Category: Tuck Stitches

More on combining lace patterning with added stitch types

Far older posts:  Combining tuck stitches with lace 1,knit swatch Combining tuck stitches with lace 2 (automating them), the arrow points to operator error, both from 2015
mylar_purl1Lace meets weaving on Brother Machines 1, 2020 Lace meets weaving on Brother Machines 2, 2020Lace 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 930:2025
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, 16X40on 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, 38X12The 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 1Lace 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 24X88tiled.

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, 72X80the 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

IN PROGRESS

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 beda knot in the yarn knit right through and was missed, easy to do when working double bed if the yarn travels with no hesitationThis 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 chartThe 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

IN PROGRESS

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, 22X24Tuck 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 #620A 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 patterningUnconventional 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 1Slip stitch patterns with hand transferred stitches, double bedBrother 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 PNGdoubled in height to 13X52, redrawn on a larger canvas, to 14X56using ArahPaint drawn in half-drop repeat, offset by 28 or by 1/2 using the pull-down choice.    28X56Relatively 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 brush3. copy and paste it on #1 right, after rendering the green color in 4 transparent5. a new 14X56 image filled with a second 4X4 brush6. copy and paste it on #4 left, after rendering the magenta color in 4 transparent7. 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 PNGThe 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 beautyberry-blanket-600-12-315x441on 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:

New double bed swatches based on published sources of inspiration 1

From Dubied pattern books, more info and designs in Cross brand pattern interpretations: Dubied to Brother
1: matching needle set up
2: stitch positions after racking to the right
3: stitch positions after racking to the left
These images illustrate the differences produced depending on the number of rows knit without racking: four on the left and 2 on the right. The knit is reversible, is lightly pleated, and lies flat. In this swatch, no rows were knit between racking sequences.   A pattern that requires no cam changes is knit in tubular tuck stitch, using opposite buttons on the knit bed and ribber. The starting size matters in this case to allow for the use of the color changer every 2 rows. Knitting begins on the left, using the settings shown on the left.    My third color, white, was knit in plain ribbing, would be too narrow if used in a final project, and, if used, should be knit using the same settings as the remainder of the knitting. This pattern requires more interpretation, as seen in the blue text notes. The knit bed may be programmed, thus automating its functions. The repeat as suitable for punchcard models, 24X36 the corresponding PNGand proof of concept, knit on 40 stitches, testing a one stitch knit vertical border on the left side, and 2 stictch one on the other. The 930 automatically mirrors the design.

The needle arrangement visualized in a spreadsheet;    in abbreviated form:
the program for the top bed, 24X36, usable on punchcard models the swatch repeat, 53X36the starting setup on the machineThe knit bed is set to tuck in both directions, (44 needle images taken during knitting the 2/8 swatch) all black pixel rows will form knit stitches.
When pairs of rows with non-selected needles occur on the top bed, the ribber is set to knit, the tuck lever may be left in the up position. When all needles are selected on the top bed, the ribber is set to tuck A closer look at the structure on the knit side
The revisited design was knit using a 2/8 wool, knit at tensions 9 on the main bed, 7 on the ribber, resulted in a wide, soft, drapey knit with improved stitch definition; 44 stitches measure 9.25 inches in width.Slip stitch designs, beginning with “ripple stitch” sampleUsing a spreadsheet to plan racking sequences and respective row numbers:the repeat is 10 rows in height
1-5 the knit carriage is set to knit, the ribber carriage is set to slip in both directions for 5 rows, marked with yellow cells
rack by four positions at once. The yarn and tension will need testing to allow for that much movement and for knitting the next row without yarn breakage or carriage jams
6-10 set the ribber to knit, knit one row
rack by one position every row X4, returning to the original position
set the ribber to slip in both directions again, repeat the 10 rows.
Following the charted sequence, set up with 3 needles only on the main bed on the right. As the sequence is completed there will be three needles on the knit bed on the left. The original needle setup is restored with return to the original racking position. The proof of concept knit in a 2/20 wool An easy racked pattern in 2 versions and with slightly different needle arrangements began with
the planned sequences in series with change in direction every 10 rows.A punchcard machine can be marked with the row # to help track positions.
The inspiration:Full cardigan is a tubular tuck, using opposite tuck/knit buttons. As one bed knits every stitch, the opposite bed will form loops on every stitch.
The yarn used is a 2/8 wool. The first test was knit on an every other needle rib The second test matched the needle set up in the manual, but was knit in half cardigan, not full, with only the knit carriage set to tuck in one directionA version of Brother block racked designs from the Ribber Techniques book uses the top bed to knit every row, with the ribber set to tuck to the right and knit to the left.Reversing the racking sequence in direction results in some biasing of the stitches, not as evident in the swatch photo in the manual. That feature can actually be used to produce 3D projections.

Cumulative racking references
Cross-brand pattern interpretations: Dubied to Brother 
Double bed embossed patterns 
Origami-inspired 2: more pleats and folds using ribber 
Racking on EON rib: some considerations 
Racking mechanical handle repair saga 
Racked patterns 5: Passap/Brother 2 
More dragon scales and chevrons in ribbed, racked (4) fabrics 
Racking: Passap/Brother 3
Fisherman and English rib checks patterns, Brother and Passap
Ribber fabrics produced with 2 knit carriages selecting needles 
Combining  knit carriage needle selection with racking 
Vertical racking 3: automating half fisherman in pattern (2) 
Racking 2: vertical chevrons/ herringbone + 
Ribber pitch, a bit on racking 1:  chevrons/ horizontal herringbone
Unconventional uses for punchcards 1: tracking racking positions
Racked ribber cast on 

DBJ based on repeats in my previous posts:
Combining patterns referenced in  previous blog posts
60X58180X174a single DBJ block with birdseye backingAnother striped block variation and the corresponding swatch can be found in the post on  Developing tiled repeats suitable for multiple stitch types, including tuck
in the same post, knit as single bed FI but also suitable for DBJ, 30X30with all those dots removed, knit as DBJ
Ribber fabrics with main bed tuck patterning 1/ pick rib explored a range of such designs, this version adds taking needles out of work on the main bed after the stitches on them represented in the groups of 3-cell white vertical columns are transferred down to the ribber
the starting repeat, 22X34was tested on 58X68 stitches Narrow vertical columns of all knit stitches on both side edges worked on 3 or more needles on either of the two beds can form a functional rolled edge finish on double bed knits.

More fabrics with knit bed tuck patterning

WORK IN PROGRESS

Punching cards for tuck patterning involves lots of holes. Punched areas knit, unpunched ones tuck or skip selected needles.
There are many ways to experiment with color changes, sometimes in yarns of different thickness, using familiar repeats such as this punchcard design. In this test swatch, the red yarn is a 2/18 silk/wool blend, and the thinner a blue polyester serger thread that forms a bubbly surface on the knit side. Colors were changed every 8 rows. The programmed electronic repeat including a knit stitch border at each side edge, 61X16 This 12X42 configuration is typical, with tuck shapes forming on a knit ground;   replacing knit areas with alternate tuck patterning,  a larger design, 24X54 rendered double length, 24X108When colors are changed every 2 rows, the result is very different than the maze/mosaic effects sometimes formed when using combined knit/tuck patterning A decade ago, Ribber fabrics with main bed tuck patterning 1/ pick rib
introduced this fabric, which lies flat and, depending on yarn choices, can appear to produce eyelets and has a soft drapeWhen combined with planned needles out of work, some patterns will form what are sometimes referred to as mock aran designs. This first repeat is built with simple blocks. The all-white vertical columns represent areas where needles are transferred from the main bed to the ribber. The tucked main bed areas shorten and widen the transferred stitches, pushing them apart and forming vertical “waves”.
24X24The resulting knit is narrow and retains its 3D quality if wool is used, but acrylic or blends and some natural fibers will flatten permanently if pressed.
The proof of concept worked on 60 stitches:
A “fail” of sorts, a diamond shape was tested. To start with, I ran out of the first yarn. There were some rough spots in the ribber-stitch formations. When steamed, the vertical knit columns flattened at the center while outlining the ruffled edges, which may serve as edgings. When searching for tuck aran online, all finds include single-bed patterning, where tuck/knit stitches create narrow vertical columns between the larger designs. Often, the pieces pictured are blankets produced on 9mm KM models. Fewer versions bring the ribber into play.
Punchcard repeats may be knitted as published on electronic machines or altered to suit.
A straightforward approach to double bed experiments is to use designated tuck lace cards and transfer any stitches on needles marked to be taken out of work down to the ribber.
Variations can begin with designs commonly found in cards supplied with new machine purchases.
In these first two samples, knit stitch blocks alternating with tuck stitch ones aim for a wavy expansion of the rib columns while keeping the 24-stitch card constraint. The 24X20 PNG was knit on 61 stitches, with a single ribber stitch border on each side. The 24X20 repeat may be punched in height X2 for use on punchcard models. The 24X20 PNG. The swatch was knit on 62 stitches, with a 2-stitch rib column on each side. It was not possible to use a tighter tension on the top bed while keeping the stitch formation error-free. Moving from card repeats to electronic ones frees one from width 24 stitch repeat constraints, as seen here:
Card #3 is contained in most with purchase KM punchcard models. Using the basic repeat, the chart shows varying the original while
making it outside the range of execution on punchcard models. The 10X24 related chart and PNG,

The repeat used for the swatch, including planned transfers to the ribber, is 63X24    the The yarn used is Merino wool. These knits narrow and lengthen when removed from the machine.
Working with blocks of patterning, a 24X32 design.  The all white pixels/unpunched squares indicate areas where the stitches are transferred down to and up from the ribberCancel the end needle selection since there will be needles out of work on the top bed.
When transfers are made to the top bed from the ribber, the needle selection needs to be maintained and is easy to recognize.
The swatch was knit in in a 50/50 blend of silk/wool, was far narrower and more 3D, light steming flattened the result considerably and permanently. ….
From a Studio punchcard volume, the corresponding PNGs
1: 24X44,2: 24X48,3: 24X48,4: 24X48, and mirrored patterning from the StitchWorld III Brother Pattern Book, 146X32Beginning with the 24X44 #1 pattern, variations adding stitch transfers to ribber:  a 24X32 repeat
planned with knit bed tuck stitch vertical borders on each side, 62X32 A second variation: the PNGthe 63X32 swatch repeat also planned with knit stitch borders on each side the resulting swatch Using repeat #2the 24X48 PNGthe swatch repeat 59X48 Small changes can easily be made in knit bed pattern areas to make the result more personal.

A 31X48 electronic variation combining elements from the inspiration repeats was knit single bed on 70 stitches, 48 rows with an added knit stitch programmed at each side edge the yarn used is a 2/18 wool silk blend, accounting for some of the differences in shading and light sheen. After steaming and light pressing, there was some loss of the 3D textures. Assorted single and double bed patterns with needles out of work, NOOW:
Tuck lace trims and fabrics 2
Tuck lace trims and fabrics 3
“Crochet” meets machine knitting techniques: tuck lace trims and fabrics 1”
“Crochet” meets machine knitting techniques: tuck lace trims or fabrics 2

Playing with diamond and argyle repeats

More than a decade ago, I began a library of Hound’s tooth FI variations
that grew over the years. When I began publishing posts sharing my repeats was limited to screen grabs of the related charts. Since then I have been editing, adding PNGs that can be downloaded and used in electronic machines, or charts may be also downloaded and scaled as aids in marking punchcards.
Recent questions on argyle patterning have led to this post, which will grow periodically.
Many of the related designs form floats wider than the recommended maximum of 5 stitches and will require some float control unless they are knit as DBJ.
Some repeats are also suitable for use as thread lace or with tuck and slip stitch settings.
Elongation in some knitting techniques is to be avoided if possible. In some of these instances, multiplying the height of the original repeat X2 produces the more visually familiar argyle shapes.
Repeat segments can be edited to develop custom variations
16X16tiled16X17 tiled 16X34 tiled 16X32tiled 16X20 tiled 16X4018X40
tiled 20X28 tiled 20X40tiled20X56 tiled24X24tileddouble height, 24X48tiled24X24tiled24X40tiled24X4424X4424X44
tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48tiled24X48 tiled24X60 for border or horizontal bands of design trimmed to 24X52 for all-over patterning 24X96
tiled24X96  tiled 32X44tiled 32X64tiled36X80tiled42X32tiled Passap 257 40X4040X80Working in multiple colors and color ways beginning with colors >invert all
22X2222X4436X3636X72 32X32
32X64A coloring book approach can be used to develop DIY designs by filling in segments in any repeats provided expanding the color palettes, or creating custom-sized diamond outlines and filling in individual shapes between lines with colors.
Beginning with a 24X48 design   visualization of patterns becomes easier on a larger canvas than one simply doubling the original to 48X4896X96the smallest repeat segment, 12X24 for quick color changes to custom A 24X48 repeat with all white outlines for filling in shapes reducing the number of colors shifting shapes: 12X48It is possible to form related shapes with hand-transferred stitches, as seen in Using punchcards to track small cables in pattern (1)

 

 

New single bed swatches based on random sources of inspiration

I have had requests for detailed tutorials or videos on specific older samples.
The most recent posts on any stitch type do not offer detailed instructions; blog searches lead to the historical development of the designs and offer additional information.
The blog index allows for browsing by topic and offers direct links. That said, it is due for an update with the latest blog topics.
Proof of concept swatches usually follow the associated repeats.
A reminder, most are knit on Brother km models and rely on its preselection feature, absent in other models, ie. Studio. Using the provided punchcard repeats to automate needle selections may require more than just shifting the starting row number to match the results.
I endlessly encounter new sources of inspiration, adding them to the stack of saved stitches to explore, and reviewing old posts can also spark new ideas. A previous series of single bed work: Swatches based on adapting random online published repeats

This post will not be restricted to any stitch type but will include knit structures that currently attract my attention.

Tuck lace: all white columns correspond to needles out of work.
Sometimes, subtle effects are enough; here, EON is taken out of work. The punchcard repeat is 24X36. The swatch was knit on 63 stitches that included 3 knit stitch borders on either side.
The setup on the needle bed. The yarn used in the bottom was a 2/13 wool, the top a 2/8. This chart illustrates a 24X40 repeat suitable for punchcard models.
Although the minimum repeat segment suitable for electronic models is far smaller, I prefer to program based on the full number of stitches in use on the knitting machine and add row height to reduce the number of beeping reminders.
My 29X50 swatch repeat, including added side border knit stitches repeated twice in height, knit in 2/18 wool.  In the design, the yarn tucks for 4 rows, generally the limit for loop tolerance on 4.5 mm machines. The number of tuck loops can be reduced if planning to test thicker yarns, such as in this 3-row version.   Using 4-row tuck designs and adding wider NOOW/needle out of workspaces: the 3 stitch NOOW columns are represented in this punchcard 24X40 repeat chart by the pale green vertical columns.
The placement of the needles required to be in work may depend on which model knitting machine is used.  The swatch was knit on 51 stitches, with added all-knit 2-stitch borders on each side. Returning to an EON setup: also suitable for punchcard machines, the 24X40 chart shows NOOW placements and locations for potential color changes   The PNG for the test single color swatch, including 2 stitch knit columns on both sides, 63X24the test adding the second color; gentle blocking helps retain the 3D quality of the surface on the knit sideThe last swatch in the post on Building more textures in needles out of work spaces was executed with hand manipulation using short rows, following this charted concept. Frequently, more rows may be tucked with manipulating needles than with automatic pattern selection. The design was automated, reducing the tuck loops on any needles to no more than four.
The proper needles must be pushed back out of work to produce a successful automated tuck lace knit. Depending on the machine models, the proper needles must be pushed back out of work,  ie, 930 vs punch card, the design may be automatically mirrored horizontally.
The working chart was developed in a spreadsheet. The 24-stitch repeat may be used in a punchcard machine a 24X16 PNGmy programmed 51X16 repeat ensuring an all-knit vertical border on either side, the working needle arrangement the proof of concept using only one color and changing colors every 4 rows

Slip stitch textures
As the slipped stitches elongate, those horizontal striped areas become slightly distorted. Only one color will form floats on the purl side with each pass of the carriage, not two as in FI, making for a softer, less dense knit.
The FI initial design repeat, 10X8visualized in a potential color-way Color separated for use as a slip stitch design using method described in other posts.The last 10X8 result is rendered twice as high for use with color changes every 2 rows, the 10X16 single repeat checked for alignmentsThe proof of conceptThere are many ways to automate folds, including selecting the same needles for skipped stitches.
The rule of limited height of the vertical white bars does not apply.
The yarn creating the elongated slipped stitches must be strong enough not to break.
Single bed tuck/ mostly slip stitch fabrics 3 included this chart and sample for deep folds interrupted by plain knit horizontal bandsits 30X84 repeat Applying the concept to a more overall design the 47X72 PNG the swatch knit on 71 stitches, using a 2/8 wool and a lone variegated sock yarn ball from my ancient stash Using repeated slip stitch blocks to produce folds and rufflesIt is possible to play with taller color stripes or other DIY variations.
Selective weighting and adjustments in yarn thickness and tension may be required to “make things work.”
The yarn lengths between returns to specific colors may need to be cut and woven in.
The hand manipulation involved is often referred to as ruching.
“Winging it”: the test swatch was knit using 2 rows of white and 6 rows of each color on an even number of stitches, the work in progress on the machine the result For more deliberate placements, the color changes and locations for lifted stitches can be planned in a spreadsheet Single bed tuck and slip stitch fabrics 2: adding color
included this image from a Japanese Studio magazinein executing it, although the electronic repeat does not need a row adjustment, there are other factors to consider.
The Brother color changer uses numbers rather than letters.
This is the design plotted in a spreadsheet, the 10X22 corresponding PNG color reversed for use with tuck patterning instead of using the button available in the machine the programmed PNG for the proof of concept swatch, 48X22The color changes are not in a sequential order, and there are lots of yarn ends to weave in or disguise in a final project. The surfaces have more of a 3D quality than if knit using the slip stitch setting. Fair isle repeat from the post on  Developing tiled repeats suitable for multiple stitch types, including tuck also suitable for DBJ, 30X30a new design, angled lines replacing dots, 18X16
14X12planned test as single bed fair isle, the recommended maximum for float width is generally across 5 needles, here some are across 7, marked with colored cells. Depending on the yarn used, end purpose, and personal preference, they can be left alone, secured in a variety of ways, or switch to DBJ Adapted from a weaving draft, 36X27 knit with some of the longer floats chained up during knitting on the purl side..