The spreadsheet plan, 24X56 cells, 
with colors edited to yield a brick repeat suitable for tuck stitch, 24X112
test knit on 48 stitches using a 2/8 wool. 
Adjustments were made in the spreadsheet to increase the tuck texture while blunting the diamond shape,
configured for a brick repeat, 24X120. 
Larger repeats require proportionately larger swatches to visualize the effects. This version of the design was test-knit on 72 stitches. My available yarns had to be plied in pairs to try to match the effect when using the 2/8 thickness wool. 
Adding stripes of all knit third color, for a 24X144 repeat, 
knit-tested on 68 stitches.
The yarns were plied to mimic the results obtained in the 2/8 wool swatch, which led to some problems with singles jumping to the adjacent space in the color changer or mating with other yarns in the tension areas of the yarn mast. For long pieces, it may be worth twisting the yarns onto a new cone or ball, or using one of the accessories, purchased or assembled from containers found in the studio, that will allow for feeding the yarn from one cone through the center of and with the yarn from a second cone (or more). The yarns used in the bottom third of the swatch came to their end, so there is a slight difference in texture and size as a new pair was chosen with a goal of retaining the same degree of texture if possible. 
Pushing the limit, with double strands tucking for 3 rows rather than 2, the shape at the center of the tuck stitch areas now has straight vertical edges, 24X136, 
knit tested on to 70 stitches with a slight pattern center shift. 
Double strands were used in this case, tucking for 3 rows, with some loops getting caught on gate pegs as seen in the image on the right.
Spots with loops not always perfectly knitting off are harder to see on the purl side during knitting.
Four threads in needle hooks is often the limit on 4.5 mm machines for tuck stitch, unless the yarns used are very thin.
Pins placed temporary folds on the knit side led to yet another repeat and test swatch. 
The last adaptation, 24X80, 
was knit on 70 stitches. 
The light-colored yarn refused to knit tuck for 3 consecutive rows, with loops not knitting off properly, and getting frequently hung up on gate pegs. 
Switching yarns and colors led to smoother knitting. 
Category: Tuck Stitches
One repeat explored in many ways
Questions as to how to design for specific knit structures or how to use randomly found repeats appropriately turn up regularly in forums.
A review of punch card repeats found in downloadable volumes, which provides clues as to the suitability of random finds for different techniques, can be found in Punch cards to electronics: book symbols and samples.
This post began with a random published find from an electronic pattern book. The initial goal was simply to evaluate and play with the design, and then it evolved into a project growing in size as more ideas were sparked for added swatches. 
the match, 24X36
48X72
is potentially usable for
1: knitting as FI, with a wide maximum float of 9 stitches, which would merit control
2: thread lace, both yarns knit white pixels, the thin yarn forms the stitch on the knit side, the thicker yarn floats behind it
3: knit weaving, deciding whether to manipulate the long floats that are formed intermittently
4: tuck stitch, must be color inverted, white pixels form tuck loops for 1, 2, and 3 rows in various spots in the design.
DIY editing of the first repeat, seeking uniformity, eliminating rows, and shifting pixels for added possibilities. 
24X24
in full repeat X2, 48X48
doubled in height, 48X96 
color inverted, 48X96
potentially knittable doubled in height once more, test with thin yarn, 48X192
tested single bed for 60 rows, an obvious change in texture and aspect ratio. 
Single bed using the original, color-inverted file, 48X72. The yarn is a 2/20 wool; the resulting stitches are open enough to allow the dark bleeding through from the background to influence the appearance of its color. The swatch measures 7.25 inches in width. 
Double bed
The knit carriage is set to tuck in both directions, the ribber to knit in both for what is often called pintuck or punch tuck rib. The knit lies flat and is “reversible”. Using the same number of stitches and knit tension as the above, this swatch measures 10.75 inches. 
With the tuck stitch file easily color-reversed on the electronic, the knit carriage set to slip in both directions, and the ribber to knit in one, slip in the other, the density and width of the resulting knit change significantly.
Punchcard knitters would need to punch a second card.
Blisters are formed on the knit side while stitches on the ribber become elongated when slipped.
As the knit carriage returns to the left and skips needles, floats are formed to a max of 9 needle spaces, and eventually form pockets in the white pixel areas. 
As the ribber knits in one direction, it slips in the other, and stitches become elongated until they knit once more. The yarn needs to be able to tolerate being held for the necessary number of rows without breaking. 
The swatch measures just under 5 inches in width, although worked on the same number of needles as the tuck samples.
Some of the color difference is due to a change in natural light, but also to less bleed-through of the background as a result of the fabric density. 
As double bed knitters know, several inches of knitting happen before you can crawl under the machine or get creative with a mirror and/ or + lighting, to see whether you are actually knitting the intended pattern. This design, using the same yellow yarn with the added blue yarn of the same weight, and the same carriage tensions as for other double bed samples, made it hard to see whether anything but stripes was being produced while on the machine. The bottom of the swatch was knit with striper backing, the ribber set to N/N, and measures 6.5 inches in width. The top was knit with birdseye backing, using both lili buttons, the ribber set to slip in both directions, and measures 5.75 inches in width.
The color placement for background or design can simply be chosen by which color knits first, so either the color-reversed or the original repeat may be programmed. 
Original 48X72Single bed
This swatch was knit using the thread lace setting, and two slippery yarns, a rayon and a nylon thread of an unknown brand. Serger monofilament is an option, but my supply is multiple decades old and broke easily halfway up the first repeat. Testing large swatches and blocking them in the same manner as the finished piece would serve as guides in making choices.
End selection needle is canceled, but if end needles are brought out to D as part of the pattern design, they need to be pushed back to the B position manually before the next row is knit.
Width comparison does not apply, since the tension required was double that used in the other swatches.
There are less common applications when choosing designs. For example, the same repeat was tested to create a single-bed lace transfer design, with a single row knit after the transfers in each design row have been completed. It finally took using a 4th yarn to get the stitches to knit properly, unlikely something I would knit in a large piece, but it helps to understand what happens with reversals of directions in the mesh. 
An explanation of the technique, with added swatch samples and designs, may be found in the post Unconventional uses for punchcards 2: thread lace cards for “filet” mesh
The slip stitch double bed blister knit was shown previously, using the starting 48X72 repeat. Here is a double bed version, using the plaiting feeder and with the knit carriage set for thread lace. The results differ with placing the yarns in alternative positions, and both swatches measure 9.75 inches in width.
Pinterest inspirations vs implementation, tuck and lace combos 2
This post will be a growing companion to Pinterest inspirations vs implementation, tuck and lace combos 1, addressing designing repeats for automation of such designs on electronic machines.
Lace transfers made in the same direction will lead to the knit biasing in that direction.
Reversing the direction of the transfers at intervals will balance some of that bias.
In the post on A return to lace with automated patterning, adding color striping, the LC transfers were charted moving diagonally as well, 
achieving this result. 
In this inspiration source, the transfers are made in rectangular blocks. 
Assigning symbols and BW fill to cells in turn, 
expanding the repeat following arrow markings pointing to the LC selections and transfers in the correct directions. 
The single repeat, 20X42. 
In the bottom design rows 1-13, the LC makes 2 passes followed by 2 rows knit, in the top 14-41 rows, 4 LC passes are followed by 2 rows knit.
The test knit on 51 stitches. 
The side knit borders are 2 and 3 stitches, respectively. Next to the 2-stitch one, the eyelets are slightly compressed, appearing smaller than those next to the 3-stitch border.
There are charts worked out for fully automated tuck and lace combinations using both the LC and the KC to tuck.
Many are published in the Brother punchcard volume #5, but
they are not usable as provided in electronic machines.
The punch card machines repeat selection when the patterning carriage is retrieved for use from the opposite side.
The final charts in the DIY electronic versions will appear quite different, and although they may still be in repeat widths suitable for punch card machines, they are not interchangeable.
Electronic models advance the design for a row with each pass of carriages set for pattern knitting.
An idea using similar, alternating loop and lace diagonal shapes. 
In terms of fabric qualities, tuck stitch is short and wide, and lace tends more to long and wide.
Casting on and binding off may need to be adjusted to be looser in final projects.
Jumping right to the use of black and white pixels, following the arrows to track movements of both carriages to achieve the 24X36 final repeat.
Two all-knit rows occur after completing tuck segments, avoiding LC attempts at transfers containing tuck loops far beyond LC tolerance, capable of producing interesting LC carriage jams: 
The swatch was tested on 50 stitches. 
My seemingly endless supply of white yarn has reached its end, hence the color change and restart. As usual, the tuck texture is more evident on the purl side. 
These were published in a Japanese knitting magazine from the late 80s, with accompanying symbol charts. Counting up from the bottom, it looks as though they were intended for use in Brother models, with row 1 marked 7 rows up on the right of the proposed punch cards. 
Tentative planning in a spreadsheet for each repeat with arrows indicating the respective carriage movements.
The first preselection row is from left to right, and both begin with tuck patterning.
Testing the first 24X28 design
quickly identified a problem area where already formed tuck loops with added yarn from the lace transfers try to meet more tuck loops. Cyan T cells represent tuck loops, the magenta cells the loops formed when emptied needles are brought back into work as the next row is knit. 
1: The first pair of tuck loops is complete,
2: and meet the pair of lace transfers stitches to the left and to the right.
3: When needles emptied by the lace transfers are advanced to knit, the center needle between them is meant to tuck once more, but refused to do so with the next all-knit pass.
Often, the limit for the number of stitches or loops on any one needle to knit off properly on 4.5 mm machines is 4, unless the yarn is thin. 
A solution is to add an all-knit row to the design repeat, marked with blue cells. 
The amended design, drawn in repeat, checking alignments, 
programmed on 48X28 for test knitting, and mirrored horizontally on the 930
enabled sorting out likely places to watch for any added issues, i.e., location and reasons for any dropped stitches. 
The second repeat, tested on 48X52, with the pair of added all knit row as above, still posed issues; 
all-knit rows between the lace transfers must be programmed for execution by the knit carriage traveling from right to left and back to its home on the right. 
Programmed 48X52
Test knitting required mirroring on the 930
More tuck and Lace combos:
Lace meets tuck on Brother machines
Tuck stitch/ combination fabrics
Large diagonal eyelet lace
Combining tuck stitches with lace 2 (automating them)
Combining tuck stitches with lace 1
Pinterest inspirations vs implementation, tuck and lace combos 1
A companion to this post: Pinterest inspirations vs implementation, tuck and lace combos 2. Both are subject to edits and additions over time.
This has become an interesting rabbit hole for me. I am sharing working notes so far while I explore and document additional textures and combinations that move me forward, making them available to anyone wishing to participate in the journey.
Several images of tuck stitch combined with lace eyelets and diagrams with instructions in a foreign language not clear enough to attempt a translation led to this first exploration of what appeared to be the most complex pattern.
The source image: 
Pubs are not always in agreement as to the significance of specific symbols. In the published chart, the black dots are assumed to indicate stitches in hold or tuck, building up loops on the machine on the associated needles, the black triangles pointing to the left and to the right, the doubled-up stitches after transfers, and the curved shapes, the place where eyelets are formed after needles are emptied.
Many of my lace posts use cyan cells to symbolize transfers to the left, magenta for transfers to the right.
Starting with a symbols chart, in DIY, one may assign symbols that make sense personally. 
Conversations with self:
A row of knitting must happen in the location of the emptied needles after each lace transfer.
Each held stitch/ tuck gather in the source image is textured enough to indicate 2 loops represented in tuck stitch by pixel units of 1 in width, 2 in height.
Transfers should occur in the same rows as the first tuck loop formation.
The next carriage pass forms the second tuck loop, with single yarn loops on the needles emptied by the transfers.
Concurrently, the double tuck loops are moved forward on needles to the knitting position, along with preselection for the next first tuck row, and for the next transfers.
Transfers are made after every pair of rows before the next carriage pass, and the process repeats, manipulating needles and their stitches as needed, while also maintaining proper needle selection.
Watch for needles accidentally taken out of work after transfers.
Bring each pair in the transfer groups out to D or E; they need to knit on the next pass.
Getting started: this is a chart that also includes a plan for beginning and ending a program on equal repeat segments, with added cells marked in green.
Charts can contain as much or as little information as to be useful. 
The tuck stitches and the transfers in the final draft are both programmed as white pixels, resulting in the corresponding preselected needles remaining in the B position. 
The swatch was planned with 2 all-knit vertical columns on each side edge.
In many tuck designs, both single and double beds, having a pair to a few stitches on the edges, can provide a serviceable rolled edge that follows the pattern movement.
Since the programmed tuck side edges here are not symmetrical in my test PNG pattern, it was mirrored horizontally using the built-in function in the 930.
Leaving the carriage set to knit for beginning selections helps to identify the anticipated placement of the eyelets.
After the pattern was established, the work on the machine appeared to provide enough clues as to stitch transfer directions to develop a rhythm in making them. 
This far “simpler” design was planned from the outset in BW pixels. 
Simplifying the automated repeat, starting in only black and white: 
all transfers are made toward the center needle in each of the groups of 5 unselected needles.
The 10X8 repeat, 
programmed on 40X16 to include knit side edges, mirrored for use on the 930. 
The emptied needle and the one with the transferred stitch are brought out to E position, making certain the center stitch, the location of the tuck loop, remains in the B position.
The result is subtle, more evident on the purl side than the knit. The swatch was knit in 2/8 wool, first at tension 7, then at tension 10, an experiment in gauge and texture.
While on one side there is a 2-stitch border, the other has 3, and the eyelets on the 2-stitch side pull in a bit more and appear smaller than those on the opposite side, something to consider in planning finished pieces. 
Using the same concept, a yet untested design chart: 
the 10X20 repeat 
and 37X20 to match the chart 
Returning to a more complex design using a spreadsheet and a different approach:
reviewing the guessed symbols in the pub at the top left, with the colored cell significance for this exploration in the center column; 
in the table, 20 rows in height, every other row beginning with 1 at the top was hidden; symbols used previously and colored cells were added, including vertical columns in grey for planned needles out of work to heighten the effect of the tuck stitches.
and then with rows unhidden, colors were added in the needed locations. 
The placement of black and white pixels began to be considered. This 20X20 effort replaces the white pixels in the third column from left with black, the purple with white for tuck stitches. Eyelet locations are marked in black as well. There remain 2 issues. When drawn in repeat in height, there is an error at the center, 
which is eliminated by extending the height to 60 rows and shifting some pixels, now 20X60
tiles without errors. 
The 20X60 repeat, without all the added black cells, can be printed and coded to suit, with added clues, perhaps even as a guide in an all-hand-manipulated version.
Transfer directions and their respective rows are annotated in this chart.
In the column with cyan and black cells, the cyan indicates tuck loops or needles brought out to hold, and the black indicates the return of those needles to knitting. 
The last consideration is that the columns with lace transfers need to be color inverted, or all those white cells will tuck. 
Unselected single white cells will then point to transfers, and the ground in their respective columns is black, with all those stitches knitting.
The swatch was planned for knitting on 50 needles with 2 stitch knit borders added at each side. 
On the machine: ladder locations > NOOW on either side of where tuck loops will form.
Depending on the location in the repeat, transfers are made to the right or to the left on the center non-selected needle between ladders and areas with expected tuck loops, which are easy to identify as the knitting progresses. 
after transfers are made, both needle involved are brought out to E position. 
More on combining lace patterning with added stitch types
Far older posts: Combining tuck stitches with lace 1,
Combining tuck stitches with lace 2 (automating them), the arrow points to operator error, both from 2015
Lace meets weaving on Brother Machines 1, 2020 
Lace meets weaving on Brother Machines 2, 2020
Lace meets FI on Brother machines 2020 
Lace meets tuck on Brother machines , 2020
Punchcard volumes offer many variations for this technique.
Both the knit and the lace carriages select needles in pattern.
It is necessary to keep in mind when planning to attempt using the published card repeats on electronic models that they advance the design with every carriage pass, while the punch card models repeat the same needle selection when the alternate carriage makes its first pass from the opposite side. To match results, the electronic repeat would need to be edited.
A sample knit on the 930:
2026
Pinterest inspirations vs implementation, tuck and lace combos 2 Pinterest inspirations vs implementation, tuck and lace combos 1 2025
Combining automated tuck patterning with hand transfers to form eyelets in vertical columns on a tuck stitch ground
For working on the single bed, the spreadsheet plan includes markings for transfers, magenta cells to the right, cyan to the left.
The repeat is 16 stitches wide, knit on a multiple of 16 needles +5.
The grey columns represent needles that are emptied and pushed back to the A position; ladders will be formed in those spaces.
The first and last stitches in each group of 5, marked with blue cells, remain undisturbed throughout.
Though the repeat could be shorter, it was tested in a 40 row height, 16X40
on 56 sts, mirrored horizontally for use on the 930, 
air knitting the preselection row: 
as hand transfers are made, emptied needles and the remainder of each group of 5 must be in or returned to the work D, or E position to form eyelets amid kit stitches on the next pass. Watch that empty needles are not accidentally brought back into work. 
Vertical lace columns and rib:
End needle selection is cancelled, as in any case where not every needle is used on the knit bed
The knit carriage may be set to select, but no cam buttons are pushed in, knitting every stitch
Needle preselection guides the transfers, as with tuck lace, proper needles need to be taken out of work, and while hand transfers are being made, watch for needles being accidentally pushed out of work, or out of work needles being accidentally pushed back into work.
A vertical column is added on each side for a knit row, aside eyelets formed by transfers, the full repeat width remains a multiple of 5. 
Programmed repeat, 38X12
The swatch needle setup with added needles in work for more knit stitches, first and last needles on the top bed: 
All transfers were made toward the center stitch, beginning consistently with the stitch on the left. The yarn used initially was a 2/20 silk/wool blend, which lost surface texture and flattened permanently with steaming and light pressing. 
The same proved true with a slightly different design using the same needle setup but with transfers on alternating sides. 
Using 100% wool yarn produced designs with a more defined texture. These knits narrow considerably when off the machine, and wool has spring back that may be diminished but not eliminated with blocking.
The programmed repeat used was the same 38X12 as in the first sample in the series.
The needle setup, first and last on the ribber
The repeat for the second test was changed to bring the eyelets a row closer together,
programmed on 38X18
A review of brioche patterning
Nearing the end of another year, reviewing previous drafts, I find myself coming across posts that were never quite completed or published.
This content began to be brought together in 2022.
The term brioche in knitting is used loosely at times in any references to tuck stitches. Designs may be worked in single colors, or with more complicated planning, they may be executed in 2 colors.
Some patterns are fully automated, with the knit carriage set to tuck in both directions, the ribber set to knit in both, others are worked as a tubular tuck, and lastly, some require frequent changes in cam settings in either or both beds.
My explorations for the use of tuck stitch settings in double bed every needle rib fabrics began with attempting to create a solid color shape on a vertically striped ground in Geometric shapes on ribber fabrics with tuck stitches 1.
The arrow marks the spot where both colors used were picked up from the changer. C1 and 2 show indicate cam setting changes used in the last part of the swatch.
Here, a simple shape was programmed, and varied carriage settings on either or both beds were explored Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages. 
Geometric shapes on ribber fabrics with tuck stitches 3 explores self-drawn repeats in multiple colors. 
Added samples and files in the subsequent post New double bed swatches based on published sources of inspiration 2 
Lace transfers meet fisherman rib in 2 colors on Brother KM 1
Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2 
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, creating the more familiar tuck rib surface.
Mac Numbers offers the opportunity to hide 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 repeat 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, 
When 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, introducing or removing stray lines or secondary shapes.
The possible cam setting options: 
In two-color brioche combined with hand-transferred stitches, the main bed is set to tuck in both directions, white cells tuck, black cells knit.
Brother machines preselect needles for the next row with each pass of the carriage, so on even-numbered design rows, as the carriage moves to the opposite side, all needles will form tuck loops on the main bed. The next row will be preselected, with some needles now back in B rather than D position.
With an appropriate transfer tool, move the stitches on the non-selected needles to the adjacent selected needle to their right after pushing it back to the B position. After each transfer, push all worked needles and their stitches, as well as 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 do not get hung up on gate pegs as stitches move across the bed, while still being loose enough to knit off properly.
Planning a fully automated design, reducing the ground, and staggering the color of the shapes. In these knits, the colors in the background form clear vertical lines:
24X44
brick repeat 24X88
tiled. 
A half-drop tiling error was revealed, 
and the file was reduced to 23X44. 
The half drop repeat 46X44 
Using the 24 stitch repeat executable on a punchcard machine as well, planning to knit the test swatch on 72 stitches, 
anticipating what will happen with color of the alternating pairs of rows forming the shapes, noting that the total number of rows is an odd multiple of 4:
adjusting the repeat to 48X40with the total rows an even multiple of 4, 
tiling check, 72X80
the stitches composing the all the shapes will knit in the same color 
The pattern, tested in thin yarns reveals the stitch structure even more. That said, the dark color was 2 thin yarns threaded on the same side of the mast. At one point, one of the 2 began to loop around needles, causing a carriage jam and a bent needle hook, hence the short height of the sample. 
Passap to Brother 6, exploring a possible tuck stitch design 
More shapes on ribber fabrics with tuck patterning, fantasy fair isle 
More designs worked on the double bed using tuck cam settings on either or both beds:
Ribber fabrics with main bed tuck patterning 1/ pick rib
Fisherman and English tuck stitch rib 1_ checks patterns_ Brother, Passap
Knitting with more than 2 carriages
Pintucks 1 vs shadow pleats
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
Interlock explorations 1
Modifying a sinker plate for use with double bed knits
Knitting with “unusual” fibers/ elastic 2
Ribber fabrics with stitch transfers between beds 2
Ribber fabrics produced with 2 knit carriages selecting needles
Multiple color drop stitch lace using img2track and more
Passap to Brother 7: more Duomatic inspiration
My early posts were often quite brief, and some of the explored techniques were never returned to despite my intentions.
A shawl tale was written in 2009.
The designs explored in this post can be found in the Passap Duomatic baby book. 
A closer look: 
My attempt at a hand technique at that time, 
and the declaration of a planned challenge, “creating a downloadable stitch pattern that will automatically select appropriate needles and duplicate this texture.” It only took 16 years!
The pattern chart: 
on the Japanese machines, the beds are reversed. 
The back bed = ribber in our case, is set to knit every row.
Locks is the Passapese for carriages.
Many patterns can be achieved by lock settings and arrow keys without added programming. In Brother machines, a small cousin of the function is found in the use of lili buttons.
When an arrow key is pressed, it tells the Passap machine to engage the pushers. Depending on the direction of the movement of the locks, the pushers will be lifted or pushed down. Their initial position is set up manually.
The left arrow key changes pusher selection when the locks move to the left.
The right arrow key changes pusher selection when the locks move to the right. Use of both arrow keys simultaneously will change the pusher selection every row.
With the Zero key, no arrow selected, the pushers do not change their position on that pass, repeating the selection.
Pushers preselect for the next pass, as happens with needle preselection in Brother.
AX is the tuck setting for Passap, pushers selected up knit, selected down tuck.
When setting up these patterns, it is best to have a needle on the ribber on each side, not observing the usual “needle rule” for rib knits.
When working on both beds, the default illustrations have a space > dot between needles in work to permit the illustration of needles between them on the opposite bed, so the chart is not for an every other needle design. In this instance, stitches > needles in work occur in pairs on the top bed.
Programming the repeat: the first pass will knit or tuck alternate pairs of stitches.
The needle selection then stays fixed for 3 rows and reverts to the first selection, a 4-row design. Stitches will be tucked side by side, breaking another common rule.
The ribber needles in this case are extra, not transferred down to the ribber from the knit bed as in some of the fabrics recently explored in other posts.
They are brought into work between pairs of knit stitches on the top bed, represented by the red lines in this chart.
Because of their location, the ribber should be set for half pitch.
With use the beds can shift, for tips on ribber alignment please see post:
A bit on ribbers: Japanese KMs, alignment, and symbols 1.
The stitches on the ribber are outlined with cyan, the triple tuck loops as those needles are brought forward on the knit bed for knitting with white. 
The proof of concept, programmed on 46X24: 
The darker color was thicker, knit well, but since this was a test, seeing stitch formation while checking for accuracy mattered. Testing the pattern on the knit bed first determines any problems with the design before the ribber is brought into work, limiting visibility as the knit progressed.
The same repeat, with stitches transferred down to the ribber, leaving empty needles on the top bed, knit on every other needle with 2/8 wool, produced an interesting texture, but quite a narrow knit, 3.5 inches wide. 
Racking on EON rib: some considerations.
A different design, with the repeat cut in half widthwise for a more traditional tuck stitch configuration,
also with stitches from the ribber between stitches on the main bed
a knot in the yarn knit right through and was missed, easy to do when working double bed if the yarn travels with no hesitation
This design uses a simple racking pattern, easy to execute in thin yarns, but not as impactful. 
In Brother the ribber performs the racking movements.
Both beds are set for plain knit.
The needle set up is on half pitch.
Cast-on for the test swatch was with the racking position starting on 8, with the plan to rack to 10, knit 2 rows, rack back to 8, knit 2 rows, and repeat, performing all position changes with the carriages on the left.
The yarn used is a 2/18 wool/silk blend that resisted the technique regardless of tension and weight adjustments, and began breaking, but there is enough knit to visualize the result. 
Pattern 2053 
is for reversible checkerboards that use tuck settings on both beds,
The strippers in the Passap system help push down on loops and knit stitches, anchoring them in a way simply not possible in Brother models. Even if a choice were to be made to push down between the beds with a hacked tool, the Brother needle preselection renders that impractical.
The concept behind the Duomatic version is then switched to automated patterning with the tuck setting on the main bed, and the ribber set to knit every row.
The two rows with one arrow key result in the repeat shifting locations by repeating the same selection, as seen in this chart
The 8X40 design was knit on 48 stitches, these knits are quite wide, loose bind off are required when the pieces are completed.
Each sample knit measures 11.5 inches in width.
Where 4 side by side needles are tucking for four rows, the stitches on the ribber may have a tendency to jump off, resulting in loops not being anchored, so those areas require special attention. The proof of concept for the above repeat in one color and then with color changes every 2 rows
More variations including racked ones are explored in Fisherman_ English tuck stitch rib 1_ checks patterns_ Brother, Passap.
Revisiting double bed knits with stitch transfers between beds
A reminder for Brother machine users. When automating any pattern by programming the top bed, if there are any needles out of work, end needle selection must be canceled, or stitches on either side of the empty needles will knit, not tuck, slip, or knit in the proper color, altering the planned design.
This latest repeat is worked using hand transferring stitches at regular intervals between the main bed and the ribber.
To facilitate tracking, the transfers were executed every 10 rows with the guidance of a marked-up, custom-printed needle tape.
The knitting can begin on the top bed with waste yarn.
Even weight is needed for the stitches to form properly.
The ribber is set to full pitch, P > point to point, during the knitting of the piece.
It is possible to start on waste knitting and to use the ribber comb for an open cast on the top bed.
Alternatively, the single bed comb may be used, with ribber weights evenly spaced apart on it before transferring stitches down to the ribber, or a ribber comb may be poked through the waste knitting evenly, followed by the addition of weights.
1: the initial needle transfer set up, on a multiple of 7 stitches +2. The cells marked with red on the tape represent stitch groups that are never returned to the main bed during the knitting of the piece
2: the transfer set up for the first 10 row group
3: the transfer set up for the alternate 10 row group.
The first and third images from the left show the piece when first removed from the machine, and the other pairs show the swatch after steaming and pressing. The yarn used is a 2/8 wool. Since the fiber has memory, it retains its spring back after blocking and resting, but with some loss of the 3D effect.
Man-made fibers and some natural ones would flatten completely and permanently with pressing/ steaming. 
When testing pattern design ideas that require few needles in work on the ribber, it is possible to cast on the single bed, weigh the knit evenly, and transfer or bring needles into work as needed.
The ribber cast on comb can be used to cast on the single bed using the ribber arm, not the single bed sinker plate.
Doing so, EON (every other needle) on the first row, followed by bringing the remaining needles into work before the next carriage pass, matches the EON e-wrap cast on single bed and allows immediate use of the ribber weights.
Arrangements on the machine for the first pair of samples.
Working with cell repeats in spreadsheets serves as an aid in plotting out the required actions before committing to a design and reproducing the chosen file in BW mode.
In this instance, the needles represented by the yellow cells were transferred down to the ribber first, with the empty needles pushed back to OOW (out of work), A position.
A row was knit, and then the ribber needles represented by the orange cells were brought into work to complete the ribber needle pairs.
The ribber pitch can be in P for straight transfers, but needs to be on H when there are needles side by side with those on the top bed.
The knit carriage is set to tuck in both directions.
As in any case with NOOW on the top bed, end needle selection is canceled to preserve the pattern.
This first 8X14 design repeat is usable on punch card models as well as electronic ones, and produces horizontal striped effects.
The needle arrangement on the machine:
The appearance of those side-by-side stitches on the ribber forms columns that are quite different than those achieved by transfers to the ribber that match in numbers to needles emptied on the top bed and taken out of work there.
The half drop, 16X14 version. 
Breaking the tuck rules of side-by-side loop formation: 
The needle arrangement on the machine for the 11X24 repeat 
in half drop, 22X24
Tuck lace published designs may be used, instead of taking needles out of work, transfer needles in those blank vertical column locations down to the ribber. 
The 24X48 PNG tot pattern #620
A few of the previous experiments and samples in double bed knitting with stitch transfers between beds, at times only once, at others in repeating pattern blocks.
Knit and purl blocks to create folding fabric_ “pleats”
More fabrics with knit bed tuck patterning
Unconventional uses for punchcards 3: lace in rib
Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2. 
Ribber fabrics with stitch transfers between beds 1
Slip stitch patterns with hand transferred stitches, double bed
Brother shadow lace, rib transfer carriage 
Combining knit carriage needle selection with racking 
More to explore
Transfers between needles on either or to and from both beds
Double bed embossed patterns
Bowknot aka butterfly or dragonfly stitch in more than one color
Slip stitch patterns with hand-transferred stitches, double bed
Ribber fabrics with stitch transfers between beds 1
Ribber fabrics with stitch transfers between beds 2
Origami-inspired 2: more pleats and folds using ribber
Pleats: ribbed, folding fabrics
Lace transfers meet fisherman rib in 2 colors on Brother KM 1
Alternating color tuck stitch shapes on striped ground
The post Single bed tuck and slip stitch fabrics 1 reviews some of the differences between the two stitch types, and the characteristics of appropriate pattern repeats.
Single bed tuck and slip stitch fabrics 2: adding color introduces visualization and samples, executing both with frequent color changes while Visualizing maze or mosaic potential from tuck or slip stitch repeats begins with designs that are already developed/published and constructs the visualization of the potential results with frequent color changes.
DIY repeats bring together approaches and ideas developed over time.
A color separations post published more than a decade ago, first looked at achieving this design repeat using Excel, 
and the topic was revisited this year in Revisiting old color separations, testing present software methods, leading to present testing of the concept using the same software tools to produce a tuck knit pattern with alternating color shapes while observing the conventional tuck stitch rules.
In this case, if each color is to knit tucks for 2 rows, then it must be represented by cell units that are formed in single width, and 2 rows in height/ across each pair of rows.
Using only BW pixels, the process began with a 13X26 PNG
doubled in height to 13X52, 
redrawn on a larger canvas, to 14X56
using ArahPaint drawn in half-drop repeat, offset by 28 or by 1/2 using the pull-down choice. 
28X56
Relatively small designs are easy to manage.
A first alternative: in one half of the repeat, erase or fill in with white the first 2 rows of black squares in the design, while in the second half of the repeat, do so with rows 3 and 4,
and test alignment by drawing the design in repeat.
Visualizing placement of tuck stitches on striped ground:
1. the original repeat
2. the revised repeat
3. the striped ground in any chosen colors
4. #2 with white color to alpha copied and pasted on #3
5. in any final knit when programming the design, the black cells in #4 need to be white for tuck stitches, and the ground a solid black.
Both #4 and #5 prove that held stitches/tuck loops in both colors are not represented together on any pair of rows. 
A second alternative uses ArahPaint on half the repeat at a time to allow for the 2-row upward shift between designs
1. adjust the grid width to 14, providing a vertical guide along the vertical midline
2. fill a 14X56 new image with a first 4-row brush
3. copy and paste it on #1 right, after rendering the green color in 4 transparent
5. a new 14X56 image filled with a second 4X4 brush
6. copy and paste it on #4 left, after rendering the magenta color in 4 transparent
7. the final repeat
The test knit repeat, 28X56, is centered in a 60X56 canvas with an added two-stitch vertical border on each side; end needle selection is canceled. 
The repeat may be used as is. To meet tuck rules, it then must be color reversed using the machine’s appropriate button after downloading, or color reverse the PNG before saving, and use that as is. 
The change to the second lighter color yarn was made to facilitate the ability to visually check the proper formation of stitches on the purl side during the test knitting of the swatch. 
The repeat may be reduced for use in punchcard models.
and is drawn in repeat to obtain the brick configuration on the left, and then the software tool is used to find the single 24X48 repeat on its right.
The colored chart visualizes the placement of the tuck loops on a 2-color striped ground.
Punchcard knitters may mark the black cells and follow with punching all other squares, as indicated by the black cells in the chart on the far right.
24X24 PNG before the color separation for electronic knitting, before color reversal, 
and after it. 
It is possible to use the punchcard reader to repeat each row twice. The 24X24 version of the separated repeat,
however, would need to be punched twice to accommodate the length necessary for the card to roll properly continuously, so not labor-saving.
Punching as required without added adjustments, such as using elongation, can make it easier to correct any errors during knitting.
Exploring the appearance of a smaller repeat by comparing results using the same yarns:
16X24 
color reversed and tested on 48 stitches, 48X48 PNG
The repeat may be made usable for a punch card machine by spacing the design to 12X24 stitch vertical segments and punching the white ground. 
The addition of a few pixels forms continuous shapes. 
The design drawn in repeat and color reversed for test knitting on the 930, 48X48 pixels, 
results in appearance and movement with a change in colorway, with more 3D texture than appears in the images.
Tuck and garter stitch: from hand knit to machine knit 2
I don’t usually write posts narrating in the first person, but here I am making an exception.
At the end of 2015, I attempted to reproduce a free hand-knit pattern shared and published on the Purl SOHO website and on Ravelry 
on the machine, and the related test swatch was a whopping 9 stitches wide.
At the time, I used the hold setting in the knit carriage to form alternating loops.
With my bulky now set up again, I wondered about a different approach.
The necessary loops can form with the use the tuck <-> setting.
The carriage needs to be on the side where the yarn is available on every pattern row before following carriage passes.
Using the hold button to bring the carriage to the opposite side after turning the work over would require all needles to be in the E position, making consideration for needle manual preselection for 2 positions necessary.
For this swatch, I chose to take the carriage off the bed and move it to the appropriate side as needed.
The knit carriage can perform tuck or slip functions without the addition of automatic patterning.
Needles hand-selected to the D or E position will knit; any remaining in the B position will tuck.
In this instance, colored cells in the chart represent D or E position needles, and white cells represent needles in B.
The repeat is an odd number of needles in width, 6 rows in height. 
The work is turned over after selecting and knitting rows 1 and 2, 4 and 5, but not after rows 3 and 6. The only row that knits with the carriage starting from the left is row 6.
Tools that can increase speed: any flat, hard-edged one to push groups of needles forward or back, in this case, my single bed cast-on comb, one to facilitate every other needle selection, and a bulky garter bar.
The bulky machine was equipped with a single bed cast on comb. I do not find it pleasingly useful, and resort to the single bed one if needed.
The yarns I initially chose were painfully prone to splitting, helping to expand my use of expletives.
Once I found a more manageable yarn pairing, the actions became rhythmic as the piece grew in length.
My hack for evenly distributed weight and stitch management was to use the standard cast-on comb poked through some waste yarn, with the addition of a small ribber weight placed in the center hole. Both were left on throughout the process. 
When it was time to use the garter bar to turn the work over, with all the needles pushed out to the E position, it was easy to tug down on the comb and pull the knitting forward on the bed after checking that all the latches were closed and that the grooved side of the garter bar was facing up.
If some of the stitches are not moved properly and the work needs to be pushed back for another attempt, some eyelets of the garter bar may be stuck behind any closed needle latches and cannot come past them. Push the bar further back, make certain all latches are open, and it will then be able to move past them.
With the yarn removed from the carriage, the work can then be turned over.
With all needles in the E position, check that all latches are open, and replace stitches in the needle hooks.
After checking visually that the yarn is transferred properly and present in all needle hooks, the bar is shifted forward, free and away from both. 
It is possible at that point to use the straight edge to push the needle butts back to move all the needles/ stitches back to the B position, 
and then to pull down on the bar to remove it.
The carriage is brought to the opposite side, yarn is returned to the feeder, needle selection is made, and knitting continues.
The proof of concept: