Category: Tuck Stitches

Ribber trims 2

This is an illustration of the #3 frill from the Ribber Techniques Book:

1. COR: knit a zigzag row to left, hang comb and weights, no circular rows2. knit second zigzag row to right3. transfer stitches as shown 4. knit to left 5. knit back to the right repeat steps 3-5 to the desired height

For another variation, knit 4 rows rather than 2 between transfers. My yarn is still a 2/24 acrylic. The trim would look quite different using a thicker yarn or even simply a tighter tension. I continued in rib. Ribber stitches could also be transferred to the top bed for continuation in stocking stitch In theory,  it is possible to knit lace transfers in Brother by dropping the ribber bed enough for the lace carriage to move across the beds while clearing the gate pegs. This remains on my “try someday” list. To my mind, hand transferring remains the best way to deal with lace/ ribber stitches combined.

Tuck patterns on the main bed (or slip stitch) designs can be used to automate and create patterns where holding is recommended in some sources ie. For a punchcard machine, the repeat must be a factor of 24 in width ie. 6 or 8, or  12 stitches wide. Electronic knitters can draw a single repeat, either the one on the left also using color reverse or the one on the right. Punchcard knitters need to punch the grey squares on the right across the card and repeat it in height. An extra all-knit row needs to be added at the top of each series of 4 rows tucked for the loops to be knit off automatically by the machine. Step 4 in the techniques book, resetting the main bed to N to knit a row after every 4 rows in a holding pattern is missing in their illustration above. The punchcard repeat: punch each grey square to match the illustration A few to try,  shown in repeat X2, as BW gridded .bmps,  and with the color reversed for knitting.  All but one are  12 stitches in width, suitable for punchcard machines as well Too much black? want to count those black squares more easily? pick your preferred grid color, it will disappear when the image is saved A screen grab from my iMac shows the original charts and the resulting single repeat .bmps after working in GIMP, ready for download with color reverse option and use on the electronic machines. Ayab knitters, in addition, would need to program the repeat in width to match the number of needles planned for use in the piece

Ribber trims/edgings 1

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

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

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

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

The latch opening plate use and installation

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

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

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

A previous post on checking ribber alignment 

Tuck stitch/ combination fabrics

I am presently attempting to knit my samples using a 910 with an EMS kit Ayab interface. When possible I will provide punchcard, electronic, and Ayab repeats for each.

White squares in the first chart represent tuck stitches, the dark blue row, the pass that knits every stitch, the lighter blue the pass that knits and in turn drops every stitch. The main knitting is happening on the top bed. Loops and dropped stitches are formed on the ribber. This pattern is not suitable for use with color changer since patterning for each of the 2 repeat segments occurs over an odd number of rows (7 each, for a repeat total of 14). Punchcard knitters repeat X 3 in height, electronic knitters use only one of the 2 repeats, outlined in red.
Preselect the first row of the pattern from either side on a punchcard machine or an unaltered 910, from left if using ayab.
*With the KC set to tuck <– –>, the ribber set to slip <–  –> knit 6 rows. The last row will be all knit (darker blue).  Cancel slip on the ribber carriage, setting it to knit  <– –>
knit one row on both beds to the opposite side (lighter blue, preselection will happen for the first tuck row in the next sequence). Disengage the ribber carriage still set to knit from the KC, take it across the ribber bed to release the loops. Reset the ribber carriage to slip <—->
move the carriage back to reconnect with the KC. ** Tuck sequence begins again. Repeat  * to ** ayab repeat for 30 stitch swatch, requires color invert the same repeat, not requiring color invert after loading into software tuck fabrics are usually more interesting on their purl side  Tuck stitch combined with lace transfers
large scale mesh 
 large-diagonal-eyelets

Ribber fabrics with main bed tuck patterning 1/ pick rib

I have often wondered where the pick rib name actually originated. The stitch has also been referred to as punch-tuck-rib by Studio, and simply tucking pattern by KR by Brother. FB shares by others in the MK group may explain the origin of the pick rib name in part. The manual for the SK 101 mentions the single bed pick stitch and explains the difference between tuck and pick.
It appears as though pick knitting, in this case, is what we have come to know as knitting using the hold position combined with hand selection of needles. Since the illustration is for a Studio machine, Russel levers are mentioned. They allow for holding stitches in one or both directions.
In Brother, holding works in both directions by default. D needle position in Studio is the same as E position in Brother, where the letter C was skipped when alphabetizing needle positions markings on the metal bed in machines I have been familiar with. That said, models dating back to the 50s such as the Brother 550 did use 5 A-D positions rather than the later standard 4. C was intended for use with the “picker  Position C: multi-pattern. To obtain needle position C, raise the needles to E and then return them to C by having the picker shifting from left to right so that the stitch rides on top of the closed latch. This position is used for shaping polo, round, square, and V neck, for berets, doilies, and in certain patterning. It appears as pickers were removed from knit carriages, so was the needle position C marking on the needle bed.
The identical pattern in later model machines may be produced by using the tuck setting. The image below shows the punchcard partial repeat and the isolated electronic repeat for use with the tuck setting. An early needle selector to help speed up the process  The Knitmaster 302 was an early pushbutton model The knit carriage appears to use “pick” as the name for what is now more commonly knows as the tuck setting. A downloadable punchcard set
Tuck stitches on either bed will force apart the space between vertical rows of stitches in every needle rib, whether the tucking is executed on either or both beds, in one or 2 color knitting. The fabric lies flat, and depending on the fiber and thickness of yarn used, the effect can be lacey and have a lovely drape. In published repeats, often tucking does not happen for more than 2 rows, making knitting fairly “safe”. When using thinner yarns elongation may be used to force the fabric even further apart for a more “open” look. Patterning in suggestions below occurs automatically, and usually on only the main bed.
Needles out of work may be planned within repeats to produce a fabric with knit textures on both knit and purl surfaces. There are designs in pattern books that are promoted as being specific for this purpose, but nearly any tuck pattern may be used once limitations are recognized.
If knitting with very fine yarn, the close-knit bar is recommended.  With the ribber knitting every row, using an end needle on each side of the ribber allows one to cancel end needle selection on the top bed and maintain patterning and clean side edges.
In Brother knitting, the card lock position is on the dot to the right of the card, the small triangle is used to advance the card every row, and the longer triangle advances the card every other row. For explorations, for a start, set the card lock lever to advance normally Note that the Brother reader is working 7 rows below our line of sight on the exterior of the KM. Most punchcard books and some machine manuals list the suitability of patterns for use with tuck patterning. If using a repeat published for a different brand it is good to be aware of any marking for starting rows being different. For example, in Studio KMs, the starting row for the pattern is 5 rows below the exterior of the machine bed, so if using the repeat in Brother begin on row 3. Any pattern where single row tucking is the overall composition may be elongated. Keep good notes for unusual arrangements. Starting side does not matter unless the plan is to change color every even number of rows, then one must perform the first preselection row toward the color changer.
The advice from the Brother Ribber Techniques Book and the KR850 ribber manual respectively is shown below.
Another alternating 3-row tuck pattern, this one followed by 2 knit rows after each tuck sequence, the appearance varies depending upon yarn thickness choice and color. Knit in thin yarn, stitches got away from me the more successful swatch, using thicker yarn An often forgotten accessory: (I admit I have never used them)

The fine knit bar for using thin yarns

Typical patterns for the fabric from punchcard volumes, some with side-by-side tuck formations.

In electronic patterning, a single isolated repeat will suffice. Punchcards illustrated above show the minimum required length for each.
In matching needles out of work on electronics, it matters whether the default setting produces what is seen on the card on the purl or the knit side. Flipping the repeat horizontally may be required.  “Air knitting” with needle selection can help plan exact location on needle bed, as well as repeat width and in choosing of location and type of side edges. Having every needle ribbed vertical stripes on each side will help the finished knit edges lie flatter.
Using a card in as many variations as possible is a good way to explore maximizing the work entailed in punching all those holes. Testing stitches does not necessarily require the use of the best yarn or favorite colors until and when a gauge swatch is needed or one commits to a particular variation. One card may be used in many ways, ER represents every row rotation, EOR every other row or twice as long. The full punchcard: The electronic repeat, 12X60, is also tiled to check its alignment  Settings for both beds, notice the decrease in width with the introduction of the slip stitch setting.
The repeat tucks for two rows throughout, so color changes can be attempted every 2 rows. One side of the fabric may be more interesting than the other, the added color may result in a muddy look, on the purl side as in this case Changing colors, adding plaiting, varying yarn thickness, can alter the look considerably  Because, in most instances, the ribber is set to knit there are stitches on the ribber holding down tuck loops on the main bed, and typical tuck configuration rules may be broken. One such pattern to try: the punchcard repeat and the electronic one are identical The differences in appearance: using a 2/8 wool the knit is fairly packed together while using a 2/18 silk wool, knit at tension 3 both beds, the fabric appears far more open, shrinks considerably in length when off the machine, and is very stretchy in width. Here the swatch knit on 40 stitches by 64 rows, relaxed, with no blocking, measures 12 inches in width, 3 inches in height. Again, loose cast ons and bind offs are required, should be tested on swatches for stretch and appearance. Adding color striping A closer view of the stitch structure:  Using the stitch type to create edgings or ruffles See “tuck lace” fabrics for some variations with top bed patterning also using sporadic needle transfers to ribber.

 

Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages

When switching between N/N and tuck/ tuck on the ribber it is not necessary to switch the tucking lever from its up position to the lower one. The ribber will knit every row when used in either of these settings It is possible to knit this type of fabric using color separations such as those seen for one type of DBJ where color one for each design row knits 2 rows, followed by color 2 for corresponding design row also knitting for 2 rows. Each color may be drawn and programmed once, followed in turn with elongation X2 on both punchcard and electronic machines. I prefer to work with the elongated images, believing it makes it easier for me to correct errors or knitting problems, should they occur. This color separation is the default on Passap. In Brother electronics, it would need to be hand done and programmed. It is best to start with simple shapes. This triangle series has been used in several of my previous posts. The chart shows the transitions in the process

Brother DBJ settings using tuck on either bed, not addressing hand needle selection on the ribber for the production of reversible fabrics. The yellow color highlights cam settings that require changing by hand for every other pair of knit rows and making the changes with each color change. With the exception of the bottom 2, the same settings were used in some of my brioche variation experiments. The resulting fabric, knit in reverse order from the chart (top setting down to first). The dropped stitches happened when I did not notice the ribber weight was resting on the floor, with no resulting weight on the fabric. There are single repeats of each motif. Two more possible DBJ variations

A full range of DBJ variations of the same repeat, including ones using slip stitch and shared in a previous post, executed in both one and 2 colors Passap knitters have the option of arrow keys and stitch type on the back bed that makes fabrics possible with ease that is daunting to reproduce on Brother machines. There is a category search on my blog that will lead to a collection of posts on the topic of knitting with 2 carriages selecting patterns.

I have often considered the possibility of using 2 coupled knit and rib carriages for some of my patterns but found it limited knit width because of carriage stops on the ribber bed, the unwillingness to have my ribber carriages fly off the bed, and the added limitation imposed when both carriages are selecting needles. Now that setting changes were required every 2 rows on the ribber I found a solution of sorts. It is one of those try at your own risk tips, but for me, it made several of the last swatches in brioche achievable far more quickly and accurately.
Brother ribbers have a stopper pin on each end that will not allow for the ribber carriage to move beyond a fixed point or to be removed easily, requiring tilting the carriage forward to do so I have long ago removed both of mine.  As in any knitting with pairs of carriages, when needle selection is happening from opposing sides, the turn marks need to be cleared on each side of the machine as the opposing carriage begins to move across the needle bed to avoid breaking the belt. I happen to be knitting present swatches on my orphaned 930, which still knits producing interesting sounds. It came with no carriages. I am actually using a knit carriage from a 910 and one from my 892E punchcard machine, with a magnet glued to the proper location facing the rear rail. I removed the stopper pins from either side of the ribber bed, placed lace extension rails on both sides as well as the color changer with all change buttons released as seen in this illustration. On the left, as the carriages move beyond the end of the needle bed, the return signal lever is tripped, making a characteristic noise. At that point, the turn mark on the left has been cleared, and it is safe to operate the carriages from the right toward the left
The right side of the machine is more problematic. The extension rail will store the knit carriage safely, but the ribber carriage has to move out enough so without its stop it would fall to the floor. My solution was to jerry-rig an extension at the appropriate height so the ribber carriage could slide out as much as needed while being supported. I was able to knit the hundreds of rows required for many swatches with no problem other than operator errors. Here the pair of carriages on the right are seen resting far enough off the machine to clear the belt, at an adequate height for them to slide off and on easily. At first, I secured the connecting arm to the connecting pin with an elastic “just in case”, but that proved unnecessary. 

I have been asked lately about the lili setting used in all my ribber carriage illustrations (center position). I tend to use that as a default to prevent errors and for consistent quality in my ribbed fabrics, especially if matching gauge ie in garment pieces or bands are needed. That said, for the carriage to travel far enough on the right in this setup, the slide lever had to be used on I. The plastic tray helped reach the appropriate height and made for easy slide off and on. There are a few minutes of maneuvering when setting up the first selected row. As always it is good to begin with familiar yarn and previous experience with double bed fabrics.

Some of my own operator errors are due to the fact that I still am not used to the fact that the 930 appears to revert to factory defaults with each new design entered, that I have to remember to switch from isolation to all over, that the image is reversed on the knit side like on punchcard machines unless the reverse key is used. I spent decades using the 910, where once the selections were made and once the pattern variation buttons were set, that became the default until buttons were changed for specific applications.

Double jacquard motifs in multiple styles, shapes, and sizes may be knit with variations in tuck settings. My post on a-return-to-brother-ribber-and-dbj-settings/   reviewed many of the possible cam configurations as well as working with multiple and even altered carriages. Passap machines have the added benefit of far more patterning than Brother on their back bed, the equivalent of the Japanese ribber. I am still obsessing over 3D folding effects, racked herringbone is back on my mind, as well as tuck ribber settings on Brother if one is willing to hand manipulate needle selection. I have been browsing through some of the directions in Susanna’s book again. For anyone unfamiliar with it, it was published first in 1986 and is the ultimate textbook on knitting fabrics on punchcard machines. It predated most electronics. Susanna continued to write for magazines and later addressed electronics in those articles and in her teaching lectures and workshops. This shows the cover of the paperback version. Over the years as many folks have written on DBJ, the separations have been named with some variations. In Susanna’s book, the original design is referred to as punchcard type A, the KRC separation built into Japanese machines is classified as Type B. This image shows the now-familiar series of triangles used in many of my blog posts on DBJ including at the start of this one. It is illustrated as the original repeat, then the separation is shown with either color represented by black squares. One of the peculiarities of this separation is the single-row color start. One may choose whether black squares or white squares knit first based on the pattern itself rather than simply on the convention in their specific machine brand. Color reverse in electronics is easy, but the function cannot be combined with KRC. It can easily happen if the separation is completed in software, prior to downloading the final repeat and knitting it. If a punchcard is used, simply exchange positions for each of the 2 colors in the color changer and follow the usual sequence. Designs must have an even number of rows. Susanna classifies the subsequent separations as C1 and C2.  Because each color in each row knits twice, there may be an odd number of rows in the initial design repeat. I am often asked as to why a type C1 or 2 separations would be a boon to fabrics made on Japanese machines. The options for new settings and resulting variations in the knit surfaces on both sides is increased many times over. These are some of Susanna’s suggestions for using the tuck setting in DBJ and begin to illustrate the point.

Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2

Over the years I have avoided ribber fabrics that involve hand manipulation of stitches in addition to patterning. Runaway stitches are hard to see and repair.

In these fabrics, transfers are made by hand with multiple transfer tools. As stitches are moved, the last of the stitches transferred on the purl side (in this illustration 4 stitches), one will lie directly behind one of the stitches on the main bed (marked in red), sharing the same needle hook space. As the next row is knit, the needle emptied by the transfers picks up a loop. The following knit carriage pass will complete the stitch on the needle holding the loop, and the eyelet.

There is often confusion about the terminology, English, or half fisherman rib has only one bed tucking every needle, in a single direction, with all stitches knitting in the opposite. Here that bed is the ribber, the knit carriage is set to knit throughout. Illustrations from the Brother Ribber Techniques Fisherman, aka full fisherman rib, is a tubular tuck with each bed tucking in one direction, knitting in the other My recent posts reminded me of a repeat from an older Brother punchcard pattern book that combined lace transfers and fisherman’s rib. The original repeat is shown on the left, designed for use on punchcard machines.  In this instance, the main bed knits in one direction and tucks in the other while the ribber knits every row.  Stitch and tuck loop combination transfers are made every 4 rows, prior to knitting that row in the opposite direction. The machine is set for half fisherman’s rib. Tucking happens on the top bed on all needles in one direction only, the ribber remains set to knit both ways throughout. If all transfers originate on the same spot, a vertical line of eyelets is produced

Can plaiting give me 2 colors the “easy” way? If transfers move to the right or the left, an arc will be createdAiming for the punchcard pattern book inspiration I began at first by marking up the needle tape with a water-soluble pen to help track repeat segments After a short trial swatch I sought to automate needle selection to serve as a guide for moving stitches across the needle bedThe main bed is set to tuck in both directions. White cells tuck, black cells knit. Rows in Brother preselect for the next row with each pass of the carriage, so on even number 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 nonselected 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.

The charts below reveal planning for a more complex fabric, a 2 color repeat with mirroring of the original above, colors are changed every 2 rows with setting changes on the ribber. For more detailed instructions see 2 color ribbed brioche stitch on Brother knitting machine 1.
Seeking new geometry, the repeat “inspiration” is mirrored horizontally. The final repeat is on the far right. The knit carriage is set to tuck in both directions throughout. On white cell design rows the main bed tucks, and the ribber is set to knit. For added directions see 2 color ribbed brioche stitch on Brother knitting machine 1. On most or all-black cell rows, the main bed will be knitting, the ribber is set to tuck. In this fabric, the transfers are made on knit stitches created on the previous row prior to moving the carriage back to the opposite side. All transferred stitches and the empty needle are brought out to the E position prior to moving the carriage to the opposite side, which will be creating the second all knit main bed row. Transfers are made every 8 rows, with pairs of transfers being made toward each other, no longer all in the same direction as in the single color sample The central repeat is color reversed to achieve the final repeat on the above right in order to produce those transfers on knit rows. The final row count needs to be a multiple of 4 rows in height. Here is a 2 widths 36 stitch X 32-row repeat chart The extra line seen occurs when one forgets to reset the ribber to tuck, and stitches are all knit on a “wrong row”. It is by coincidence that they seem to occur in the same spot in the repeat more accurate knitting  On the bottom half of the swatch below the difference is the result from when one carriage knits every row on both beds, requiring a change on the knit carriage as well, canceling its tuck setting with every other color change The last repeat may be flipped vertically as well. It then needs to be edited so those white squares land on the row after an all knit row, not below it. The final repeat on the right is 36 stitches wide by 64 high. There are still 8 rows between transfers. On the left is the first resulting chart, on the right the amended chart places selection for transfers on the proper row. the germ of one last idea, the repeat 14 stitches wide by 96 high, max transfer seven stitches (odd #)playing with ideas a bit more, max transfer six stitches (even#)

This was my attempt to shoot for a recurring shape and planning on having transfers land on like color, the repeat is 8 stitches in width, 112 rows height. Six stitches are the max number transferred. More would give a wider curve, the final repeat would be exponentially longer its reverse side :
When the main bed tucks in both directions with one color, knits in both directions with the other: I did try to eliminate those lace holes. On the right of the swatch as shown below I threaded a needle and attempted to close the eyelets with stitches, getting closer to the line one might get in a hand knit. On the left, I hooked up loops to fill the empty needles. The latter changes the intersecting lines completely
picking up only the white yarn from the tuck loop below the transfer bringing filled in needle back to E position prior to knitting next row the difference in intersecting lines at the outer edge of my intended shape. This is what happens when a new design is being tested, and the lili buttons “accidentally” happen to be engaged on the ribber

Tuck stitch meets thread lace repeats and vice versa

A recent share in the Facebook machine knitting group led to this blog post by its author <https://www.knittingmachinemuseum.com/single-post/Knitmaster-580-Electronic>

The inspiration fabric led to ideas for recreating it on a punchcard machine, and my own trip down that rabbit hole led me to think about the relationship between tuck stitch designs and thread lace ones.

Not all Brother knitting machine models were equipped with the capacity for thread lace. The 260 bulky happened to be one of those models, which were manufactured with 2 MC buttons seen in this illustration

Studio manuals refer to the fabric as punch lace. Early pattern books including ones for electronic machines provide a large range of pattern repeats for such fabrics and can be design sources for other knit stitches if one understands the structure being created. A quick “hack” to help keep the B position yarn from jumping out during knitting, taken during a different experiment In tuck stitch, the unpunched areas, white squares, or pixels represent loops created on non-selected needles, punched holes / black squares, or pixels represent knit stitches. In punch/ thread lace those white areas knit both thick and thin yarns together, while in punched holes/black square or pixel areas the thin yarn knits on the stocking stitch side of the fabric, with the thicker yarn floating behind it. Depending on fiber content, gauge, etc. the illusion of eyelets can be created. This is half of a Brother punchcard repeat, suitable for thread lace, reworked for knitting the design in tuck stitch. That is, in turn, doubled in length to allow for color or yarn value changes occurring every 2 rows. The resulting swatch is tested first in 2 colors to prove the repeat, then using clear serger thread as one of the 2 “colors” for a very different effect than blends that of both fabrics.

Looking at design sources for possible redesigns for the alternate knit fabric: published punch lace cards

published tuck stitch cards DIY a place to start is with simple color reverse punch lace to tuck test. Not suitable are any areas with lots of side by side white squares. In the bow solid lines those could be modified, most of the repeats in the colored swatch segments of the published charts are unsuitable.

Once the chosen repeat is isolated, the punchcard can be further edited for electronic knitting. Tuck to punch lace: any of these would be worth a test, some results may be very subtle.From punchcard repeat to electronic: strong black and white images that have punched holes represented as dots may be the hardest to process quickly in Gimp. It is best to isolate the single repeat. Some clean up of the gridded image may be required. Test the latter by tiling it. Color reverse the single it if that is the original goal, using the built-in function in electronics or punching black squares in cards.

Not to be forgotten: the easy variations for visualizing results with a few clicks of a mouse,

and an added source for both stitch types are slip stitch patterns in suitable configurations

A previous post on editing repeats such as the above using Gimp, and one on superimposing shapes onto a mesh ground that may be the springboard for superimposing self-drawn shapes on tuck or thread lace suitable backgrounds 2023: using StitchWorld # 545, 56X40 pixels
Knit as thread lace Color inverted for working in tuck stitch used single height purl side on left double height  Lastly, review of  thread lace on Brother machines
and for a completely different knit fabric, using the double height initial design, 56X80 pixels   thread lace repeats to produce transfer lace designs  

Geometric shapes on ribber fabrics with tuck stitches 1

The previous post elicited a Facebook query as to whether it might be possible to create solid shapes within the field of brioche vertical stripes. The inspiration for the query was a hand-knit pattern published in Ravelry 

https://www.ravelry.com/patterns/library/pariss-brioche-scarf

Many terms are used in instruction manuals and published directions. In my notes I will refer to fabric with tucking on both beds as full fisherman rib, tucking on one bed only as half fisherman. These were my first attempts at exploring the inspiration idea, the fabric has inherent differences as it requires both slip and tuck stitch settings, so technically it is neither fisherman. Knitting happened on a random drop stitch day, which explains the patterning interruption errors.When attempting to knit isolated geometric areas on a field of frequently tucking stitches, automating the task when possible makes the process easier and faster. This was my first “diamond” pattern repeat, suitable for a punchcard machine as well. The design is illustrated on the left, converted to punched holes/black squares/pixels on the right  The knit carriage is set to tuck throughout. The programmed repeat will alternate the knit/ tuck functions across the bed based on black squares, punched holes, or pixels.  For full fisherman rib (top swatch) the ribber needs to tuck in one direction only, opposite to the action taking place on the main bed. A choice needs to be made on either of these 2 setting directions based on needle selection on the main bed and stays fixed throughout knitting. The ribber is set to knit on even-numbered design rows on the card, to tuck on odd. Row count numbers may be different than design row ones depending on row counter settings by the operator or built KM ones. Below are tuck settings for to the right on top, to the left on the bottom.

For half fisherman rib (middle swatch), the ribber is set to knit with every pass.

Note the half fisherman fabric is narrower than the full. Also, I am not used to my 930, overlooked that the machine was set for isolation, so its bottom diamond-shaped repeats are incomplete.

In the bottom swatch, I tried to produce a more distinct shape on tubular tuck created with only knit stitches on both sides of the fabric. Hand selection on the alternate beds on all tuck rows produced knit stitches in the desired area. A needle out of work made it easy for me to find a proper location on the needle bed.

Getting back to automating at least part of the process for such shapes: the repeat needs to be altered main bed will be knitting the black squares in the chart on the right on every row, tucking the white ones. When the ribber carriage is on the side appropriate for it to tuck the following row and no needles are selected in design segments on the top bed (odd-numbered design rows, ones with the majority of black squares, tuck may not be used in those locations because then the resulting stitches would be tucking on both beds with nothing holding the tuck loops down.

bring all needles between selected main bed needles up to hold on the ribber so that they will knit while the remaining needles tuck on the next pass of the carriages.

In my sampling, the ribber was set to tuck when moving from right to left. Below is the resulting swatch, shown on both sides. Part of one diamond shape is missing due to the fact I was concentrating on moving needles around and missed the change in selection on one side of the machine. Back to the original method used in the previous post where ribber settings are changed from knit to tuck <– –> every 2 rows along with color changes. I chose a design that would make it easy to identify the location of non-selected needles on the main bed in rows where the ribber will be set to tuck in both directions. The result is interesting, but the solid areas, narrower than the remaining knit, are in the opposite color to the dominant one on each side, the reverse of the inspiration fabric.
When needles are not selected on the main bed, interrupting the every needle selection.  Bring all needles on the ribber between selected needles up to hold on each of the 2 passes from left to right, and right to left. Stitches on those needles will knit rather than tuck resulting in this fabric The first swatch at the top of this post was achieved going a very different route. Two knit carriages were used to select and knit from opposite sides of the machine. Each carried one of the two colors. When working with the first color and coupled carriages the main bed is set to tuck <– –>, the ribber to knit <– –>. The second color is knit using the main bed knit carriage only, set to slip <– –>. A knit sinker plate may be altered and used so as to knit on the main bed only rows, adjustments to it are shown in the post: 2018/04/15/ribber-fabrics-produced-with-2-knit-carriages-selecting-needles/. The chart for my working repeat with a multiple of 4 rows in each pattern segment, color changes every 2 rows indicated on right trying to produce a diamond shape using this technique, my first repeat had arbitrarily placed pixels: the cam settings on the right of the swatch images correspond to those used in each swatch segment. Colors were changed every 2 rows throughout. The first 2 rows in the pattern were knit in a tuck setting, followed by 2 rows knit in slip. In segment B when no needles were selected on the top bed, all those needles were brought out to hold before knitting to the opposite side. Because every row is now knitting in the corresponding color changes the result is a striped pattern. Segment C is knit with both carriages set for 2 rows as in C1 alternating with knit carriage only set as in C2. At that point the color being carried knits only on the ribber, skipping non selected needles on the top bed, avoiding the striped result. A float is created between the beds in areas where no needles are selected that will be “hidden” as one returns to knitting in rib with 2 carriages. The arrow in the chart points to an area where two colors were picked up with the color swap rather than one. The resulting swatch samples

Analyzing the result in section C: the diamond is the same color on both sides, whereas the initial rectangular shape experiment reverses the colors. Reworking the diamond repeat in segments that are each a multiple of 4 rows:  Other considerations in DIY designs. The background repeat for this pattern is actually composed of units 2 wide by 4 rows high. If the pattern is intended to be repeated across a larger number of stitches on the machine bed than that in the chart, it is always worth tiling the image to pick up any errors (sometimes happy design features). Tiling in width readily shows an error tiling in height as well proofs row intersections as well tiling the corrected width repeat, now 42 stitches wide by 72 rows high sometimes tend not to keep immediate notes when I test ideas, which often comes with a price. I knit my first swatch using this repeat beginning the pattern with 2 rows of tuck, resulting in this fabric (and some randomly dropped stitches once more) with the same color diamond on both sides:  Beginning the pattern with 2 rows of slip stitch on the main bed only mirrors the swatch at the start of this post. Where no needles are selected on the main bed, with passes of the combined carriages, two rows of tuck will now be produced, resulting in the wider geometric shapes and the increased bleed through  The tuck loops created by the white in this instance have the elongated slip stitches in the alternate color (blue) partially covering them, creating the darker geometric shape in the top detail photo. The blue is thinner than the white, the effect will vary depending on yarn weight and tension used for the main bed yarn. One can begin to observe the change in width in areas with more stitches tucking.

If the aim is to have a tighter, more clearly defined diamond, after the swatches rested, the swatch that began in slip stitch setting appeared to “work” better to my eye, even with the single color geometric shape on both sides taken into account. Ultimately the choice is a personal one. The wider vertical stripes created in the white yarn in the slip combination fabric happen because of the 2- stitch wide repeat on the top bed as opposed to a single needle one in a true fisherman knit. Because of the slip setting the results will be narrower in width from it as well.

Ayab knitters will need to program any repeat across the width of the intended number of stitches, and use the single setting. Electronic knitters can enlarge the background pattern field easily, or create brickwork, extended repeats.

Arah-paint offers a free program that allows drawing repeats in different orientations with a few mouse clicks. Shifting this pattern must also be in pairs of pixels/black squares in this instance because of the 2X4 stitch background unit. The 21 (half) pixel shift shows an error in its continuity 22 stitch shift results in a “correct” all over repeat

Quite some time ago I experimented with shadow knits including in posts

2013: DIY design2017 crochet

It occurred to me the same design might work in a tuck rib version. The original repeat was 24 stitches wide, 28 rows high scaled to double length, 24 stitches wide by 56 rows high a tile test of the new pattern The ribber remains set for knitting in both directions throughout, with the main bed set to tuck in both directions.
Knit tests: the red yarn was very strong cotton, hard to knit smoothly, the blue encountered some stitches not being picked up on the main bed as well, but the concept may be worth exploring further. The main bed is set to tuck in both directions, the ribber to knit throughout. The red and white fabric is considerably wider because of the tension required to get the red cotton to knit.

Better stitch formation results with the different yarn used for the second color

And lastly, a first quick adaptation of a design previously used for drop stitch lace, which requires some further clean up the yellow squares indicate loops tucking on both beds at the same time, the repeat on the far right is the one tested after eliminating those areas. It is 14 stitches wide by 80 rows high an “improved” version, the choice remaining as to whether to make all the blue shapes pointed at top and bottom or “flat” this is my repeat, tiled. It is 14 stitches by 84 rows The single 14X84 png

2 color ribbed brioche stitch on Brother knitting machine 1

I have always found 2 or more color patterned brioche stitches executed in hand knitting as inspiring and complex challenges to admire, but have not been tempted to actually attempt to execute them in any way.
I have not knit on a Studio KM in more than a decade, have been asked whether this fabric is possible to produce on Studio/Knitmaster. The crucial difference between the 2 brands (Passap has its own universe) is the fact that Studio selects and knits with each pass. Needle pre-selection for clues as described here is not an option. Some Studio information from manuals on tuck knitting including settings for “English rib and Double English rib”:  tuck on Studio km.

This was my first Brother machine knit swatch result: Each of the 2 colors tucks for 2 rows and in turn, knits for 2 rows alternately. Settings are changed manually as shown below after every 2 rows knit, following each color change on the left. Making things a little easier: the top bed may be programmed on any machine, including punchcard models to avoid cam button changes in the knit carriage every 2 rows. With the main bed set to tuck <– —> throughout, black squares will knit for 2 rows, white squares will tuck, also for 2 rows. The first preselection row is toward the color changer. When no needles are selected on the top bed (white squares) the top bed will tuck every needle, the ribber is set to knit. When needles are selected on the top bed (black squares), the ribber is set to tuck in both directions. The ribber will tuck on every needle. Proof of concept: blue yarn is used on rows where main bed needles are selected (black squares). The crossed stitches at the top right begin to represent an effort to create surface shapes or designs on the fabric. They are created by crossing stitches 1X1, making certain the stitch creating the “shape” is carried to the front side of the fabric, the opposite stitch crossed so it is facing the knitter. I used KCI in this instance, the first needle on left in work on the ribber bed, last needle on right in work on the top bed. A border is created on the knit’s edges on the far right and left. The reverse side of the fabric:  Using a blank square on a knit row to help track 1X1 crossing patterns  Working the 24 stitch repeat using KCI; both first and last needles in work on the ribber bed. Due to operator error and forgetting to change ribber settings after a transfer row, I chose to stop knitting rather than attempt a pattern correction  Another attempt at cabling, 1X1 and 2X2. That white line in the bottom image on the right was caused by the color changer picking up and knitting both colors for part of the row before I noticed it. I got rid of the “wrong” color from the feeder and continued on. The wider 2X2 cables require “special handling” and eyelets are formed on columns aside from them after transfers are made. In 2022 I wrote a series of posts on visualizing cables including using the charts to anticipate ribber work and using custom printed needle tapes to facilitate the process. This chart illustrates cable crossings, which can be made in either direction. My own cables were made with the #4 stitch moving in front and over the #2 stitch. Keep in mind when direction matters, crosses will be mirrored on the knit side.
This particular repeat when used in 2 color brioche will move the cable stitches across a center vertical line in the same color as the stitches being crossed
For 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. The possible cam setting options: The cable crossings are made on an all knit row, following tape markings and always on needles marked in the chart.
Knitting the pattern in 2 colors requires ribber setting changes as described at the top of the post, and the first preselection row is made toward the color changer.
Knit rows are created after every needle is preselected, which happens for 2 consecutive rows. After the first row is knit, push back to B needles with stitches involved in the cable pattern, cross the specific ones, push any/ all needles B position needles out to E, and the second all knit row will be completed with the return of the carriages to the left.
Tension adjustments will likely be needed with every needle tucking on each bed for 2 rows. I had a loop hung up on a gate peg that was not noticed, which can be seen as a snag toward the bottom of the colored swatch segment. After the fact repairs in these stitches can be hard if even possible.
The concept swatch has varied test spacing between crossings.
Again, note that with this method crossings occur over a center column in the same color, not the contrast as in previous swatches. Plaiting is sometimes suggested as a way to imitate color changes in fisherman-rib. In this particular fabric, the result was quite muddy on both sides. The situation is different when working on single bed vertically striped fair isle designs. One of my ancient machine-knit demo FI swatches: On any knitting machine with every other punched hole, or electronic with black squares, or pixels locked on a single row, if the pattern is knit in FI, continuous columns of vertical color are created. If the goal is creating the continuous and unbroken vertical stripe 2 color pattern single bed, one must place like color on like color.
Because FI is essentially a slip stitch the fabric, it will have less stretch and is narrower and shorter than when knitting either yarn in stocking stitch.
Cables on the machine need to be transferred across fixed widths between needles, so there are distinct limits as to how far stitches will allow their movement in groups in either direction. Loosening the tension can often help. Sometimes it is possible to create extra slack by a variety of means, making moving the stitches easier.
I have found my own limit for this fabric was working with a 2X2 cross (it is possible to work moving single needles as well).
Adding to the complexity of single bed: proper needle selection for the next row knit needs to be restored prior to knitting it when using the FI setting, movement of stitches is mirrored on the knit side in the opposite direction of that viewed on the purl. Visualizing some possibilities as worked on the purl side to consider the knit side appearance mirroring is not enough the direction and appearance of the crossed stitches on the knit surface are reversed from that on the purl as well When working every needle rib it will take 4 rows of knitting with 2 color changes to produce the striping on a single row. R represents stitches on the ribber, K the stitches on the knit bedThis shows an instance where crossing the numbered stitches on the main bed with color changes every 2 rows, by default, lines up the same color on the same color. Stitches in the same color are formed in the in-between needles on the opposite bed.
Another way of looking at the 1X1 crossings on the top bed behind a single central fixed stitch on the ribber. The fabrics may be tested and knit in single colors as well. When working on the 2 color brioche crossings are made on a row where all stitches are the same color; 1X1 cables when made in this case, are forced apart by the tucked stitches between them on the opposite bed, in the alternate color, implied here by the white line Tuck stitches widen the fabric. As a result, the tucked knitting in this chart on the ribber (represented by the color yellow), forces the space between the knit stitches produced on the main bed (represented by the color green) apart, while stitches tucked on the ribber will create the gap between the stitches knit on the ribber, appearing on the reverse side of the fabric. The combinations create the appearance of single stitch vertical stripes.
This is an illustration of one possibility for programming reminders for tracking the location of cable crossings  Every needle ribs are generally knit at tighter tensions than when the same yarn is knit single bed. Too loose a tension in any tuck fabric causes problems with loops forming or knitting off properly, too tight will produce stitches that do not knit off properly. One limitation of crossing stitches here is the actual stitch size, which needs to be constrained to produce the fabric. Tiny stitches need to travel across fixed space. One by one crossing is manageable, 2 by 2 requires extra slack to make the transfers possible.

Adding some “give” to crossed stitches
1: the carriage has moved from left to right after the color change. All needles except for the four white squares in my design were preselected prior to the next row of knitting. The carriage now stays on the right
2: take note of the white tuck loops formed on the ribber on the previous pass from left to right
3: white tuck loops ( I chose center 3) are lifted up and off their respective needles and allowed to drop between the beds. This will allow the 4 white cable crossing stitches to have more slack. 
4: cross your cable in the intended direction
5: push cable stitch needles out to E
Knit from right to left, change color, continue in pattern
With some planning on longer pattern repeats it is possible to plan added clues to tracking rows on which the cables occur and their location on the needle bed. Repeats with very few marked areas merit testing in tile as any other repeat.
The charted repeat on the left below when tiled shows the area of a patterning error, on the right with the missing blank rows added the problem is shown to be resolved, the repeat is now 24 X 84. A proof of concept swatch: Planning for all over the brick layout of corrected repeat: The tiled repeat .png, 96 X 336, the single 24 X 168. More detailed charts of the 2 repeats, suitable for punchcard machines. Ayab knitters need to repeat the final motif across the width of the download in order to match the number of pixels to the number of stitches in use across the needle bed, using the single setting.

Adding complexity, there is the possibility of lace transfers meeting fisherman rib 
and a plaited swatch attempting to avoid color changes every 2 rows, the technique is not a personal favorite Other related fabrics may be found in posts:
Geometric shapes on ribber fabrics with tuck stitches 1
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
Geometric shapes on ribber fabrics with tuck stitches 3

Fisherman_ English tuck stitch rib 1_ checks patterns_ Brother, Passap

More than 6 years ago I produced a series of scarves that were double-sided, reversible, and were considered “manly” by some of the customers at my shows. Some were one color, some in 2. I found an early post with no clear instructions for them, but with this image and that of a punchcard marked for a racking pattern (given below). Coincidentally the question of checkerboard rib knit patterns came to light in a forum, and I found myself reviewing the technique, with part of the intent to reproduce this fabric. I have, over the years, been terrible at keeping good notes (if any). At times what I was working on was so “obvious” I had confidence I could rely on my memory. At others my attitude once the problems were worked out and a limited one of a kind series was produced, was that I was “done” with that particular fabric. Now here I am, years later, with a mystery pattern on my hands and a time-consuming quest, wishing I had documentation for how on earth I achieved it

Definitely not “there” yet:

Early translations from the Japanese or German manuals did not always communicate clearly the meaning of symbols or actions required to be taken by the knitter. A bit clearer meaning may be gleaned from these instructions in Brother Punchcard Pattern Volume 5. The hatch marks on the racking symbol indicate the number of pitches the ribber is moved in either direction. The number of stitches moved corresponds to the number of needles in work on the ribber. Recommended settings for English rib also known as half-cardigan, royal rib, or pearl-stitch, with no patterning or racking, the beds may be reversed. It is a 2-row repeat. One row is tucking on the main bed on every needle in one direction,  knitting on every needle in the same bed upon return to the starting side. The opposite bed knits every row. There is one textured round followed by one of 1X1 ribbing. It is not a balanced structure, looks different on each side. Variure denotes fabrics wherein the same bed is tucked for 2, 3, or even 4 rows followed by one or 2 rows of rib knitting every needle on both beds. The tucking bed may also be set up with needles out of work and with added racking as well.
In fisherman’s rib, the settings are for a tubular tuck, with opposite tuck buttons set in the carriages. While a bed tucks on every needle, the opposite bed knits every needle, reversing the process on the return row. It is also a two-row repeat and referred to as full-cardigan stitch or polka rib.
It has the same appearance on both sides and does not contain any rows in all rib. An additional illustration of both The recommended Brother ribber’s “needle rule”.More tuck rib variations may be found in posts on interlock 1, and 2.
Adjustments to the needle rule may be needed depending on the fabric. If only one bed is knitting while the other is tucking, having the first and the last needle in work on the knitting bed. In English (aka half fisherman’s rib) only one (either) bed tucks.  Directions marked with green #6 on left are from the Brother Ribber techniques. The remaining images are for the single-color racked checkerboard pattern from Brother Punchcard Pattern book #5. No pattern card is involved, every other needle arrangement suggested on the right accommodates slightly thicker yarns. A half-pitch setting is used.

In the above instance, the main bed is not performing any patterning function, it is knitting on every needle in the work position. On a punch card machine, a card may be used to track racking positions. With the carriage set as usual for patterning and needle selection but with no cam buttons pushed in, the main bed will continue to knit stocking stitch. No rows are punched, and the numbers on the card in the colored columns indicate the racking position for corresponding rows. The “card” on the left is designed to match racking positions and carriage travel directions (colored arrows) to mirror those in the publications. Since a 36-row minimum is recommended for continuous punchcard use, the “card” on the right has added a 4-row segment for each segment of racking directions. The full repeat is now 40 rows rather than 32 in height. The numbered columns on the far right are as they would appear on standard blank Brother punchcards. The number one is at the level of the first visible row while the card reader drum is actually selecting the first design row. End needle selection is canceled (KCII on electronics). The first move as indicated by arrows is to the right, so the first row is preselected from right to left. The card is then set to advance normally and released. If any errors are made treat card adjustments as you would in any other fabric.

Adding main bed needle selection for selective patterning: the actual punchcard here includes annotated changes in racking sequences from 5/4 pitch positions at its start to 5/6 racking positions for the top half of the completed repeat on its left side. It may be used as-is or set to double length either for use with a single color or combined with color changes every 2 rows.

The card as punched may be used in many ways. In past experiments, I have shown that not changing the racking pitch for a single row while keeping the two alternating pitches constant created scale-like textures rather than checkerboard patterns

here again for a 16-row sequence

On fabrics with racking enlarge the stitch size by 1/2 to one full number to accommodate the stretch needed in racking the stitches.
Color changes: fabrics made in full fisherman rib are reversible, while those in half fisherman are not. In full fisherman rib in order to knit a specific color, that color must be knit for two rows and tucked for 2 rows alternately. In Passap AX with pushers and arrow keys must be used, in Brother, ribber needles would need to be hand-selected to the proper position on every row. 
The yarns used should be soft and have some stretch. Every other needle patterning may be used with slightly thicker yarns.
Racking in the same pairs of pitches ie. 4-5, 4-5 with no added actions taken, produces vertical columns, akin to results in any fabric that repeats the same functions in the same locations on the needle bed

I knit my first “checks” sample on a 930 electronic programming a single repeat to match the card used double length. The goal: the check sample pictured in punchcard pattern book 5 

In programs or machines that allow for memos that correspond to design rows for each repeat, enter the racking pitch number beginning with design row number 1, and continue to 32 or more as needed. The racking sequence is changed at the halfway point of the full repeat.

Added experiments: using the same electronic repeat above, here I worked *20 rows racking every row between positions 4 and 5. One row was then knit on all stitches on the top bed** (I pushed needles out manually rather than changing cam settings), repeated * to**. The fabric reminds me of racked herringbone, the “checkers” are distorted Changing color every 2 rows shows the same lean in the fabric. I have had intermittent problems with my ribber, stitches begin to simply not be picked up by the main bed and are dropped for no apparent reason A very different fabric is created using the repeat and instructions below*Knit 2 rows, rack 1 pitch to left; knit 2 rows, rack 1 pitch to right to RC 20 (or preferred row count); knit 1 row continuing in pattern to the opposite side without racking**. Repeat * to**. One repeat of the 2 sequences is 42 rows in height. At row 1 of each new (here 21 rows) sequence, the carriage starts on the opposite side Changing colors every 2 rows is possible. The racking will begin with the carriages on alternate sides of the machine after the single-row knit without racking. In segment 1 racking occurs on the left, color changer side, and in segment 2 racking occurs on the right, opposite the color changer. 

“Full” fisherman rib with patterning on both beds: on Passap the back bed is capable of many more patterning choices than in Japanese machines, and strippers help hold loops in place on the needle beds. The Passap “needle rule” places the first needle in work on the front bed, and the last on the back bed. This is also variable depending on the fabric being knitted. Using the repeat

tech 129: (black square tuck for single row) on the front bed. Set up back bed after prep rows, making sure pushers are in the same work/rest position as on the front bed *Knit 2 rows, rack to left, knit 2 rows, rack to right to preferred row count ie RC 20; knit 1 row still in the pattern, without racking**. Repeat * to**. One repeat of the 2 sequences is 42 rows in height. The resulting pattern is reversible.” This swatch was knit with the bottom 3 blocks using 6X6, both arrow keys on the back lock, and N in front. The back bed pusher setup is doing the patterning. The top 3 blocks are set to pattern selection on both beds, using AX, arrow keys, and KX on the front lock. Using technique 130 will double the height of the repeat, working each row twice.

On Brother, the second bed selected needles will face tucking needles on the main bed. This creates a knit stitch on one bed, holding down the tuck loops on the other, allowing for side-by-side tuck loops on opposing beds. Such selections would need to be made on the ribber manually. Both beds are set to tuck, both arrow keys. The needles on the ribber immediately below the ones tucked on the main bed are brought to the E position and face the tuck needles on the main bed, while its non-selected needles will tuck. Rack before pushing those needles (black dots) that will be knit up to the E position. The Brother settings for full fisherman suggested in their Ribber Techniques Book and manuals produce a “circular” tuck stitch, with each bed tucking and alternately knitting on all stitches in opposite directions, so the cam button setup is different than when one is planning textures in varied patterns It is also possible to produce “checks” without any racking at all. On the Passap, this sample was produced eliminating racking completely. The front lock was set to knit throughout / N, the back lock alone did the work. Pushers were selected 6 up, 6 down, the back lock set to AX with left arrow key for even multiple rows divisible by 4. I used 24-32 to get a sense of scale. The arrow key was canceled for the next 2 rows AX 0 to switch the pushers.  The working repeat became *32 rows 6X6, left arrow key, 2 rows AX 0*with the front bed programmed

Here the front bed is programmed for the repeat below, technique 130 (black squares tuck for 2 rows After the initial prep on the front of the bed, prior to knitting the first pattern row, pushers were manually selected on the back bed to match the pusher work/rest position selection on the front bed. Their position will change as the back lock moves to the left. After 12 rows, the arrow key was canceled for the next 2 rows to AX 0 to switch the pushers. The working repeat became *12 rows AX, left arrow key,  2 rows AX 0* with the front bed programmed, and its lock set to KX. The back bed produces a “checkerboard”, the front bed produces checks as well, but in a vertical alignment

A similar half-fisherman (only one-bed tucking) fabric may be produced on Brother machines by automating patterning and switching “beds”. The main bed is set to tuck in both directions, the ribber is set to knit throughout. My sample was pretty much a disaster at the start. After trying different carriages, switching out needle retainer bars on the main bed, checking alignment, and every trick I could think of I was rewarded with stitches simply not being picked up at intervals by the main bed. Time for a break for both the operator and the machine.  

a bit more success:

Below is my electronic repeat, 12 stitches by 56 rows in height. It is intended to mimic the work done by the pushers on the Passap. Alternate groups of 6 stitches will knit (black squares) or tuck (white squares) for 2 consecutive rows. At the center and the top of the full repeat, the two extra rows of squares result in alternate groups of stitches tucking or knitting for 4 rows, contributing to the shift in the color and texture of the checks.
Passap specials: the idea of hand-selecting needles every row while watching multiple loops tucking on both beds and even adding racking is far too daunting to my mind. Highly textured patterns are far more easily produced in machines that allow for a greater range of patterning on both beds.  To review, E6000 tuck settings:
N, EX: same on both locks, may be used without pushers or console
KX and AX: tuck in both directions
OX and DX: tubular tuck. FB: tucks right to left, free pass left to right, BB is opposite
The FX setting is incorporated into several techniques used with KX, 104, 105, 112, 113, 167, 259, and 260. Some techniques for adding back lock settings are 106, 114,145, 158, 167, 168, and 190. Techniques 259, 260, 269, and 270 use racking; 200, and 212 require manual changing of arrow keys; 284 uses the U100 transfer carriage in combination with fisherman rib for an embossed effect.
Using FX settings with pushers full fisherman rib can be combined with full needle rib or half fisherman rib on the opposite bed.

Technique 167: use FX/KX

Front bed pushers are always selected up from right to left by the console independent of pattern, so they will knit. Set up pushers on the back bed in the pattern after the first row of the pattern, and make certain they are in the opposite arrangement of work/rest positions on the front bed. EX knits on all needles from left to right. Black squares represent knit stitches and white tuck ones. Making lock changes at the start of the repeat: knit 14 rows,* Knit 2 rows FX <–/KX, followed by 12 rows FX 0/KX** Repeat* to ** One full repeat of the 2 sequences is 28 rows. The original BW building block is 6 stitches wide, 7 rows high, pairs of each form the unit used to form the larger repeat blocks

My chart for my full working repeat test sample: dots represent pushers, green highlights rows with lock changes for pusher reversal. The latter are made here on RC13 and 14 rather than RC 1 and 2

Getting back to that scarf and reversible checks, I finally sorted out the how-to and a repeat in a different number of stitches and rows. Technique 180: disregard console directions. Set up with 1 extra needle and pusher on the back bed at each side. Pusher selection on the back bed as described below matches half the number of stitches in the full repeat starting on the right side of the back bed. End with a single pusher on the far left in the opposite work/rest position of pushers in the group to its immediate right. Reset the front lock row counter manually at the end of each full repeat (24 for mine) back to 000. As an option one may choose to knit half a repeat at the top and bottom of the piece. My first swatch is testing one full repeat + a few rows. My full checkerboard repeat is 24 stitches wide by 24 rows high, composed in turn of a set of 4 blocks 12 stitches wide by 12 rows high. The AX setting changes pusher selection every 2 rows, and the AX 0 rows reverse pusher selection, resulting in the shift in the patterning on the back bed. Knit the first 24 rows (full repeat #) with no lock change, I found it easier to reset the arrow key at the start of the repeat on RC 1 and 2, rather than RC 23-24. The single BW building units are 6 stitches wide by 6 high with blocks 4 producing the 12W X12H repeat segments A working chart for the full repeat: Black dots = pushers in their work/rest positions, numbers on right = full repeat in rows