At least on my machine, I am giving up on the idea of using it, even if only to preselect needles, let alone make transfers.
This page is from the Ribber techniques book. The fact that transfers are broken up with blocks where there are no transfers, including some with stitches transferred to the opposite bed, makes it easier to track transfers than if using all over designs. Standard pronged tools are sufficient to move the single stitches or groups of three.

It is possible to transfer larger groups of needles on the main bed to create lace patterns, done of necessity in two-color brioche, but here I am seeking to modify lace punchcards so that the fabric based on them may be created successfully with as few errors and dropped stitches as possible.
My first attempt was made using a second knit carriage set to slip in both directions to preselect needles for transfers, using a small lace repeat to test the idea. The advantage of this method is that the original lace repeat does not need to be altered in any way. The disadvantage, aside from requiring a second carriage to use, is that the width of the piece on the machine is limited. The ribber carriage is in use and needs to remain at least in part on the machine bed on the far right, limiting the number of needles for possible use on the right side of 0 to about 20. The same work could be done using only one knit carriage as well, but that would require changing the cam buttons from slip in both directions to knit and back to slip at the appropriate points, one of the methods that make it possible to knit lace on the 260 bulky machines

The repeat used is for this swatch is from StitchWorld, and is knit using the second knit carriage for needle preselection. Because each block contains lace transfers in only one direction, the fabric, even though it is a rib, reflects that in the biasing first in one direction, then in the opposite.

It helps to be clear as to whether one is producing lace repeat for use in a punchcard or an electronic model which in turn will require mirroring, such as when using Ayab or when using slip stitch selection with the knit carriage in combination with lace carriage selections to create shaped lace edgings. Testing on a small swatch will help determine whether mirroring is required for any specific design. Electronic machines usually produce the design as seen on the knit side, punchcard machines as they would be seen on the purl, thus making mirroring a requirement depending on the source for the design.
I usually begin by modifying my chosen repeat in a spreadsheet. On the left, the pairs of blank rows in the original repeat are temporarily colored in grey. It helps to be consistent. One repeat begins with a full motif, the other with half, which can be confusing when first starting out. The plan is to begin by producing a trim or edging, an all-over pattern for significant lengths appears daunting. Dropped stitches in single bed lace are no fun, in rib they may not even be noticed until the knitting is off the machine. The difference between the two repeats: the 2 grey rows on the left are replaced by black pixels or punched holes, with a blank row placed above and below each of the black row pairs. The design is now expanded from a 40-row height to a 50-row one suitable for use in a punchcard machine This explains some of the desired knitting actions Using the method described in other posts, this was the screengrab imported into Gimp. The grey line is a reference point. Cropping the image to content will allow the last blank row to be preserved by having the grey one there. After the crop, it can be bucket filled with white, or when the image is, in turn, bitmapped to B/W, you may find it disappears. Image scale is then used to reduce the repeat for knitting. This is the repeat used to knit the swatch in my 930. If working from it, punchcard knitters need to mirror designs from an electronic source such as this and will find it easier to do so by turning the card over, marking the holes that require punching on that side, doing so, and then inserting the card in the reader in its usual orientation. The 930 .png: Prior to knitting the pattern using the ribber, it pays to test the repeat single bed to get a sense of where the knit rows occur and to make certain the transfers are happening in the correct direction and in what place on the needle bed. There should be no side by side empty needles, and in this design, the first pairs of transfers result in 3 stitches on one needle in the center of each shape, not side by side holes as seen here in the false start prior to mirroring the image Making things work: both carriages will be operating to and from the left-hand side. The process is facilitated by the use of an extension rail and a color changer. The knit carriage alone will operate to preselect the needles that will need to be hand transferred to create the lace pattern. With the following modification of the repeat, all transfers are made moving away from the knit carriage. So if the KC is on the right, transfer to the left, if it is on the left, transfer to the right. The paired carriages will create the two all-knit rows between lace segments. The blank rows above and below the two all punched or black pixel rows are there to return the carriages to the proper, left side to begin preselection for the next row of transfers. If any end needles are preselected on the knit bed, push them back to B.
It is best to knit 2 rows of full needle rib before beginning transfer, that will ensure that stitches on both beds are formed properly. I did not, had a spot on the cast-on where the loops were not properly placed on the comb, and that is reflected in the area that looks like a stitch was dropped. Begin with a zig-zag row from left to right, knit 2 circular rows, carriages will be on the right. Knit a sealing row to the left, followed by 2 all knit rows, ending with carriages once more on the left side.
COL: remove the yarn from the Knit carriage, hold it in color changer by pushing the adjacent feeder number
separate the 2 carriages
cancel end needle selection
KC is set to slip in both directions, it will remain there for the duration of knitting the pattern, make certain all main bed needles are in the B position
KC operates alone to the right and preselects the first row of transfers
COR transfer preselected needles to the left, away from the carriage. Make certain all needles are in the B position before the next carriage pass. KC will preselect for transfers to the right as it returns to the left side. Repeat the process until all needles are preselected for an all knit row as you knit back to the left
COL pick up the yarn, engage the ribber carriage knit 2 rows on all needles
Repeat: *COL: remove the yarn from the Knit carriage, separate the 2 carriages, operate KC alone making transfers away from the carriage until all needles are preselected as you knit to the left. COL pick up the yarn, engage the ribber carriage knit 2 rows on all needles** until ready to continue in every needle rib.

This method is slow, I found it oddly meditative. It offers an opportunity to review stitch formation, thus avoiding dropped stitches. Hand transferring lace preselection on the single bed as well can sometimes make a fabric achievable that is otherwise cursed by dropped stitches and fiber issues.

A return to Ayab knitting

9/18/21 There have recently been efforts to provide the Stitchworld I files for easy download for electronic knitting. The file is in progress, the work of Thomas Price, it may be found at https://github.com/t0mpr1c3/ayab-patterns/tree/master/kh930. Click on the main folder “ayab. patterns” and then click on the green button at the right top of the page (code)
My starting document for subdivisions into categories: Ayab patterns.numbers
and as a PDF Ayab patterns.
Folks without access to the Github can find similar collections of electronic repeats on KnitStudium.com
I have been asked specifically about the difference between Lace and Fine lace. Fine lace is created by changing the setting on the lace carriage between N and L whether for a whole piece or between the 2 settings on combination fabrics. Instead of being transferred from one needle to another, when the F setting is used, the single stitch is shared between two needles. The standard lace transfer
Depending on the yarn and tension, far smaller eyelets may still appear. In my opinion, fine lace fabrics have a texture that is so “fine” that unless one is using a light shade of yarn with a smooth twist that highlights the changes in the surface of the knit the resulting texture may be hard to recognize. The combination fabrics have both eyelets and surface textures.

There are illustrations from punchcard books and accompanying instructions on what symbols mean in my blogpost

https://alessandrina.com/2017/12/08/punch-cards-to-electronics-book-symbols-and-samples/
Fabrics using the word lace in their name may not necessarily use the lace carriage or result in the familiar LC transfer eyelets

Variations using L point cams: punchcard machines method for isolating and/or spacing lace motifs or columns, I have read some folks have used cams on electronic machines as well
Tuck and lace: LC transfers combined with tuck stitch patterning
Woven lace: LC transfer lace combined with the weaving technique
Lace and fair isle: LC and FI patterning, both carriages selecting needles
“Lace-like patterns”: possible in machines such as Brother and Passap, which allow for the same stitches tucking in one direction, slipping on the return of the knit carriage to its starting side. It matters which cam button function leads in the start of each pattern
Punch/ thread lace: thick and thin yarns used together in machines that have the option of a setting that allows for knitting both yarns together in unpunched areas or blank pixel rows, with traditionally, the thin yarn knitting in the front of the fabric, the thicker floating behind it
Tuck lace: tuck setting in both directions with specific needles out of work
Ladder Lace: worked with columns created by needles left out of work
Punch tuck rib: every needle rib combined with tuck setting patterning on the knit bed Drive/ drop stitch lace: stitches start on either of the 2 beds, and loops are picked up and dropped on the opposite bed
Shadow lace: stitches are moved between beds in a pattern to create knit stitches on purl ground or vice versa

Repeats can be used in multiple cam settings:
Fair Isle repeats with short floats may often be used in other stitch settings
Though listed in the FI section, 3 A, B, and C are knit as tuck stitches with needles out of work, NOOW
Any patterns with large floats ie 6 -8 are best knit as DBJ, double bed, ribber setting
In patterns such as #43, the left-hand column lists numbers 2, 3, and 4 indicating color changes in the B feeder, while maintaining a constant color ground in the A feeder
Any single motif pattern may be used for DBJ if programmed accordingly
Many FI may work well when programmed with the G carriage.
Transfer lace, fine lace, and combinations of both are used exclusively for that fabrics.
Tuck patterns are safe to try with every cam setting, though the resulting knit may not be exciting. Most containing single or double rows of white squares may be knit double-long for more texture. If the tucks occur for 2 or 4 rows, with a color changer it becomes easy to change colors every 2 or 4 rows respectively, and patterns with many white cells may result in a knit that looks like what is often referred to as mazes or mosaics.
Three tuck rows such as in 236 and 248 would only tolerate elongation if a very fine yarn is in use. Color changes would result in elongated stitches being knit off on stripes in the alternating color, a less often used method than having them knit off on the next same color stripe. Any tuck repeat may also be knit using the slip stitch setting, but while tuck fabrics are usually considered reversible, the slip stitch purl side may be far less interesting.
Tuck repeats 283-292 rely on the correct needles being taken out of work to produce a fabric known as tuck lace. Depending on the machine model, the repeat may have to be flipped horizontally to set up proper NOOW for successful patterning.
Slip stitch settings with all-over pixel units matching those illustrated for tuck may be used in the tuck setting as well, ones with small areas of black cells may also work in weaving. Taking floats into consideration, repeats with rows with no more than 5 continuous black squares may work for Fair Isle.
When using tuck or slip patterns for FI, color reverse the image so the patterning of the white cells occurs in the B feeder and any color changes other than in the ground may be more easily made.
Patterns that look scrambled to the eye are usually intended for use with the color changer and again are accompanied by suggestions for color rotations made in the far left-hand column of the repeat ie in # 386 and 392 where the slip setting is used. The same patterns may be knit double bed, but any fabric changing color every 2 rows needs the first preselection row for row 1 to happen from the right, so adjustments need to be made when using such repeats in Ayab.
Thread lace patterns are best left for thread lace.
Hooked-up floats such as in patterns 408 – 413 use the technique to achieve added patterning on the purl side.
Some weaving patterns ie 427, 432, and 440 could be used for tuck or slip as well. Using repeats in other settings becomes easier when one recognized a few “rules”. Hooked-up floats appear here as well, ie 460, and variations on e-wraps ie 463
As presented the garter carriage patterns do not translate well for other techniques without manipulation ie color reverse or more.
Patterns in the series KHC 512-521 are intended for use with the single bed color changer to produce the striped color patterning, the first preselection row is assumed to happen from the right.
Patterns in the series KRC 522-531 are intended for use with the double bed color changer. The first preselection row is from left to right.
Both sets indicate color changes in columns on the far left of the illustrations.
The remaining patterns are also intended for use with the G carriage.
1/2021 For a variety of reasons it has been nearly a year since I attempted any swatch tests in significant lengths using Ayab. I am interested in exploring long repeats created with small stitch units, and the possible illusion of color variations if any created by the fabric movement. My first design was a dbj heart of Pluto fail because of a problem between the monitor and the chair, the middle value was too close to one of the 2 other colors in the palette, so it did not get knit on the top bed, I did not pay attention, kept on going, the patterning for only 2 colors appeared correct over more than 200 rows. The second test was of a different repeat in 2 colors. It was knit in single bed FI for the first run and here I am again with the issue I have had in the past with patterning errors in longer knit pieces. The fabric begins to do what I intended, the effect may be more marked if knit at a tighter tension. This is the working repeat, 34 X140 pixels, check if downloaded that the mode does not get switched back to RBC, here repeated X2 in width, with a 2 stitch border in black on either side (72 X 140), suitable width for a scarf in DBJ. DBJ is a better choice for long pieces since fair isle has a tendency to not stay flat, rolling toward the purl side. The side border is a personal preference of mine. Now that Ayab allows for repeating the patterns both in width and height, such border additions, whether for a single color vertical line or to produce all knit stitches aside tuck or slip center areas are still not possible additions within the program itself There have previous posts on automated lace edging on Brother machines, ie 1, and 2. For anyone wishing to try them, this shows the proper Ayab orientation for the repeat, along with selection errors on my 910 The first preselection row is as always from left to right, the knit carriage, set to slip in both directions when on the right knits 2 rows, preselects for the first row of transfers as it moves from left to right, and lace patterning and selection begins from the opposite side. Extension rails are a must on both sides since both carriages are now selecting needles and each needs to be off the belt while the opposite carriage is in use

After absences from topics, I find it necessary to review them and their categories. This list, for now, catalogs my previous shares on Ayab use specifically, all are subject to future editing
Revisiting Ayab_multiple colors per row DBJ 1/20
Ayab: short rows automated with slipstitch 5/18
Revisiting knitting with 2 carriages single bed, 910 vs Ayab so far 4/18
A Brother 910/ Ayab diary/ EMS kit 3/18
Quilting using Ayab software 2/18
Drop stitch lace using Ayab software 1/18
Lace punchcards meet Ayab 1/18

Although my swatches this past year were often knit using another interface I have added mentions of ayab repeats which will turn up in searches. Other times I have added them to earlier posts such as this one combining KC patterning with racking 2017/12/20

From automated lace edging pattern to doilies and ruffles

This information follows that provided in lace edgings on Brother machines- automated with slip stitch 2 and lace meets hold and goes round
More on holding techniques: back to that pie,
Revisiting miters, spirals, going square, round, and more, and
Holding/short rows: hand tech to chart to automating with slip stitch 1

These repeats are designed for use on electronic model knitting machines. Because of the mechanical difference in the way that 2 carriage selection works on punchcard machines, though some are presented as 24 stitch repeats, the designs would need to be modified prior to use on punchcard models. For a discussion of the required differences please see the post Doilies: Lace meets hold and goes round

Plotting out changes to a randomly selected previous repeat

The process can also be worked out directly in GIMP, ie in the orientation in which the repeats will be used for download to my 930. The original repeat was mirrored (A), eyelets created by transfers to the right were considered (B), 4 stitches in width were added to the 24 stitch width, transfers to the right began to be eliminated (C). The final repeat D, with all transfers to the left, was used to knit the sample. The test swatch in progress I used a short cast on comb for weight across the piece, moving it up cautiously on a regular basis It is helpful when starting in waste yarn or simply using plain knit rows at the bottom of a test swatch to choose a clearly contrasting color. Here I did not do so, the drawn line is to help define the start of the shape formation created by the holding sequences and eyelets. The eyelet on the outermost edge of the circumference “disappears” as that edge gets stretched to the max. Two eyelets in the diamond shapes are not formed properly

Switching to a rayon yarn for knitting the “doily”, made for easy and quick knitting. The comb used for weight in the wool swatch was not necessary. A single claw from a small weight on the edge stitch a few rows below the knitting and moved up frequently helped insure that the last stitch on that side knit off properly and maintained its length knitting without a knit gauge can be dangerous, here a guess is made as to how many more units might be required to make the final shape go round
I committed to 8 wedges, another attempt at a check for size prior to seaming the shape.Before joining the stitches permanently, a quick look to see if there was enough knitting to form that pie With the knit side as the expected public side of the piece, the work was scrapped off the machine after some wast knitting, one end was rehung with knit side facing and the waste yarn was removed and the process was repeated with the open stitches at the other end of the piece
The least satisfactory and most visible join is the latch tool bind off. Grafting by hand off the machine is the least so. For the sake of ease in identifying open stitches easily, both methods would benefit from a couple more all knit rows between each segment as seen in the repeat in the original doily post in spite of the fact that the shape around the very center opening will change.
I choose to remove waste yarn before binding off, some prefer to wait. One row was knit across all the stitches. Things were in great shape until the yarn snagged on the far right in my closing knit row, so there is a bit of added bulk there from the rescue attempts to correct the problem.
The center opening was gathered. The stitches on its side knit together so infrequently the opening beside them is larger than in any other held areas. The ladders in those spaces were latched up to get rid of those holes. The doily after a very quick and casual press:

Not a doily person but fond of ruffles? they will be shaped with added all knit rows. The first test for adjustments in a spreadsheet The resulting pattern and reject:
A: if the design is programmed in the wrong direction, the eyelets for the outside circumference should appear on the right of the purl side, not the left
B: the last pass by the knit carriage preselects no needles moving to the right, LC makes its first pass consistently on a row with no needles selected
C: remember to set the knit carriage to slip in both directions, or knitting will continue across the whole row and “holding” is lost
D: keep an eye on the resulting shape and consider if worth pursuing Planning for diamond rather than bow shapes, the repeat was changed from a 28X68 one to a wider, 32 X 64 The extra knit stitches on the “held” side make for easier joining of the ruffle to the body of the piece. The “diamond shape” is restored. Its shape has some distortion as the spiral is created. The test swatch was lightly pressed after its removal from the machine, just enough to help it stay flat. In yarns with “no memory” (possibilities other than wool) stitches will be set permanently with pressing and steaming. If the basic principle is understood, other stitch types may be combined with slip stitch rows including tuck stitch, slip stitch, and 2 color patterning, seen here in some seam as you knit ruffles I added to some of my shawls and garments

Lace edgings on Brother machines- automated with slip stitch 2

Recently (2024) I have begun to review my lace edgings once more.
The repeats are planned so that the first row of lace transfers happens to the right rather than the traditional left. This fact allows for
1: consistent knitting with 2 passes of each carriage and fewer passes of wheels and brushes on the yarn being used
2: end needle selection being canceled on the knit carriage, and turned on on the lace carriage, with no manual adjustments in end needle positions necessary at any point.
PNGs are provided, they may need to be mirrored depending on your machine model and download software. When copying the pngs they may be changed to RGB mode by default, use any program to switch them back to indexed, BW, 2 colors and save in the new format prior to attempting to knit them.
Edgings may be also produced beginning with the first row of LC transfers to the left, but the designs will be longer, requiring extra blank rows to place the respective carriages properly on their respective sides, a topic that can be addressed in a future post.
Looking back at my post from 2018, written while using the older version of Ayab software and working on a 910, another including an edging written this month(7/20).
The mirrored repeat
its 22X48 png
Most of the more recent proof of concept swatches have been knit on a 930 using img2track for downloads.
A reminder: although I make an effort to include punchcard knitters in my writings, the full repeats as given and used for my test swatches and knit on an electronic are not suitable for use on punchcard machines as they are.
Electronic machines advance the pattern a design row with each carriage pass. Punchcard machines do not advance the card as the second carriage comes into use from the opposite side, repeating the action produced on the previous row.
For a discussion of some of the required design differences when using cards please see the post: Doilies: Lace meets hold and goes round, where short rows are combined with lace transfers, as in this sample. When using the slip stitch setting and changing the number of needles in work, or having ladders created by having needles out of work in the A position, the knit carriage end needle selection needs to be canceled (KCII).
Many early published trim repeats were intended for use with hand transfers combined with plain knit rows. Such designs may be translated for use on electronics and automated with this method.
At first I used a punchcard machine knit (KC) carriage with an added magnet as my KC, then on the 930 I found I could use one of my 910 carriages but not the other, the second fit the bed too snugly to make it usable.
The arrows indicate the direction of the adjustable slots in the LC mechanisms.In a working later model LC, end needle selection is in work (W) with the slots in the horizontal position, out of work (OW) in the vertical position.The 910 LC is also missing its magnet (left), gluing on a magnet in the position shown below made it usable again on the electronic Reworking some of the former swatches in no particular order, beginning with this one: The 2018 repeat is charted on the left, the amended 24 stitches wide repeat is in the center, and the mirrored image for download to my 930 is on the right. Having the repeat 24 stitch width allows for positioning the knitting other than on the very center of the machine following the markings on any 4.5 mm punchcard machine needle tape. If this is done in electronics, the design should then be programmed for all-over patterning, not for single-motif.
Splitting the bottom 2 all-black rows of pixels/punched holes and moving the one row to the very top of the design is another of the new changes.
I prefer to plot out these repeats at the start of the decreasing angle. The first row then sets up the needle bed preselection on the widest stitch count of the pattern. The original repeat was charted using Numbers and scaled in Gimp to produce a downloadable file.
The method as it was worked out in chart form, and symbols usedThe resulting, more successful swatch revisited 2024, the repeat PNG with added eyelets formed with all transfers in the same direction along the straight edge the proof of concept swatch: 2018 failed attempt at a continuous patternCharting it out anew: on the right is the amended repeat adding 4 more rows to the top of the originalThe resulting swatches:
A= the LC switched to fine lace “accidentally” for a few rows.
B= on the very edge eyelets are single on decreasing angles, and double on increasing ones.
C= Though the very edge has those differences, the number of knit stitches between the inner shape on the left and the outer one on the right is fixed.
D= the lines created by the transfer sequences to create the diamond shapes are far more successful.These charts illustrate the above repeat on the left. On the right, the edge transfers are imagined reduced to single eyelets on the increasing angle. In turn they would result in a wider area of knitting in the zigzag shape between the curved edge and the diamond shape. Another possible solution follows, using expanded graphs with extra LC passes Returning to the above repeats after a break in 2024, a new design, 24X48 is more resolved, columns of knit may be added along the straight edge, with or without planned eyelets, and the shape at the center of the XX also offers enough room for forming a DIY smaller shape.
“A Machine Knitter’s Guide to Creating Fabrics” by Susanna Lewis (1981) is the ultimate resource for punchcard knitting for knitters with any amount of experience. On page 223 she offers a repeat for a lace trim. It is shown on the left below, after being reorganized to start on the full 24 stitch width row of the edging. In the center chart, rows of black pixels are added, and on the right, the full electronic repeat is shown mirrored for download to the 9302018, a 26X70 stitches wide repeat beginning at the narrowest part of the trim2020, a 24 X70 stitch version beginning at the widest part The curved edge is noticeably different and more uniform than in edgings where the increasing angle is formed only by a single stitch being transferred to the next needle on the left, creating an eyelet immediately to its right.
The above design, as well as the Brother one published and shared at the bottom of the 2018 post, add two more passes of the LC for stepped decrease/ increase shaping. Three needle positions are involved in each sequence. The decreasing angle will have a single edge stitch, followed by a right-hand transfer with 2 stitches on that needle, and an eyelet to their right after the four LC passes are completed. The increasing angle will be formed by two single edge stitches with an eyelet to their right as well after those four LC passes are completed. Moving on to the Brother published chart at the bottom of the 2018 post: the original is on the left, readjusted for planning to begin with the decreasing curve in the center, and charted for download on the right (mirrored in turn for use on the 930). The original was said to be 68 rows high but proved to be 72. It is also 18 stitches at the widest point, not 24. I did not follow the publication’s directions for alternating between fine and normal lace either, simply left the LC set to N.the png for the repeat as drawn, 18X72 pixels
The test swatch A fellow Ravelry member reminded me of Tessa Lorant’s lace publications. I had forgotten I actually owned this single one from 1981. Upon examining it, I rediscovered her patterns, many for hand knitting with accompanying written row by row instructions and charts, others at the back of the pub, with punchcard machine repeats.
The 24 stitch card designs provided were for use on Knitmaster/Studio 260 and 360 machines. The repeats are typical of lace often referred to as “simple”, a specialty of carriages that are capable of transferring and knitting in single carriage passes. For some ways to use such cards on Brother models please see post, or search subsequent shares.
The increases and decreases are achieved through row tracking and hand manipulation. Many of the edgings pictured are very open, and the suggestion is made that they be starched. Using different yarns and working in trims that contain more stocking stitches in their body make for more practical use nowadays.
Transfers are made in the same direction, which may factor into the results biasing. The edges in some, in addition, are shaped with multiple increases and decreases. If knitting long strips, a small piece of scrap yarn with weight on it may help keep the cast on stitches knitting and transferring properly.
I am not sharing any of her published directions, only providing ideas for analyzing and converting some of the punchcard repeats.
The first is from page 48, marked up for identifying transfers to the right (later decreases, magenta line), and transfers to the left (later increases, cyan line). A template with solid black pairs of rows to indicate slip stitch knitting sequences is a good place to start and can be expanded to suit the repeat. The yellow squares on the right indicate a beginning plan for increases and decreases. They and black squares to their left would be eliminated from the final design. Working one chart through to knitting: the bottom left image shows part of the original card. Magenta squares indicate transfers to the right and cyan ones to the left. The straight edge border with the larger number of eyelets was a bit fiddly to knit, so the second option is also offered and tested. The repeats were mirrored for actual knitting on my 930, the 24X24 pngs: I knit to the left after all the needles were preselected at the end of the decreases and then cast on over the empty needles on the left, bringing them out to hold so they would be knit for the second row as the knit carriage returned to the right side. A garter carriage weight seemed to be enough to help anchor down the newly formed stitches during subsequent transfers. Making a pattern design more one’s own: part of the original design from p. 52, split so the pattern may begin on the widest part of the repeat, punchcard “holes” marked for left and right transfers Here it was charted out in Numbers with the intent to produce the 2 stitches stitch edge along the outer curve and a less open one on the straight vertical side This sort of knitting can be a bit fiddly. I believe if I were to produce any such trims in great lengths and had the option, I would choose to dedicate a punchcard KM to the project so it would be easier to step away from and return to it as the spirit moved me.
If any loops are formed (A) and rows are not unraveled to correct the situation, it is best not to tug hard with the work on the machine. Stitch sizes on several needles may be altered, and the movement of the pairs of eyelets may become distorted. Because the knit carriage must be moved to the far right to be disengaged from the belt, this will tend to pull down extra yarn from the tension mast. A very gentle tug at the start of the first knit row should keep loops from forming.
The condition of the latches and needles is important. In stocking stitch knitting one of the signs of a “bad needle” is stitches tucking repeatedly on a needle that is not intended to be patterning in any way. The stitch in the hook is joined by a loop that does not knit off properly. It helps to start in a light color and a “friendly” yarn. Clearly identifiable stitch formation helps to develop an understanding of its structure. Eyeing the row of transfers upon their completion helps pick up improperly transferred or dropped stitches, saves runs that result if the latter go unnoticed before continuing to knit. At times there may appear to be a needle problem with a loop sitting over a needle or a dropped stitch and attempts to form “properly” knit stitches in transfer rows will create simple stockinette. Eyelets will not form properly, and stitches will want to get longer and not maintain their shapes. B and C point to the resulting differences in structures. The last Tessa sample, from page 60, brings up the topic of large eyelet lace, also revisited in a recent post. I thought the 24-stitch repeat too narrow, I expanded it to 32 and added eyelets on the straight edge.
I began by splitting the card in order to begin the pattern at its widest point and decreased the number of eyelets in the shapes to allow for automatic shaping. In these punchcards, rows with no transfers are part of the program, are free of any holes. Black pixels are used to program slip stitch all knit rows. More transitions in planning, a 32X32 repeat: two of the rejected swatches Consideration needs to be made in terms of whether some small ladders are a design element or not, hooking up “floats” helps reduce or eliminate them on decreasing angles on both sides of the shape, but the resulting eyelets appear a bit larger and different than the rest.
When at first I attempted 2 single eyelets following each other at the intersection of the shaps I needed to cast on after a single float was created between the center needles and followed by the first all knit row from right to left. That turned out to be unnecessary in the final swatch with the number of eyelets increases immediately after the single one in the final repeat. Using it will place a transfer left and a transfer right, holding down the loops in the 2 hooks affected on the second knit pass to the right. Leaving the bottom float alone echoes the remaining fabric.
The image on the left illustrates the result of not casting on on that center eyelet if it is to be repeated. The other photos show picking up floats and hooking them up in needles not receiving any transfers. The Tessa trims are knit in fine yarns. This shows a portion the inspiration large eyelet trim, note the appearance of the space between the two center eyelets is different My version with the floats hooked up and onto the needles with no multiple stitches already on them at the center eyelet as the pattern shifts:
Sometimes less is more, here extra hookups are not used, making the trim quicker and easier to knit. At this point, I am experiencing sticky latches, not improved by light oiling, likely to be fatigued from constant use of the center 24 stitches. The needles do not look obviously in need of replacement. One alternative is to swap and shift the center 24 needles to a less used part of the needle bed.
Another image of the Tessa sample in repeat followed by my own test swatch At the top of the piece I did have to deal with closing the eyelets to facilitate 2 knit rows and binding off. I prefer to work from left to right, dealing with the right side of the loops first: drop loop on the right side, use a tool to enter the float created from its back twist tool and yarn clockwise lift the e-wrap onto the empty needle on the right Repeat the process with the loop on the left of that needle pair, and do so across the bed before continuing to knit. The wraps will create full stitches on the next pass of the knit carriage.

An example working with a randomly selected pattern from Stitchworld, #156: A: the pattern is divided and shifted to plan the trim beginning with decreases rather than increases
B: with the superimposed table grid in numbers, the eyelet transfer squares were traced, adding all black rows for slip stitch selection of all knit stitches in between each transfer sequence
C: increases and decreases are planned by removing black squares
The image was then scaled in GIMP, and downloaded with img2track.
The straight-edge eyelet detail alternates the direction of transfers to the right and in turn to the left in each segment.
On the curved edge, increases and decreases were performed manually before each 2 knit rows. Empty needles need to remain in work positions throughout.
I chose to use the fully fashioned method for shaping, moving 2 stitches to the left for decreases, and two to the right for increases, then picking up from below the adjacent stitch to their left to fill in the empty needle. This was slower than having planned needle selection for eyelets do the work of shaping.

A very similar charting process may be used to construct circular “doilies”, where the slip stitch rows are used as a substitute for hand-selecting needles to holding/ short row positions. I have revised my 2011 post on lace meets hold and goes round/, and plan on following that up with one using edging repeats to achieve that type of shape.

To mesh or not to mesh 7, lace knitting tips

Early versions of the Brother Lace Carriage (LC) for machines such as the 830 and 860, even for the 890 did not offer options for choosing to using end needle selection, the default was none. From the 890 manual: That said, they are present in the LC that accompanied my 892E punchcard model which match the 930 LC ones in appearance and operation and can override the selection made by the patterning device on the end needles. The two carriages, side by side, seen here with the slot in the horizontal position, indicating end needle selection is on. The slot in the very center can be turned with a transfer tool, OW/out of work/ off, and W/work/on. In lace knitting, if any needles are selected for transfer to an end needle not in use in the piece, the LC still will attempt to transfer that stitch, and if no needle hook is there to accept it, the stitch will drop.
With all over patterning across the needle bed, when an end needle has been selected on either or both edges, those needles must be pushed back to B position manually.
Since such selection is not likely to happen on every row, it may be an easy thing to forget as the length of the piece grows.

There are also point cams, that help to change the spacing between vertical lengths of design repeats. For images of the Lace carriage and use of point cams please see posts 2017/10/05/lace-point-cams-…brother-machines ..
Electronic carriages are equipped with a magnet, and must always travel past the center needle 0 position center mark on the needle tape.
Markings on factory punchcards give clues as to which carriage to use and for how many passes.
They also may vary depending on the year the punchcards or mylars were issued. To review, here are some of the markings commonly found The graphic from the KH 860 punchcard model manual Illustration modified and adapted from multiple decades-old Japanese magazines of fine lace
single complete transfers Multiple transfers may be made either as a hand technique or expanded for use in electronics. Because single stitches are moved with each carriage pass, pattern repeats can become quite long, with few punched holes or black pixels Use a smooth yarn that has some stretch and does not break easily. Because the yarn will be transferred to and from or in addition also being shared between needles in fine lace, some extra yarn may be needed for proper stitch formation. In overall meshes begin testing using a tension at least one whole number higher than when using the same yarn for stocking stitch. Too loose a tension can result in dropped stitches or loops getting hung up on gate pegs, too tight and the stitches will not knit off properly or drop, or the yarn may even break. When eyelets are few, tension adjustments may not be needed.

Begin with waste yarn and ravel cord, then followed by casting on and knitting at least 2 rows before beginning to use the LC.
The cast-on will need to stretch to accommodate the growth in width which increases with increasing numbers of eyelets. The same applies to the bind-off. One option for matching both is seen in this “Answer Lady” video.

It is only when the knit carriage is operated that actual knitting takes place.
The movements of the lace carriage serve only to move or transfer stitches across the surface of the fabric. The card does not advance when the KC knits a row, so the movement of the card does not reflect the progress of actual knitting.

In most punchcard repeats, if when the row of transfers is completed there are two or more empty needles side by side, troubleshooting is required to solve the problem unless they are intentionally planned in the design, with deliberate adjustments to components of the overall pattern repeat.

The needles need to be in good condition, with latches that open and close smoothly and easily. Also, check for any bent gate pegs, and use a tool to even out the spacing between them if needed.
Error corrections need to be made to match the proper stitch formation.
As in any other knit, if tuck stitches occur in the same location and are not part of the planned fabric, it is likely the needle is damaged and needs to be replaced.
If a loop is sitting on top of a needle with a closed latch before knitting the following row, that stitch will drop. If it is noticed before knitting the row, the loop can be knit through the stitch manually while being mindful of what action that same stitch should take in the progression of the pattern.
The appearance of tuck loops, red rowTo form eyelets a loop is created on the needles emptied by the transfers on the first pass with the knit carriage to the left (red), the stitch on that needle is completed as the knit carriage returns to the right (cyan)If when trying to correct the direction of a transfer or a dropped stitch the transfer is not formed properly and the stitch in that location is knit manually the eyelet will be absent

The traditional placement is for the LC (Lace Carriage) on the left, and the KC (knit carriage) on the right, but some patterns can work with their placement reversed or even swapped at regular intervals as knitting progresses.

Bringing needles out to E before the all-knit row may help avoid additional dropped stitches when there are multiple stitches on any needles.
Though knitting may proceed smoothly, checking the work frequently visually will make the rescue of problem areas possible as opposed to having to restart the project.
If test swatches are hard to knit, the problems will likely multiply when a larger group of needles is in use and the project should be put aside.

Because there are so few markings in lace, the lace card does not necessarily resemble the finished stitch appearance.
Needle pre-selection does not make as much sense as in other types of patterns. Where knit stitches occur in vertical stripes may also not be immediately evident. Needle selection on punchcard models is fixed, some shifting on the needle bed rather than centering may be required to have a specific repeat placement or a cleaner edge, which also matters in seaming.

There are definite top and bottom directions to lace, so in knitting scarves or sleeves that is a consideration. One solution is to knit 2 pieces in mirrored directions with many possibilities for methods to join them.
No top-down knitting on sleeves if you wish to match the body and it has been knit from the bottom up.

It is possible to use short rows combined with lace patterns, but any shapes created are likely to change visually, so planning is required unless those changes are deemed suitable.
Traditional holding by changing the knit carriage setting may not be used. Needles to be put on hold need to be knit back to A position and brought back into work as needed.
Ravel cord or any tightly twisted cotton may be used.
If needles have a tendency to slide forward when holding large sections or at the hold starting side as the piece progresses, some tape may need to be placed in front of the needle butts on the metal bed to hold those needles in place.
These illustrations of the process are from an early Brother machine manual Lace and holding effects may be produced by combining LC use with the knit carriage set to slip stitch and also selecting needles in pieces such as automated edgings or doilies. The design repeats are not interchangeable between punchcard and electronic models.
When two carriages in Brother punchcard machines first move in the same direction selecting needles, ie. the knit carriage moves from left to right, the LC follows it also moving from left to right, the card does not advance. The same needles are re-selected on the next pass, repeating the design row.
On electronic machines, the mylar or memory/downloaded patterns are triggered by the magnet at the rear of the knit carriage to advance on every row.
The designs need to be planned or adapted based on the type of machine.

As with any knitting, there are times when nothing seems to work for no good reason after intervals of smooth knitting and no other changes, and a break is best for both the operator and the machine.

The greater the number of eyelets in the pattern, the wider the finished knitting. Blocking in some form will usually be required to set the stitches, and may be required if the piece grows in length and narrows as it is worn or hung when stored.

Out of habit I usually leave weaving and tuck brushes in use for all my knitting, but particularly when creating textured stitches and lace.
Gauge swatches should be larger than usual, all in the pattern, and treated as the final piece will be in terms of pressing, blocking, washing, and allowed to rest before obtaining measurements for garment calculations.

When stitch symbols first appeared in Japanese publications they were represented as the stitch formation occurring on the knit side of the fabric, which could be confusing since in machine knitting we are looking at the purl side. Eventually, Nihon publications made the transition and other pubs followed. A comparison of hand-to-machine stitch symbols with illustrations and more information: hand-to-machine-symbols-5-lace/
For cross-brand use: 2019/02/23/revisiting-use-of-lace-patterns-studio-vs-brother-machines/

I have been blogging for years and sometimes return to topics after long absences. In terms of more information on lace design and some tips on translating hand-knitting instructions for machine knitting, please see: 2013/07/23/from-hand-knit-lace-chart-to-punchcard-1/
2013/07/24/from-lace-chart-to-punchcard-2/
2013/07/26/from-lace-chart-…3-adding-stripes/
2013/07/27/from-lace-chart…-4-a-border-tale/
2013/07/29/from-lace-chart-to-punchcard-5-to-electronic/
2013/08/29/from-lace-chart-to-punchcard-6-to-electronic/

Transfer lace cards have very few black squares to avoid transcribing errors for punching holes or generating electronic repeats, work with a reproduction of the graph that makes it easy to view squares or pixel placements ie using Gimp, X800+.

Blank Brother cards are dotted in lines dividing the cards into 6X6 blocks.
Mark graph paper or software grids, if possible, in 6X6 blocks.
In ArahPaint, the latter can be done by adjusting grid properties

The Brother, Toyota, and Studio fashion lace punchcards may be used on all 3 brands as long as there are 2 blank rows after each transfer sequence.
The first row on Brother is preselected from left to right and transferred from right to left, while on Toyota, it is transferred from left to right. Brother and Toyota cards are interchangeable, provided the repeat is mirrored vertically or knitting starts with and operates with the carriages on the opposite sides recommended by the alternate brand.
Studio knitting begins with 2 blank rows, Brother starts with a punched row and ends with 2 blank rows; the first preselection row on the cards with locked selection needs to be adjusted accordingly.
The Brother LC does not advance the row counter; only the KC does.
Stitches are transferred in the direction that the lace carriage is moving. In most cases, the LC preselects toward the KC and transfers when moving away from it. Brother and Toyota cards are marked with U-shaped arrows to identify when to knit with the knit carriage.
Studio simple lace cards, where stitch transfers and knitting occur in the same carriage pass, may also be used on Brother machines, but require special handling discussed in other posts.

One of many methods to deal with dropped stitches: secure them by going through them using a needle threaded with a ravel cord.
Unravel back to an all-knit row, undoing lace transfers carefully, to the point where stitches were dropped, rehang the dropped stitches, and remove the ravel cord.
Roll back the card, mylar, or electronic row count to match the number of rows unraveled.
Unless the knitting carriage is also set to select needles, only the LC advances the design rows. I prefer to roll back cards or electronic counts after each row is unraveled.

A punchcard tale: after the chevron post, single-color sideways chevrons appealed to me. Two variations from a Brother Punchcard Volume A the full 24 stitches wide repeat, half the required height for the punchcard user.
B the single electronic repeat.
C the single electronic repeat tiled X3, checking to see that pixels line up properly.
Punchcard markings of note:
A design row 1
B mark for the first row visible on the exterior of the machine, the card reader is reading 7 rows down
C typical markings for the direction of the LC movement on that row, and for knit rows. The two rows at the bottom of the card reflect the overlap when punchcard snaps are in use to keep the pattern continuous. Looking at it in more detail.Column identification at the bottom of the chart:
A direction of the lace carriage, pixels, or punched holes preselected on that carriage pass
B direction of transfers; note there are extra blank rows where their direction is reversed, indicated also by the change in the color of the arrows. Multiple rows in one direction only, happening here in a series of 5, will result in biased knitting. As bias is reversed, the zigzag shape begins to be created.
C markings for 2 rows worked with the knit carriage, the pattern does not advance on those rows on any machine
D markings on factory punchcard
E design rows
When working with electronics, the actions need to match those indicated on the factory design, beginning with the row one punchcard marking on the right.
The width of the planned swatch or piece may be programmed for use with the single motif setting in img2track or the required default in Ayab. Adding a blank square at each end ensures the end needle will knit on every row; no pushing back needles by hand will be required. Changing fibers opens up a brand new world: this swatch (unblocked) is knit in a tightly twisted rayon, and edges also begin to create clearer shapes than those achieved by knitting the same design using wool. Spacing out the zigzags, another 24X30 repeat. This is the minimum repeat for electronic KMs as well, knit stitch spacing (white squares) can be planned to suit

Once again, one must be aware of whether the lace repeat needs to be mirrored on the specific model machine. I initially forgot to do this on my 930, which results in error with the lace carriage operated from the left.
Planning the placement on the needle bed controls the number of knit stitches on either side of the resulting mesh shape. Today the rayon was having no part of knitting properly, this swatch is once again in wool.

Ideas for automating mesh patterns in lace edgings using the LC and the KC (knit carriage) set for slip stitch

Changing the above repeat for a zigzag border: in my first experiment, I tried keeping the number of eyelets in the zigzags across rows constant, did not like the visual “extra” line away from the edge, and was happier with my second try. This fabric would do better with a yarn that can be blocked to shape; the wool used here is a tad too thin. There will be some tendency on the part of the eyelets on the very edge to appear smaller as the edge stitches are stretched into shape. It appears I also have a needle that needs to be changed The transfers of the stitches by the LC while using the knit carriage set to slip in both directions to create the knit rows, and will automatically create increases and decreases along the left edge. Due to this fact, there will be one fewer eyelet in each transferred row than the number of pixels/punched holes in its corresponding pattern row.
The knit carriage, in this instance, preselects rows for the lace carriage; the lace carriage preselects all needles required on its way back to the left for the knit carriage to knit on its next pass.
This chart attempts to show the movements of the carriages and the location of stitches after they have been moved along with eyelet symbols in their locations after the transfers The pattern repeat on the left below is as I drew it and intended it, on the right, it is mirrored for use to knit it on my 930The first preselection row is from right to left, the knit is centered with 10 stitches on each side of 0.
In edgings beginning with a single all black pixels row, end needle selection is canceled on the knit carriage (KCII), turned on in the lace carriage (LC).
The first row is knit, when the KC reaches the left side, set it to slip in both directions. As it returns to the right, it will form a second knit row on all needles in work, and preselect for the first LC pass.
Extension rails must be used as both carriages will lock onto the belt for pattern selection.
At the start of the piece, as the LC moves from left to right, it will transfer preselected needles to the right. On its return to the left, it preselects needles that will knit as the KC returns to action from the right.
Each carriage in this design makes alternating pairs of passes.
When the top half of the pattern repeat is reached, the LC makes its pass to the right on a blank design row. As it does, it preselects for the next row of transfers, which are made to the left as the LC returns to its home there (A). Though the Brother LC does not knit and transfer on the same row as the Studio one can, it can transfer and preselect for the next row of knitting (B). The above fact allows for planning transfers in both directions while still keeping the routine of 2 passes for each carriage to and from their original home.
Based on that concept, here is another trim with eyelets in alternating directions along the side opposite the zigzag shape.
The repeat is now adjusted to 22 stitches X 48 rows to accommodate the reversing eyelets arrangement.
It is shown here mirrored for download to my 930.
There is a blank square at the top right corner, the corresponding stitch will be cast on by the knit carriage on its move to the left and transferred automatically when there is a return to transfers at the bottom of the design repeat. The yarn used or the swatch is a 2/18 wool silk. There will be 2 stitches on each needle (A) at the very edge where stitches are transferred for decreases and look different than where the edge stitch is simply moved one needle to its left (B), leaving behind an empty needle. A parallel, similar difference is also noted at the inner edge of the zigzag shape. The sample is pictured turned 90 degrees counter-clockwise, and its bottom edge appears on the right Transfer lace on the Passap: the console will be used to select needles for hand transferring stitches. The technique will determine the number of plain rows between transfers. Use tech 137 for two rows between transfers. The pushers will set the corresponding black cells for transfers; they will stay in that position until the next set of transfers. Many tuck patterns may be used to make the selections; they are not designed to be knit on adjacent needles. Choose ones that have white columns for non-selected pushers, 2 rows in height. Stitches are worked on the front bed. The front lock is set to N and the back lock to GX. Move selected pushers up so that the corresponding needles are easily identified, and use a tool to move stitches right or left. Move all stitches in the same direction, first across a row to the right, then across a row to the left to avoid biasing if the pattern is an all-over one. For borders, all transfers in the same direction may work as well. Leave the needles in the work position, return the pushers to rest, and continue in the pattern.

Machine knit fringes 2/ pretend hairpin lace

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

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

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

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

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

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

Ribber trims/edgings 1

An example of a common ruffle/ frill is produced with variations using both beds: cast on for every needle rib, knit X rows at full fisherman rib, followed by X rows at half-fisherman, and then possibly by plain rib for X rows, EON rib or even following with transfer to the single bed for X rows, bind off. The yarn used in this swatch is a wool-rayon blend Needle transition arrangements to produce a ruffled edge:
bring every needle into work, and cast on every needle rib.
Knit a minimum of 6 rows.
Transfer every other stitch from the ribber up to the main bed
adjust tensions on both beds, and continue in rib to the desired length. The yarn used in the swatch is a 2/8 wool on a Brother standard, which pushes the machine in every needle rib. The appearance of the ruffle will vary, as usual, depending on the yarn’s thickness, fiber content, and knitting tension adjustments on either or both beds. Exaggerated frilled starts: no cast-on needed, working on every other needle patterning on both beds. A few rows will produce a curly edge, and more rows a ruffle proportionate in depth to the number of rows. Passap KM: AX/AX or AX/KX 4-10 rows, continue in plain rib N/N
AX/KX 4-10 rows, knit 1-row N/N, transfer to 1X1rib, continue to knit in plain rib
racking cast on
BX/KX 6-10 rows, continue in plain rib
Pushers in the upper work position (UWP) will make the needle knit while those in the lower nonworking position (NWP) will respond to lock patterning settings. E6000 either program the front bed for the pattern (1000) or bring every other pusher completely out of work to avoid having them return to work position after the first pass. The motif repeat for 8 stitches/rows usable on any machine

Working it on Brother becomes a bit fiddly. Whether working on a punchcard or electronic KM, it is possible to introduce patterning on either or both beds as seen below. I preferred the look obtained with the racked cast on at the start. Setting up the Brother machine: program the repeat, half pitch for every needle rib, air knit to place the pattern on the bed so that the first needle on the left (or right if you prefer) is preselected forward and will produce a knit stitch on the first row knit. The yarn used is a 2/24 acrylic Both beds are set to knit, and lili buttons will be in use. On the ribber bed, the second needle from each side will knit, so starting on the left side of the ribber the first needle to the right of the first needle in work on the main bed is brought into work. It will need to be the second needle in work when the carriage moves from left to right in pattern knitting now another needle on the ribber is brought in to work on the far left, it will tuck with lili selection when moving from left to right remember the ribber rule with lili buttons: an even number of needles must be in work, this shows the start and end of selection on the ribber on alternate needle tape markings, as required It is sufficient to continue with no circular rows after the first zigzag one. The start will be “loopy”, but will improve when the bottom row is stretched vigorously. In this Brother version, the first row of the pattern needs to be selected toward the carriage and yarn after the first pass by the paired carriages. Beginning COR, a row is knit to the left side. The knit carriage is removed from the bed and brought back to the right. COR: a “free pass” can be made with the machine set to tuck in both directions as well as to slip. Using tuck avoids errors in recalling to switch cam button functions. Using KCI (or II) the carriage with no yarn makes the free pass preselection row to the left, where the carriages are coupled again. I used KCI for my swatch. Before continuing to knit make certain lili buttons are engaged, that both carriages are set to tuck in both directions, and continue in pattern for X rows. Switch both carriages to N/N and continue in every needle rib (or knit 1-row N/N, transfer, and continue in EON rib or single bed). If stitches are transferred for EON rib or stocking stitch knit on a single bed, the yarn tension will need to be adjusted.
To review: lili buttons on ribber, checking needle selections on both beds. Cast on with no circular rows, zigzag only, option 1: tuck <– –>, tuck <– –> loops will build upon every other needle for single rows, so the frill can be continued for any desired height
option 2: tuck <– –>, tuck <– –> to desired # of rows, knit 1 row N/N, transfer for 1X1 rib
option 3: combination slip/tuck
With no circular rows after the zigzag note the edge, and the amount of stretch

Using a racking cast on followed by the same carriage settings as above
COR zigzag row right to left
COL rack 1 to left (increase 1 number on racking lever), KCI (pattern pre-select), program row 1 of pattern, knit one row to the right
COR rack to right (decreasing number) set both beds to tuck, and knit X rows (I chose 10). After completing the desired number of rows continue in every needle rib or knit one row with carriages set to N/N, transfer for every other needle rib, and continue on the EON rib. Both pieces compared for width and rippling

I was plagued with random dropped stitches after my transfer to EON rib, one seen above left.
I finally sorted out that I had been using a ribber arm from an older model punchcard machine. When I replaced it with the later model arm shown at the top in the photo below, etched by the factory with #2 (outlined in magenta), I no longer had any problem.

The latch opening plate use and installation

Here the latch opening plate has been secured into place in the connecting arm without the #2 mark. The change in height is noticeable, and brings the unit closer to the needles when on the machine during knitting

A reminder: if the needle presser bar on the ribber (all plastic) is to be removed, it is reinserted back in with ridges facing, and flat side down

From the Brother Ribber Techniques book: frills and more:pp113-115An intro to scallops: p.120

A previous post on checking ribber alignment