Category: Tuck Stitches

Geometric shapes on ribber fabrics formed with tuck stitches 4

WORK IN PROGRESS

The term brioche in knitting is often used loosely in any references to tuck stitches. Here the term refers to vertical designs specifically produced with hand techniques, moving groups of stitches on the top bed.
Designs may be worked in single colors, or with more complicated planning, they may be executed in 2 colors.
For executing blocks of texture in one or two colors with and without racking  see Fisherman_ English tuck stitch rib 1_ checks patterns_ Brother, Passap 
racked, single-color sample. Other explorations of the use of tuck stitch settings in 2-color double-bed every needle rib fabric began with attempting to create a solid color shape on a vertically striped ground in Geometric shapes on ribber fabrics with tuck stitches 1  Another simple shape was programmed, and varied carriage settings on either or both beds were explored in Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages. Geometric shapes on ribber fabrics with tuck stitches 3  uses self-drawn repeats and  multiple colors. varying carriage settings while using only 2 colors  Lace transfers meet fisherman rib in 2 colors on Brother KM 1Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2 , one of several swatches. These are advanced, complex fabrics. The repeats for 2 colors can grow exponentially in length.
Returning to designing suitable repeats, beginning in a spreadsheet: grey vertical lines represent stitches on the ribber, which will force apart stitches created on the top bed forming the more familiar tuck rib surface. Mac Numbers offers the opportunity to hide either/ both columns and rows. In this instance, with the 10 grey columns hidden, one begins to get the sense of shapes and movements needed on the top bed   Working toward a repeat for knitting the shapes in a single color, imagining the location of eyelets resulting from stitch transfers, I used two repeats, adjusting the first one to vary the resulting shape slightly A 11X30 repeat mirrored horizontally for use on my 930, tiled twice horizontally before programming and downloading, used as a 23X30 single motif to obtain a matching border on each side, A 9X28 repeat, my second try, programmed as a 20X28 single motif, As described in previous posts, in knitting using only one color, the machine is set with the main bed tucking on every needle in one direction, followed by knitting on every needle as it returns to the starting side, the ribber does the same but in the opposite direction. It is a circular tuck, also referred to as fisherman’s rib. A slight shift in patterning may change the outline of the desired shape, requiring introducing or removing stray lines or secondary shapes.
The cam setting options: In a two-color brioche, when no needles are selected on the top bed (white squares), the top bed will tuck every needle; the ribber is set to knit. 

When needles are selected on the top bed (black squares), the ribber is set to tuck in both directions. Brother preselects needles for the next row to be knit, on rows with partial selection and some needles in the B rather than the D position, with an appropriate transfer tool, move the stitches on the non-selected needles to the adjacent selected needles to their right after pushing it (them) back to the B position.
After each transfer, push all needles involved in the transfer and the now empty needle to the E position.
As the carriage returns to the opposite side an all-knit row will be completed. Several tension adjustments may be needed to ensure loops are not hung up on gate pegs as stitches move across the bed, while still being loose enough to knit off properly.
A first repeat, plotted in a spreadsheet including borders Here groups of columns are eliminated to bring the shapes close together The yarns used are white 2/15 and red 2/10 wool.  The latter is coarsely spun and tends to split and occasionally not properly knit off, resulting in the specks on the white columns on the reverse, making it a poor choice for final projects.

Studio/Silver Reed machines published some designs for pile knitting in their punchcard volume  

The inspiration page   The #14 24X42 repeat used in this sample was color-reversed before being downloaded to the 930  checking tiling punchcard machine users would punch all black cells. The pattern is worked with end needle selection canceled, the knit carriage is set to tuck in both directions and the ribber carriage to knit in both.
The first and last needles in work are on the ribber bed.

The #13 design, is composed of 24X16 segments  repeated X2
The 16X32 rendered double length to 24X32 was used to knit this slip-stitch double bed fabric  The 24X16, file color was reversed and this 26X32 file added black pixels in width for more definition of the shapes The yarn used is a 2/20 wool, so thin that there is less definition between the two stitch types and enough open space between the stitches to show the surface beneath the swatch, which measures 13.5 inches in width, 7.25 in height A DIY attempt at a large scale design: the 24X38 was found in Pinterest, published in 2018 and credited to a Russian site.
The starting design, in BW indexed mode 24X38 the tiled repeat results in a horizontal striping 24X38 scaled in Gimp X4 to 96X152 Mode >RGB
open a new file, in this case, 8X2 using a color and white
white color to alpha, copy to clipboard to use it as a brush
bucket fill the first image with the pattern click on the select by color tool, click on the red, and use the bucket fill tool again, making certain that the background or foreground colors are selected, not pattern fill  click on the rectangle select tool and back in the work window to fix the layer, Mode >BW indexed, color invert the result for knitting using the tuck double bed setting
The yarn used in this swatch is a 2/20 coarse and unevenly spun wool, which leads to the variable moiret-like bleed-through of the fabric colors behind it.  The same yarn was then used double-stranded. Some spots were harder to knit than others due to changes in ply quality resulting in snags in texture as well. The shapes are more clearly defined, the largest shape measures 7.5 inches of the 11-inch swatch width and 3 3/8 inches in height. This swatch began with a 25X25 pixel file, processed in Arahpaint drawn in repeat using the random >preview option until a final version was chosen and rendered double-length. Brush fill was used to expose every other row, and the resulting 75X150 file was color-inverted for use with the tuck setting These knits produce a subtle texture easily on both sides and lie flat.

This design is not suitable for this exercise but is another illustration of the horizontal/vertical striping that can happen when large-scale designs repeat proving the need to tile the patterns before knitting them to visualize whether they meet one’s personal preferences
71X64

Using programming with punched holes or pixels in other ways:
Using punchcards (3) or electronics to track small cables in pattern
Using  punchcards to track cables and twists in pattern 2
Using punchcards to track small cables in pattern (1) 

Unconventional uses for punchcards 3: lace in rib
Unconventional uses for punchcards 2: thread lace cards for filet mesh 
Unconventional uses for punchcards 1: tracking racking positions in ribbed fabric

Knit weaving 4: combining stitch types

Knit weaving 3  reviews some basics, and a list of associated blog post links is provided at the bottom of the page, including
Lace meets weaving on Brother Machines 2
Lace meets weaving on Brother Machines

Tuck stitch meets knit-weaving introduced the combined technique.
Many of these repeats are suitable for punchcard models as well. The caveat there is that there is no option for eliminating knit carriage cam button setting changes by using a second carriage to select and knit. They would need to be performed manually.
More on DIY combinations of tuck and knit weaving: if using a single carriage to execute these designs, then it is necessary to switch cam button settings from tuck in both directions to knit with needle selection for the knit woven rows frequently, as in this first swatch.
Actions: Altering the repeat while planning on cam settings to be changed every even number of rows also brings the possibility of using 2 carriages in electronic models, with one set to tuck in both directions, the other to normal knit (no cam buttons) but with needle selection for weaving rows, KCII  Here tuck shapes are introduced, again planning for setting or carriage changes every even number of rows, in this case every 6, The tuck diamond is surrounded by a vertically woven one. The original design repeat was color inverted observing tuck “rules”.
The 1X2 white pixels will tuck, and the 2X1 side-by-side ones will serve as guides to the placement of the vertical weaving yarn. They are placed on rows with no conflicting selections.  When the side-by-side needles are not selected, they are manually pushed forward to E and needles are double-wrapped away from the center at the bottom of each shape, toward the center (row30) when the top of the shape is reached.
Start of the second shape in the swatch: While retaining the outer shape of the design, the inner content may altered to provide a guide for horizontal weaving. The 24X48 design The PNG was isolated in the center of 40 stitches.
The surface woven floats may become visually lost when using space-dyed yarns with shades in similar families to the background, as seen in the bottom center diamond.
In the second center diamond, a different color-way yarn was also used double thickness without any change in tension. This resulted in the second thread not always getting caught properly, slowing speed and added caution improved the result.
The swatch was narrower than the sample knit using tuck stitch. The best way to weave in yarn ends would need working out. Combining weaving types with the intent to create a plaid effect:
the starting chart created in Mac Numbers  The 24X28 repeat  The choice of the yarns may require tension or color choice adjustments, when the weaving yarn is not caught properly, the longer floats are formed.  Here simple color striping is added. The background red yarn is a thin 2/10 wool, the horizontal weaving yarn a space-dyed sock one, and the vertical weaving one a varied fiber space dyed hand knitting yarn by Noro.
The image on the left shows the vertical weaving setup work on the machine, the ribber gate pegs and needle butts appeared to help to keep the yarn lengths from twisting around each other as the work progressed.  Adding needles out of work:
A common base for knit-weave published patterns is seen in the pattern configuration seen in what is known to many punchcard knitters as card #1  When there are needles out of work in combination with patterning, end needle selection must be canceled.
The set up row for adding ladder spaces is planned so that patterning in 3 stitch columns begins and ends on a pair of selected needle In this sample with horizontally woven rows, the ground yarn is a 2/20 wool, the weaving yarn a space dyed sock yarn resulting in random color blocking. Relaxed the knit resembled shadow pleating, here it is shown after pressing and steaming Using separate strands, vertical weaving may be performed along each 3 stitch vertical columns.
The work on the machine: the ribber gate pegs and needle butts helped keep the yarn lengths separate.
Yarn is always laid over needles with the continuing, long end away from the carriage. In this case, the it was lifted over single selected needles to the right, then over pairs of selected needles to the left. Slip stitch is known for compressing the height of the knit and narrowing its width. This attempts to alternate knit woven stripes with slip-stitch ones utilizing a similar repeat. For the slip texture to be more visible, the related segment is rendered double height, and color reversed.
Here setting changes to occur in even-numbered blocks of rows. The design is shared repeating across a punchcard width, 24, X 24 rows in height.  Eight rows are knit with the carriage set to knit but selecting needles, and 16 rows with the carriage set to slip in both directions. Comparable or the same yarns are used to evaluate the results when varying techniques and stitch types.
Here a 2/20 wool in a color similar to that used in the above sample forms the ground.
The woven section has some drape and stretch, the stitches are forced apart producing interesting bleed-through on the knit side and making the fabric reversible.
The same repeat and yarns are used in the top half of the swatch as a fair isle, without any change in tension. The knit is dense, stiff, and narrower with no stretch to speak of.
The 10X10 design

To mesh or not to mesh 10: more large eyelet variations

Some of the relevant previous posts and a few of the associated test swatches for quick comparisons:
Large scale mesh, a punchcard repeat adapted for electronic 4/21 Tuck setting used in both directions, one of 3 variations   Revisiting large eyelet lace, hand transferred (or not) 7/20 Large diagonal eyelet lace  6/12, electronic sample follows at the bottom of this post: Large eyelet lace, hand transferred (or not) 9/13 Large scale mesh, breaking the rules, the start of the explorations  4/11Single bed slits aka horizontal “button holes” 11/16 img_4077“Buttonholes” and “make many – increase” “lace”  5/15 IMG_19072024
Seasonal knits inspired by published repeats 2_hearts
36X88  introduced a combination of standard and large eyelets along the edges of the shape for a better definition of the design.
A recent FB share prompted a discussion of a different fabric combining selections by both the LC operating from the left, and the KC operating from the right, using the slip setting to secure the extra loops that result after a knit pass when side-by-side transfers are made in opposing directions.
When two carriages are selecting needles from opposite sides, each needs to clear past the respective set lines on the needle bed so as not to engage the belt while the other carriage is selecting and transferring or knitting, extension rails are a must.
Although this design repeat is 6 stitches in width, and in theory, it could be reproduced on a punchcard, it is not suitable for doing so.
On electronic machine models, each carriage pass advances the design by a single row.
When the alternate carriage is brought into action from the opposite side, punchcard models do not advance the card, repeating the last preselection, so the same stitch type is repeated for a second time. Some illustrations of the differences and contrasts can be found in the posts on doilies and edgings.
Planning the repeat in a spreadsheet helps to ensure that the direction of the lace carriage passes is kept accurate when the LC returns to selecting and transferring, as marked with the arrows on the left of the chart. The yellow cells and the arrows on the right reflect KC passes.  To knit: cancel end needle selection, KCII.
If any end needle is selected before a LC pass, manually push it back to the B position. If any end needle is not selected before a KC pass, push it out to D or E
position.
The LC, set to N,  consistently makes 4 passes starting from and returning to the left, followed by 2 passes of the KC set to slip in both directions starting from and returning to the right.
On the 4th LC pass, as it moves from right to left all needles will be preselected forward, a clear marker that the next pass will be with the KC.
The repeat is 6 stitches in width by 24 rows in height.  The empty cells on rows 12 and 22 will produce slip-stitch floats below skipped needles that secure the second loop formed by the side-to-side transfers.
This is the pixel or punched-hole configuration that produces the side-by-side transfers.
The 6X24 png

The side-by-side empty needles after the first pass with the KC to the left, with needles not selected, in B position, matching white cell placements in otherwise all black cell rows with slip-stitch floats holding down the first loop after the second KC pass as it returns to the right  The proof of concept Pamela Cruse devised and shared another similarly mixed eyelet size knit. Her repeat is 6X16, with only the LC selecting needles, the KC remains set to knit, making it suitable for punchcard machines as well. The full card,     a single repeat,  and the tiny PNG  The knit in progress: after the two side-by-side needles are emptied, the next KC passes produce two consecutive loops, the first does not stay on the needles, but rather, gets dropped, forming a float  Needles will be preselected on each side of them, followed by transfers.   As those transfers are completed to the left and then to the right, it is those moved stitches that anchor down each loop.   The first KC pass to the left forms single loops on the now empty needles,  and the second KC pass to the right completes an all-knit row.    The process is repeated in brick configuration.
Mirroring horizontally was not required on the 930. When it was tested, an all-over single eyelet was produced, seen a the bottom of the swatch.  This large eyelet variation was developed by Claudia Scarpa, who shared these repeats for Brother machines which use opposite tuck/part buttons to form stitches properly after the side-by-side empty needle transfers have been performed.
There are 2 versions, each beginning with 6 stitches X 16 rows design.
Aligning eyelets vertically and in a brick arrangement  To knit: cancel end needle selection, KCII.
If any end needle is selected before an LC pass, manually push it back to the B position. If any end needle is not selected before a KC pass, push it out to the D or E position. The LC, set to N,  consistently makes 4 passes starting from and returning to the left, followed by 4 passes of the KC set to tuck to the left, slip to the right, starting from and returning to the right of the needle bed.
After the LC transfers have formed the double eyelets, when rows for the formation of tuck loops followed by slip stitch floats have been preselected, there will be pairs of needles brought forward to the D position.
The first KC tuck pass to the left forms tuck loops on the non-selected needles the second slip pass to the right anchors the tuck loop as all needles are preselected for the pair of all knit rows that follow    The process is repeated with the eyelets forming in either orientation  As the KC makes its last pass to the right there is no needle preselection, a sign that it is time to return to the use of the LC operating from the left  The vertically aligned repeat test swatch and the brick repeat test The 24X48 repeat for the diagonal mesh The lace carriage makes 4 passes left to right followed by 2 passes of the knit carriage from right to left for the full repeat.
The first KC pass creates double loops on the side-by-side empty needles as it returns to the right, the first double loop is dropped, and a second double loop is formed the next series of transfers will double up a single stitch on one of the two loops and the process is repeated as knitting progresses. The yarn used is knit wool rayon again, and the side edges were allowed to curl. There is one stitch that got away from me on the left.

A slip stitch patterned ruffle and more

A recent Instagram share led to my being asked how the ruffle attached to the piece as partially shown on the left was created. The images on the right illustrate 2 of the color-way explorations prior to committing to a final one, all knit in rayon chenille yarns.   At that time a punchcard was used. The repeat technically is 24 stitches wide and 18 in height, repeated twice to meet minimum punchcard height requirements, while for electronic patterning the 18 row segment is used. That said, repeating and shifting the minimum pattern repeat in a paint program or spreadsheet allows for visualization of possible color change sequences,  A 24X36 electronic repeat beginning with 4 all knit rows:    Knitting does not always need to be programmed to start on the first design row.
When miles of trim ie when it is planned as an edging for items such as shawls are planned, there are other considerations.
I prefer to use the seam as you knit method. Since rows will be joined to rows, use a 1 to 1 ratio. Doubling up on stitches happens every 2 rows along the knit border’s vertical edges.
After estimating the number of rows in the final piece, any trims can be knit separately, taken off the machine on waste yarn, and joined as the piece progresses. If needed, after removing the waste yarn, more rows can be added to the trim or unraveled to shorten it before binding it off.
The other option is to finish the body of the knit item, and then join the trim as it is being knit.
The process is rendered easier if the ribber is off the machine.
Switching between punchcard and electronic models, it can get confusing as to whether the design needs to be mirrored horizontally or knot.
In this case, the png was used on my 930 in the same orientation as the punchcard design.
To reduce the roll to the purl side, it may be best to use yarns that will block flat ie rayon, or acrylic.
The knit is centered on the needle bed. My 930 has a punchcard needle tape in place, I prefer programming based on 24-stitch needle selections to avail myself of the position option available on the electronic.
The first preselection row is made toward the color changer.
End needle selection is canceled, or unwanted floats will be formed, pulling in the edge of the knit.
When the color changer is reached and the proper color is in the yarn feeder, set the machine to slip in both directions.
Continue color changes in the preplanned sequences.
In proper pattern selection, the slip stitch column/non-selected needles occur on the right (1).
The all-knit stitch column/ selected needles occur on the left (2). Rows, where every needle is preselected, will knit a solid color with the next carriage pass. As colors are changed small floats will be created between the stripes, a light edge weight may be needed, depending on the yarn used and its fiber content, to keep the edge stitches from being reduced in size or even gathered.
1. the same color is used for 4 consecutive rows when all needles are selected and are followed by color changes every 2 rows until all needles are preselected once more
2. color changes are made every 2 rows
The cyan arrows illustrate the floats on the purl side the differences in the stitch shapes on the knit when the end needle selection is on, and the lack of proper formation of color blocks, especially if the goal is a reversible knit. Added knit rows will result in less of a flounce, offer the opportunity to play with striping, and more colors may be added, accompanied inevitably by cut yarn ends  For a reduced roll on narrow edgings, add a 2-3 stitch every other row border,   the result illustrated in this close up of a different slip stitch ruffle, also joined to the shawl using the seam as you knit technique.  Ruffles may be created with other stitch types ie tuck, which shortens and gathers the knit stitches aside them in areas where they are used.  For those not familiar with slip and tuck stitch formation, it is reviewed in the post: Single bed tuck and slip stitch fabrics 1. Here hand-selected short-row techniques form the wedges, with ladders added for more surface interest on the far right.

 

 

 

Swatches based on adapting random online published repeats

I still surf Pinterest daily and often encounter published punchcard repeats that catch my eye.
Many need some interpretation and editing for use in specific machine models.
The first inspiration: is knit using 4 colors, alternating 2 rows of a base color, then rotating color changes for 4 rows for each of 3 contrasting ones.
Counting up from the bottom of the illustration after the marks for the typical two all-punched rows, it would appear this is a Studio punchcard, but starting row 1 as visible outside the card reader can simply be changed for any other brand knitting machine.
The every other stitch configuration is for an every other needle repeat used in early machines such as the Juki.
A full reference volume   An illustration of the card use  If using thicker yarns on a standard machine that grinds at the loosest tension, this configuration can retain the full design while knitting every other needle/EON.
The adaptation began using Mac Numbers, the repeat was isolated and traced, and the 12 blank columns were then hidden producing a result scaled in indexed B/W mode to 12X36 pixels. The tiled design, checking alignments.  The proof of concept Periodically tuck stitch designs that appear to break the usual rules for the stitch are discussed.
This design is intended for a push-button machine capable of 24 stitch repeats, uses symbols in the associated chart interpreted to mean tuck loops form for 2 rows and knit along with all other stitches every third row.  The working repeat is made up of 8 pixels in width, and 36 pixels in height.    This next design is likely published for use with the Studio color changer, which is marked with letters for each color,   rather than with numbers as in Brother models.
It is intended as a slip-stitch. The bottom swatch relies on color changes every 3 rows, which would need to be performed manually.
In the elongated version, colors are changed using the color changer, every 6 rows.  The design was first tested in thin yarns using the electronic 24X84 elongated PNG  tested for alignment   and displays interesting 3D variations, the purl side is remindful of shadow pleating  Changing colors every odd number of rows is a tad fiddly.
The use of the color changer is not an option.
With the three yarns fed through the yarn masts, it became hard to keep them from twisting around each other. Ultimately, that problem was solved by hand-feeding one of the three colors with the cone on the floor, in front of the machine, as one would place yarns for weaving.
Brother knitters are familiar with yarn placements in the sinker plate.
Position A is for knitting when using only one color or for the ground color in fair isle patterning.  There is a “gate”, which is closed, and the B color/contrast motif color is placed in that front position, knitting the yarn in needles preselected to needle position D on the next carriage pass.
It is tempting to leave the gate open when switching colors by hand frequently, and that may work for a while, providing tension is placed on the yarn manually to keep the yarn back. If at any point the yarn shifts forward (green arrow), with no needles in position D, stitches will be dropped.
Textured stitches can make for more complicated correction of errors or dropped stitches.
Taking the extra seconds to close the gate (red markings) after each color change avoids what became fondly known as “dropitis” in my classes.   The proof of concept: two of the yarns used were acrylic, so steaming to reduce the curling of the swatch flattened the texture.  At one point Studio published a newsletter  with cover art composed of simple drawings, such as this, for #143, which spiked my curiosity, and led to these explorations:
the pattern and symbols refer to tuck stitch, but technically the design is executed using short rows and transfer techniques.
The programmed repeat selects needles, making tracking actions easier.
End needle selection is canceled.
No cam buttons are in use.
The knit carriage is set to hold.
Stitches on the single needles selected on rows, 2, 12, 22, etc, are transferred onto the needle on their left. The empty needle is then pushed back to A position, out of work, creating a ladder.
The groups of 3 preselected needles are pushed out to hold, the D position, before continuing.
After every 2 rows knit, a stitch on the left is pushed back into work, until lastly, the empty needle is returned to the B position.
All needles will then knit for one row filling in the empty needle with a loop and a full knit stitch on the next pass where transfers begin again. A brief summary of stitch manipulations  Images of the work in progress, a small claw weight single claw hung on edge stitch helps keep side edges equal in length:
preselected needles initially manually brought to hold position after the first carriage pass to the right
after the second carriage pass to the left, with the first needle on the left in each group pushed back into work  the second needle on the left in each group is returned to work
one needle in each group remaining in hold pushed back into work  at this point the empty needles have been brought to the B position, single preselected needles have been transferred to the left,  and a pass is made forming loops on the empty needles/ eyelets  The original 18X30 repeat, some machine models and download software may require that it be mirrored horizontally,   repeated to 44X30 with a planned distribution of plain stitches at sides, knit in 2/18 wool blends: Converting random transfer lace designs poses different challenges, and since the time at which the reference post was published, there have been several Gimp updates.
Lace designs contain few black and white pixels and, at times are brand-specific. Multiple transfer lace in Studio models begins with 2 blank rows, while Brother begins with a design row, and ends with 2 blank rows. As given, the inspiration repeat is designed for Studio/Silver Reed.
When using any program, ie Gimp, ArahPaint, or even Dak, the original scanned or screengrabbed design needs to be aligned horizontally and vertically to window borders for accurate conversions.
Gimp:
Before any scaling of images, establish stitch and row counts. In this case, they are published as being 16 stitches X 96 rows.
The process for converting the same lace design using Gimp 2.10.34 on the Mac, beginning work in RGB mode:
1. drawing a straight line to the side of the cropped image reveals a slight lean to the right
2. using Image, Transform, and Arbitrary Rotation -0.30 improves the alignment  3. using the rectangle tool, crop to the borders of the published image.
In this instance, the cropped image measuring 199X938 pixels is at first scaled to multiples of 10 for both width and height, note the broken chain link
4. 160X960 pixels. 5. Image mode is changed to B/W indexed, and the image is scaled once more to 16X96, the size of the expected repeat, note the intact chain link  6. the final repeat, when studied, matches that from the results in the previous post  1: the result using ArahPaints tools, including its guess weave from grid, compared to
2: the Gimp final image and
3. borrowed from the previous post illustrating other considerations before actual knitting,  
which include:
if using the repeat on Brother machines, the first 2 blank rows of the design are shifted to the top.
The 16-stitch design width makes it suitable only for electronic models.
The final PNG is actually downloaded as a fair isle pattern while maintaining the required needle selection for lace, and the knit carriage remains set to knit throughout while the lace carriage selects and transfers.
The machine, depending on the model, may by default mirror the result vertically, so the final PNG can be mirrored and saved as here, prior to knitting on the 930, or the mirror function in the machine may be used after programming.
I prefer to save my files in the orientation required for the actual knitting as a means to avoid confusion or errors.
Working in Arahpaint, rotating an image turns it on its center point. To rotate a layer, selection, or image, from the Image menu, choose Rotate.  Selections can be made at offered angles, or specified degrees can be entered in the degree field, or select an area, move the pointer outside the bounding border, and then drag on any one of the small boxes at each corner while pressing the left mouse button.  To align the image,
1. load the lace inspiration
2. choose Image, select Rotate Image, and draw a line that follows the orientation of the image. The color will be based automatically on the palette being used, and altering the pencil pixel size or color has no effect.
The program then rotates the image and will inform you of the rotation angle, and the drawn line becomes straight.
To confirm alignment, click the OK or Close button in the Rotate Image window.
3. use the rectangle tool to select the content for the full design repeat, and crop the aligned image to the selection. 4.-9. continue with the steps using the tool Guess Weave from Grid, producing the same final PNG. In summary, they are:
4. crop the selected image to size
5. change the color palette to 8-bit, adjust background and foreground colors
6. reduce the number of colors to B/W, adjust the threshold, and set the number of colors to 2
7. the resulting image
8. use the guess weave from the grid tool, crop the bounded image to the selection, magnify the results to visually check the repeat, and save the PNG if satisfied
9. the final 16X96 pattern design repeat, matching the Gimp result. The associated swatch  This Pinterest find is credited to Tatiana Demina, and is intended for use on Studio punchcard machine models.  Studio machines are capable of transferring and knitting in single carriage passes. Studying the image of the card, it can be seen that there are no blank rows anywhere, and punched holes on alternate rows indicate transfers alternating first to the left, and then to the right.
The swatch was knit using the same technique described  recently in the post Unconventional uses for punchcards 2: thread lace cards for “filet” mesh
The original 24X56 design was lengthened X2 to, shown here also doubled in width to 48X112   to match the direction of the transfers, the hint offered in the inspiration source can be followed down to indicate the first row of transfers need to be made to the right,    hence the knitting begins with the knit carriage on the left, the lace carriage on the right. As the LC moves to the left it preselects needles, and as it returns to the right it transfers them to the right.
The LC is removed from the knit bed.
The KC knits a single pass to the right and remains there.
The LC is returned to the knit bed on the left, preselects needles on its pass to the right, and transfers them to the left as it returns to that side, and is removed from the bed.
The KC knits one row to the left and stays there.
The LC is returned to the bed on the right and the process is repeated.
Preselection of needles is made by the LC toward the knit carriage, transfers are made away from it.
Whether the repeat needs to be mirrored again may depend on the machine model or the software used to download the file to it.
The direction of the first row of transfers provides the necessary clue, they need to be to the right. If to the left, mirror the pattern horizontally and begin again.
The swatch was knit in a wool-rayon blend, the results point to the difference in appearance and gauge with a change in color and type of yarn used when compared to the inspiration image The context for this can be found in To mesh or not to mesh 8: more Numbers meet Gimp
the 60X74 png  and the proof of concept

Tuck stitch meets knit-weaving

This video was recently shared on Facebook. The sample in the video was knit on a Studio/Silver Reed brand knitting machine and prompted the question about the possibility of knitting the same pattern on a Brother machine.
Some techniques require infinite patience.
A summary of observations made looking at the video:
1: the machine tucks for two rows
2: the card is set to elongation for weaving rows, where the pattern selection continues, but the carriage is set to knit the background for woven rows
3: the carriage is set to tuck once more to complete what are 8 or more rows of pattern
4: start the process again by knitting four rows of tuck followed by 2 rows of knit weaving until the top of the piece is reached, ending with two rows of tuck before binding off.
Studio machines select as they knit each row, while Brother machines preselect each row as knitting continues after the initial preselection row.
There cam buttons switch from tuck to knit, and the card rotation settings are changed frequently from single to double length on the repeat segment as given.
To mimic the video, this is a chart for the adjusted repeat planning to knit a swatch on an electronic model using 2 knit carriages selecting needles with the pattern advancing one design row for each pass of the carriage.
The cam button variations: the yellow cells mark tuck stitch rows. The red cells mark the knit-woven rows, where the carriage is set to knit with continued pattern selection, and a weaving yarn is brought into play for 2 rows.
The knit carriage is then set to tuck once more, and the process repeats.   Punchcard users working with a single knit carriage can punch all black cells in the width given in the chart, and twice its height for 48 rows, eliminating the need for elongation shown in the video.
Using 2 knit carriages can eliminate cam button changes from tuck to knit and back.
When using any pair of carriages to select needles, each carriage must be disengaged from the belt while the other carriage is being used to avoid breaking it, so extension rails are required.
I began with the sample knit on 30 stitches on my 930.
The carriage set to tuck operates from the left, the knit-weaving one from the right, with the first preselection row made from right to left.
The 30-stitch test includes a one-stitch knit border vertically on either side. The main background yarn used for tuck rows color is a 3/9 wool, and the knit weaving carriage is threaded with a slightly thinner, darker yarn of unknown thickness. The weaving yarn is a worsted-weight wool.  Changing the ground yarn to the same yellow 2/20 in both carriages, the pattern was first knit in tuck stitch alone, possible for 6 rows because of the yarn thickness,  and then using the 2 carriages knit weaving at the same intervals resumed.   A pair of some of the previous posts on using 2 knit carriages to select needles on Brother machines
Knitting in pattern with 2 carriages vs color changer, Brother punchcard KMs 2 
Knitting in pattern with 2 carriages, Brother punchcard KMs 1 
The Punchcard used in the video Brother punchcard machines repeat the preselection of needles on the first pass with the carriage from the opposite side to advantage in reproducing the swatch. The two 892E carriages  If a second punchcard carriage is not available but an electronic one is, the model year may affect the fit, but an electronic carriage can be used on a punchcard machine to advance the card and select needles.
The first row on the Studio card is locked on row 3 to preselect the first tuck row on the Brother from right to left
Rows 1-2: COL, set the carriage to tuck in both directions, make 2 carriage passes, ending COL with the carriage positioned on the extension rail, clearing the belt
Rows 3-4: COR, begin with the second carriage set to KC and outside the set line, and do not push in any cam buttons. Prepare your weaving yarn. Knit to the left, the card does not advance.
COL: weave the second row, move the carriage back ending COR on the extension rail, clearing the belt
Rows 5-8: COL, the card does not advance on the first pass to the right, knit 4 rows of tuck stitches, ending COL on the extension rail, clearing the belt
Rows 9-10: COR, repeat 2 rows of knit weaving
reminder: any hesitation with movement back and forth of either carriage once it is on the knit bed and selecting, will advance the card one design row
Repeat Rows # 5-10 twice to complete each full repeat segment
Choose an ending pattern segment and bind-off.
The proof of concept uses two slightly different yarn background shades again   Other tuck-stitch combination fabrics
Tuck stitch combination fabrics 
Combining tuck stitches with lace 2 (automating them)
Combining tuck stitches with lace 1
Tuck and garter stitch: from hand knit to machine knit
“Crochet” meets machine knitting techniques: working with short rows
More on using multiple carriages
Revisiting knitting with 2 carriages single bed, 910 vs Ayab so far
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages 
Ribber fabrics produced with 2 knit carriages selecting needles 

Blistered dbj 3

Names referring to the same knit fabric can vary between machine manuals for specific models and brands or references in books, magazines, and articles depending on the dates they were published.
My earlier share on the topic:
Blistered stitches dbj 1
Blistered DBJ 2 and technique variations on a single repeat, introduced some of the concepts involved.
Beginning with any random published repeat can offer the start of exploring a range of fabrics. This was a Pinterest punchcard share, markings indicate it was intended for Brother machines  Methods for obtaining color separations for specific knits have been discussed in other posts.
Brother models can use the cam buttons to perform a function in one direction only, ie by using only one tuck or slip button, the machine will knit when the carriage reverses movement to the opposite side.
Developing specific color separations makes the files usable on other machine brands and models, makes it easier to return to specific rows in error corrections, and is my personal preference in test swatching and complete pieces.
Drawing the initial design in repeat provides a visualization of the resulting secondary shapes and the number of needles required for tiled variations in finished pieces based on gauge.
The first design is intended for use in every needle rib, with the knit carriage knitting in one direction, and using slip or even tuck in the opposite direction.
The 24X32 design extracted from the inspiration punchcard  A: the rendering scaling the design twice in length
B: making the choice to color invert it in planning slipped stitches on the larger number of white pixels
C: superimposing black lines on every other row beginning with row 2 A quick review of the steps involved in working with Gimp:
begin with magnification for easy viewing, ie. 800X, view grid if preferred
the starting brush can be as small as this 2-pixel   select it and save it to the clipboard by choosing copy visible, making it available to bucket fill images, or export the same design as a .pat file and save it in the appropriate settings folder for future use.  A: the original design repeat rendered in black and white
B: layer, transparency, color white to alpha
C: file, new, white ground, matching size, filled with a pattern of pairs of horizontal all-white pixel rows beginning with white on row one, followed by all-black pixel rows on row 2
D: copy B and paste it on C, and export the file as png The chosen repeat may not be color reversed after programming it using the machine’s built-in electronic functions.
White pixels slip, stitches on the main bed in non-selected areas would not knit off for extended periods ie where red marks occur, and noticeable problems would develop quickly Beginning proofs of concept for this version, 24X64  knit on 60 stitches using it drawn in repeat X3, 72X64, and programmed as a single motif  The result is a very subtle contrast lacey knit The yarn thickness and color were changed. The pattern begins using the slip setting and transitions to tuck, also in only one direction. Because the ribber is knitting every stitch between stitches on the top bed holding side-by-side loops down, tucking on multiple side-by-side needles can be performed,  producing a wider, stretchy knit that also lies flat.  True blisters/pintucks generally knit rows on the top bed alone forming pockets that are eventually sealed by all knit rows.
Slip stitch settings are used.
The design is at first lengthened X5, then every 5th row is filled with black pixels or punched holes.
A begins in smaller groups of gathers, testing for any errors or problems, while B allows for deeper folds. A: the mark shows the stitches on the top bed begin to slip far too many rows
due to using the color reverse option in the 930 before continuing to knit.  With a switch to the blue yarn, all-knit spaces between the pockets now begin to appear gathered. Slip stitch results in narrower knits, noticeable in the ruffled effects on every needle rib above the cast ons B: the extra row of slipped stitches result in a far more textured knit   Developing other layouts for the same design, brick 24X128   half drop 48X64 Eliminating unwanted extra stitches from the original, modified to 24X28 pixels drawn in repeat to 144X168 brick version 24X56 half drop 48X28  adding those all knit rows  Viewing repeat alignments  The 24X112 brick repeat suitable for punchcards, not tested,   and the half drop, 48X56  tested using a 10/2 cotton and lightly steamed and pressed. Knit on 80 stitches, it measures 17 inches in width and 11 in height.
an attempt at a more detailed look  

 

Passap to Brother 6, exploring a possible tuck stitch design

This post has been prompted by a recent Ravelry query with respect to having had disappointing results when attempting to knit # 1301 from the Passap Pattern Book as a double-bed fantasy fair isle using a Brother model machine.  Machine knitters using Japanese model machines are familiar with some tuck rules ie. white pixels/ unpunched squares that form tuck loops, should have a black pixel/ punched hole on each side of them and not occur vertically for more than 4 rows in order for stitches to knit off and form properly.
Tuck punchcards illustrated in Brother Volume #5 on pp 218 and 219 include a few exceptions to those rules such as #786  Looking at the reference design in the Passap Pattern book, it is used as a background motif only, not as a tuck one, and rotated using console commands.  When uncertain as to whether a design repeat is appropriate for a specific stitch type, begin with a limited-size swatch, a thin and familiar yarn, knit slowly, and listen to the sounds the machine produces, which can be early warnings of potential problems.
The Passap motif issues in terms of tuck knitting analyzed on the first look: there are pairs of blank cells side by side, repeating vertically, and combined throughout The first test is knit in acetate of unknown thickness, the guess is around 2/18. The 40-stitch swatch measures 6 inches in width, with transitions from and back to stocking stitch horizontal borders, and with the body knit on the single bed with the carriage cams set for tucking in both directions.    The unaltered repeat may be used double bed, resulting in 8 inches in width, with lots of stretch, and the potential to increase the measurement even more with blocking.
A: transitioning from stocking stitch to every needle rib without added steps will form eyelets
the knit carriage is then set to tuck in both directions, and the ribber carriage is set to knit in both
B: a return to every needle rib before scrapping off The chart on the left illustrates possible cam variations for knit and ribber beds using tuck settings in Brother machines.
Color separation is required to knit the design using two colors.
In the Passap electronic models, a technique number is entered and the appropriate color separation is performed by the console.
Many results as in this case, rely on each color in each design row being knit twice.
In Brother knitting, other methods need to be used in order to obtain the necessary separation.
The fabric though technically knit as dbj, will begin with the first preselection row from right to left toward the color changer as opposed to from left to right when the built-in electronic KRC separation is used.
Punchcard users can produce the same fabrics if 24 stitch width constraints are met.
The png for the repeat on the right is shared below, and tested using the cam settings 4:   The results using other cam settings can be mixed, and generally far more successful using designs with larger shapes forming design and ground.
Using tubular tuck, 2  the knit results become muddied, as seen at the top of this test

Some previous blog posts exploring motifs worked on the double bed using tuck cam settings on either or both beds:
More shapes on ribber fabrics with tuck patterning, fantasy fair isle 
Lace transfers meet fisherman rib, 2 colors, brioche on Brother KM
Lace transfers meet fisherman rib in 2 colors, brioche on Brother KM 1 
Geometric shapes on ribber fabrics with tuck stitches 3
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
Geometric shapes on ribber fabrics with tuck stitches 1 
Ribber fabrics with main bed tuck patterning 1/ pick rib 
Fisherman and English tuck stitch rib 1_ checks patterns_ Brother, Passap
A different way to bend rules is to use multiple heights of row repeats within a single design, such as in this densely 24X20 tuck stitch design Drawn-in-repeat to 120X120 pixels  The design would need to be color reversed for use in electronic tuck knitting Punchcard users must punch all the black cells  Using thin yarn is best with lots of evenly distributed weight, watch for loops getting hung up on gate pegs  Eliminating one row of blank squares where there are 5 in a row, reduces the repeat to 24X16  The result produces a similar texture. In this test swatch the number of stitches used was planned to attain similar side edges, and end needle selection was canceled

Blistered DBJ 2 and technique variations on a single repeat

Blistered stitches DBJ began to explore some variations for the production of easy knits which resulted in pockets separated by areas of joined stitches, and depending on the design and whether one bed knits more stitches and rows than the other, can make the surface appear 3D to varying degrees.
There are several things to consider in DIY designs.
In my recent browsing and being inspired by “The curse of truchet tiles”, this png was one of the resulting repeats, developed using ArahPaint.  It is larger than any previously tested with this technique.
Beginning with a 36X36 file drawn in test alignment to 108X108,    expanding the design through a diagonal choice into a 72X36 repeat  Large repeats require large swatches if gauge matters, but smaller tests serve well to evaluate tension and cam settings. It is a good idea to be consistent in yarn choice.
Thinking things through:
the white pixel areas will produce the pockets, separating from the ground, and the black pixel areas will compose the joined portions of knit.
To increase the effect, the height of those black pixel areas is reduced by changing their configuration in order to use the slip stitch setting to shorten them.
The first pattern fill requires doubling the height of the whole repeat in order to use the file in a tubular setting.  Rather than doubling the file in height, this brush is used to fill the same black pixel areas. After a few pixel cleanups, this is the final repeat, The png was tiled to the number of stitches planned, with the addition of a knit stitch border along each vertical side and knit on 88 stitches for proof of concept.
End needle selection is on.
The carriages are set to slip in opposite directions, in either arrangement A or B. In one-color knitting starting preselection side does not matter.
The tension used, since so many stitches will be knitting on alternate beds, needs to approach that used for the same yarn when knitting stocking stitches.
The red yarn stitches mark the knit side of the fabric.
The cotton ball illustrates the formation of pockets.
The color change happened when the first cone of yarn ran out.
The yarns are 2/28 Italian imports of nonspecified fiber content.
The piece measures 10.5 inches in width.
When the settings are changed from tubular to every needle rib, the fabric is considerably wider and ruffles as seen at the top and bottom of the swatch, which could become a planned design feature. A segment was cropped from the 72X36 drawn once more in repeat to 84X72, repeating the same steps for processing the file alignment check If the plan is to evaluate the effect of tuck stitch on the design, to begin with, the file needs to be color reversed, whether in the drawn png or using machine settings Exploring results with the ribber set to knit in on every row, the swatch below the red line was produced with the knit carriage set to knit in one direction, tuck in the other, while in the remainder the knit carriage set to tuck in both directions. The areas that in slip stitch would form pockets knit in every needle rib, while tuck stitch segments produce a lacy effect.  The same design, using the png created prior to color reverse, set for tubular slip stitch the transition between the changes in knit carriage cam settings results in changes in textures and added width The full tuck section (bottom) measures 16 inches in width, and the slip-stitch one (top) measures 11.5 inches.
Trying for a half-cardigan repeat with the same yarn produced an extremely wide knit with no discernible design.
Tired of double-bed knitting and swatches in a single color and large enough to cover pillows? the starting image reduced in size X4 to 21X18 pixels opens a new series of opportunities for knitting including on the single bed.  The design, knit here as DBJ, uses the built-in KRC color separation. At the bottom, the knit carriage is set to slip in both directions. The ribber uses the birdseye setting in both directions with the addition of lili buttons.
At the top, the knit carriage setting remains unchanged, and the ribber is set to knit in both directions, for a striper backing. The tension remained unchanged. The image illustrates the difference in the aspect ratio of the design and the height and width produced by the respective settings. The same design knit as single bed fair isle produces problematic floats on the reverse which would need to be anchored down in a wearable. When knitting fair isle end needle selection is used to keep the yarn in the B feeder anchored so as to prevent any separations along the vertical edges of the design.
Here the light color is 2/8 wool. The yarn in the B feeder is switched to a 2/24 random contrasting color, and the knit carriage is set for thread lace. The white pixels knit both yarns together. Programming a blank row and knitting 2 yarns in this manner is considered by some an alternative to using the plaiting feeder.
End needle selection is canceled. If needles are brought forward, push at least one back to B so the combined yarns knit. In a long piece, a repeat in the width of the planned number of stitches could be planned with one or two blank pixel borders on vertical sides.
Due to the contrast in yarn thickness, the thin yarn creates large stitches that bulge in areas where it knits with the thicker yarn floating behind it, and the areas with combined yarns recede.
The areas in double thickness secure the yarn that produces floats, so that the latter may be trimmed on the purl side, leaving cut ends in any length. When cutting floats, consider sliding something under them and the thin knit so as to avoid cutting it as well, the fabric will release and flatten. Using elastic, the background yarn used needs to be thinner, here a 2/20. The repeat program is left unchanged, but the position of the yarns is swapped so the elastic/ “thin” is placed in feeder A and the white/ “thick” in feeder B. There is a considerable change in size, observable at the top of the previous images.   Aiming for float control, the repeat is edited.  A test of the 18X9 repeat using the fair isle setting measures 6.5 inches in width,   while the same stitch repeat knit using elastic and the thread lace setting adjustments once more, measures just under 2.5 inches in width 

Developing tiled repeats suitable for multiple stitch types, including tuck

Punchcard machine users have limitations in terms of repeat width, depending on the brand and age of the machine. Those numbers might vary from 8 to 12, 18, 30, and 40, with a 24-stitch width eventually becoming the most frequent.
When electronic machines were first released decades ago, multiple built-in functions allowed one to manipulate programmed repeats. The latter were drawn with electronic pencils (Studio) or far more often with permanent jet-black ink on mylar sheets or “cards”. Passap at one point developed the initial Wincrea version with a very short dongle for downloading designs to the console away from the knitting bed.
Brother was the first manufacturer to allow programming multiple repeats on a single mylar sheet. It took Studio some time to play catch up to eliminate all the potentially wasted space on them.
Both brands used mylars with 60 rectangular cells in width by 150 in height.
Variation buttons for the Brother 910:Building up a simple angular repeat can easily be done freehand filling in pixels, or with the use of the straight line tool in ArahPaint.  The 12-stitch design may be mirrored and rotated in a variety of directions. For use in a punchcard, this may be done once in width, and three times in height to meet the minimum length requirement.
It is not necessary when drawing to use only black and white to start with, though if the goal is ultimately to produce a programmable bmp or png, the final images need to be in those 2 colors.
It is easier to produce a design filling in fewer squares in lesser density and then to color reverse the results if that is required for the specific stitch type.
A: using horizontal and vertical mirroring yields the start of a diamond shape. Punchcard users may find it easier to mark the dark squares and punch everything else if the goal is to use the tuck stitch setting or to have a card “safe for everything”
B: checking alignment by tiling the file
C: if the intended goal is tuck stitch, and the minimum information is drawn in the design, then the repeat must be color reversed, whether in the program used to create the file or by selecting the built-in function in an electronic after download.
D: the color reverse image tiled, may be suitable for some interesting fair isle striping or exchanges of positive/negative spaces at the intersection of any of those rows where the double-height or double-width markings occur.
Red cells indicate two side-by-side unpunched holes or unmarked pixels. In theory, this breaks the tuck rule requiring a knit stitch/ unpunched hole or black pixel on either side of an unpunched area/white pixel, but it likely will be fine, producing something that looks more like a slipped stitch than a tuck.
The double-height areas marked in green would be a problem if one were to test the repeat by doubling its length, with a compounded issue in those areas where tuck stitches would then happen on side-by-side needles for 4 consecutive rows.
Usable with some care for knit weaving, slip stitch, and other stitch types. Results are not discovered unless actually tested.
Keep good notes. Breaking the design into segments to knit as a striped fair isle ie in these 4 places Variations are easier to imagine if one begins with colored repeat segments that can, in addition, be varied using color exchanges to resemble approximate yarn colors. Instructions on color banding using ArahPaint follow at post bottom. In the last post, the same image was mirrored using ArahPaint  The result is a 23X23 pixel design.
Any incrementally larger repeats would require the same operations, using the mirror X-1 and Y-1 options to avoid any side-by-side equal cells, but the process is easier with some understanding of isolating repeats. When the 23-stitch file has been formed, manually trim one pixel along the bottom or top row, and one along either the left or right side, down to 22X22 pixels tested in B/W repeat and here color inverted it is executable in double length thus offering the opportunity for color changing every 2 rows, testing the possibility of its morphing into a mosaic/maze design, remembering first to color reverse the repeat as given here,  which in turn yields a file that may be knit with color changes every 2 rows, a technique that can produce maze/mosaic designs with an appearance very different from the same pattern knit as fair isle.
In this swatch, 2/20 wool yarns were used. This results in a knit that can be steamed to stay flat.
The variations in the amount of tucked stitches and their placement expand in some areas more than others yielding wavy vertical side edges.
The striping occurred to enhance the visibility of stitch formations on the machine, but can be a deliberate way to add even more colors to such pieces. The same design, knit in 2/8 wool, begins to show that a pattern may produce very different effects with a simple change in materials or color choice Working outside straight lines and exploring random starts: the post Working with diagonal patterning in machine knitting introduced several larger initial repeats also suitable for tuck patterning when reversed, including this 12X24 pixel design,    and the companion larger file, 144X144 pixels The larger file can serve as the start for exploring knit pattern variations through the use of filters.
A description of filters and their use may be found on pp 88-101 of the user manual (thumbnails # 96-108).
A “fast pattern” user guide shared by the ArahPaint 6 developer October 2023 which demonstrates how to use filters with associated designs https://www.arahne.eu/pdf/fastpattern-EN.pdf
The associated tool options: This first series uses only the Contour filter and random selection of arrows from this tool

beginning with a 12X12 pixel design developing it into a 31X31 one, not all doubled pixels eliminated doubled pixels eliminated The Zigzag filter creates a zigzag from the image. The number of zigzags depends on the setting of the filter option’s X, Y, and Values and the direction, Horizontal or Vertical, or a combination of both.
X: determines the number of zigzags up and down, the number should be an even number ie. 144 divided by 12 would create 12 peaks
Y: creates the vertical direction of peaks
Value: set to 0 the whole image height is taken as amplitude
The variations can be endless, and exploring changes in settings will help develop a sense of what happens. The larger scale results may at times be reduced to a significantly smaller working repeat. Tools/Find Repeat often but not always will do that seamlessly.
The manual offers instructions for manipulating vertical bands of color. Such variants could be knit as intarsia or multiple colors per row, with limitations and considerations.
This 4X4, vertical repeat, tiled to 12X12 color reversed for tuck knitting drawn in repeat and filtered is knittable, but not interesting to me. The result, shown tiled for clarity Moving away from straight lines, these initial experiments employed limited variations. The red X mark marks the repeat suitable only for fair isle knitting Choosing individual results to knit in tuck stitch, in review: the smallest repeats may be isolated and pixels cleaned up if preferred, remembering to color reverse when needed. This 24X24 repeat is suitable for punchcard models with the black pixels areas punched. Testing is far easier and quicker using electronic machines, do not use double length The design is asymmetric, subject to personal preference, and as usual, with results dependent on yarn and color choice.
The yarn used at the top of the photo is a wool-rayon, knit single bed. It was hard to identify stitch formations, hence the swatch was short in height for a visual texture check. Because of the rayon content, all edges steam and press fairly flat.
The other yarn is all wool, knit in every needle rib with the knit carriage set to tuck in both directions, and the ribber carriage set to knit in both.
This type of knit is often referred to as pick rib. Depending on the tuck stitch distribution, the stitches are forced apart vertically and can produce an eyelet effect in a fabric that lies quite flat. A closer look at approximately the same part of the ribbed fabric.   A 58X16 file after some cleanup and cropping of one of the other variations is to be color-reversed for use with the tuck setting. Depending on the thickness of the yarn, double length may be used safely for added texture.  The swatch illustrates the difference between fair isle knitting and tuck stitch, even when the tension used in the knit carriage remains fixed. Fair isle is in the slip stitch family, so it is short and narrow, while tuck stitch tends to be short and wide. It is usually recommended that fair isle floats be no wider than 5 pixels. Many here break that rule and would need to be managed if the design were to be used in a finished garment.  This segmented and cropped to 17X144 pixelsMirrored X-1, 33X144 pixels I like to plan repeats for any intended piece when possible in a width matching the number of needles in use, which allows programming as single-motif in the 930 with img2track and eliminates the need to turn on other built-in functions or assign needle positions. Doing so also offers the opportunity to add borders if desired.
A 99X144 version was programmed, and the central 71 stitch width was tested, likely suitable for an accessory ie a scarf  Those side-by-side white pixels are “OK” since they are in turn sided by black pixels and do not repeat for more than 2 rows.
At some point, one needs to commit to actual knitting. The first proof of concept swatch was knit in a softly spun, shiny rayon that had a slight tendency to split during knitting and steams and sets nearly completely flat.  This swatch is knit using a 2/8 wool, retains its texture after steaming and pressing, and exhibits the usual roll to the knit side at the top and bottom of the piece, and to the purl side along the vertical side edges. The variations in the 3D surface that can happen with some tuck patterns appear here and are retained.  A brief look at Gradient filter included in post on Truchet inspired tiles.
Restricted use images may also be built from scratch.
Large published illusion-style designs even if beginning as black and white when scaled down in size can lose definition as a result rendering them speckled, needing a lot of pixel cleanup, or completely unusable.
This first attempted DIY version begins with a 31X31 repeat. The odd number allows for a corner-to-corner start. The lines are drawn using the straight line tool, with pencil size alternating between one and 2 pixels Using mirror X-1, Y -1 to 61X61 trimming by a single pixel and width and height for routine tiling avoids lots of doubled pixels. The final repeat, with small single pixels placement edits, is now 60X60  repeated in height only it could be used for perhaps a scarf, with or without solid borders at the bottom, top, and sides.   Drawn in repeat X3 in both X and Y directions it produces a 180X180 file large enough for a blanket, with a bit of wiggle room to add a narrow solid color frame if desired.      The design may be knit as fair isle for a quick initial test or for a final piece since the floats are all very short or knit as DBJ to produce a no-roll final fabric without floats.
In this test, softly spun rayon and heathery wool were used, resulting in a surprising color mix when compared to their original colors. There were a few spots where the rayon fiber split and knit with the contrast. The end needle selection was off, so there are tiny eyelets in some places where the contrast was not knit on the side edge, and the fabric separates a bit.  A variation for a different vertical repeat can easily be isolated from tiled drawings. This additional sample was also knit as a fair isle, with end needle selection on. Suitable for punchcard knitting: a 12-stitch simple geometric repeat visualized X12 modified using drawing X12 in random repeat for electronic machines.  16X3820X16 29X29 30X30 42×46 When the planned illusion is simple line distortion
18X18 “Café Wall” distortion tested on a 60 stitch width, the bottom is double-stranded birdseye DBJ with a shift to single strands at the top. The single plies produce a wider, softer knit imagining a wider piece 10X10 repeat Knit as DBJ, in 2/20 wool single strand, at as tight a tension as possible to allow for proper stitch formation, the bleed-through is quite visible, the swatch is also 60 stitches wide There is a discussion online whether adding a single row of a contrasting color heightens the illusion, a 9X10 repeat adding a third color
Shifting gears, a different 18X18  visualized X 9 modified using random nearly the width of the full needle bed, 172X169 A 24-stitch repeat accomplishes an optical illusion of sorts. If only it would work for creating origami-style pleats!
A former Ravelry query prompted these designs working with blocks
a 16X16 file  color reversed combined for a 32X32 final repeat drawn in repeat 20X20
22×2222X3066X60

44X5442X46
from a weaving draft, 46X46 63X63 adding a third color is easy in the larger blocks, the standard 3 color automatic separations are likely to lengthen the design   BW trimmed to 62X62 to eliminate double stitches 66X66 Johann Karl Friedrich Zöllner (1834 – 1882), a German astrophysicist with a keen interest in optical illusions was inspired by a cloth pattern that he observed in his father’s factory and first published the illusion that bears his name in the journal Annalen der Physik in 1860. The acute angles formed by the intersections of the short and long lines make the spaces between the diagonals appear to expand.
My knittable adaptation: the 84X84 repeat Building tiny shapes into secondary ones inspired by weaving drafts
56X148 110X225 Removing doubled vertical segments, 106X225 Adding colors to black and white pngs following the tip by the developer in the post comments:
Choose a black-and-white repeat, in this case, a 36X9 pixel repeat  Double-click on one of the two colors to protect/lock it Double-click on it again, and the lock disappears, the color is no longer protected.
In the palette, use + to add a new color, this may be repeated more than once to add more colors or go to colors, set the number of colors to a number, ie. 6, for a random palette group that may, in turn, be edited to other values.   Double-click on the rectangle tool to draw filled rectangles  In rectangle options, above the palette icon, there are toggle buttons for Horizontal and Vertical, remember to protect a color  Once your selection is made, draw the filled rectangle across a selected width and height while keeping the protected color intact. Draw the result in repeat to check for alignment the protected color may be toggled to white  If the designs are to be programmed for multiple color slip stitch or DBJ there are rules to be observed, and there may be restrictions on whether each palette color will be recognized as a third or fourth color by the download program ie. when using Ayab, where no two colors may occur in the same range of 8-bit values. For 4 colors, the ranges would be 0-63, 64-127, 128-195, and 196-255.
The img2track partial window with the associated color assignments for the first vertical variation.  The horizontal choice allows one to play with selections possibly matching yarn colors in fair isle knitting,          only 2 colors per row may be used, here the A feeder yarn remains fixed Remember to unlock the previous color choice if protecting new segment selections.
Visualizing possible FI striping results in progress