Tuck Stitches – Page 8 – alessandrina.com

“Crochet” meets machine knitting techniques: tuck lace trims or fabrics 2

There have been several previous posts on “crochet” like stitches and “tuck lace”, this is another variant. The needles need to be arranged as in the diagrams below. After the first preselection row, the carriage is set to tuck

the full punchcard T= areas where tuck loops will occur, K = knit columns, o = NOOW, the red line the 0 mark on the needle tape

Every 5 rows, after the tuck loops are knit together (illustrated in repeats on far left), the formed stitch (single black square) is transferred in turn to the right and then to left; this works out happily so that transfers may always be made toward the knit carriage.
The sole repeat (all that would be required on a mylar) is 4 stitches wide, 5 rows high. The number of needles used needs to be planned so that there is a knit stitch on either end of the piece. This is accomplished by using a repeated multiple of 4 + 1, so one side of the 0 mark has an even number of stitches, the other an odd (4+1=5). Ayab software requires that the repeat is programmed across the width of the fabric, so the final design would be a variant of this, my sample was worked on 20 left, 17 right. Non selected needles form tuck loops until they are knit together every 5th row

If you prefer to work with the top repeat programmed, then transfers will need to be made on each side of the non-selected needles to get the proper configuration. If programmed with the bottom repeat, then and every other needle cast on is fine. I generally stay away from combs and weights if I can, but this is a fabric that benefits by evenly distributed weight, a cast-on comb with weights added to it is a good idea. In the absence of any, start with waste yarn and ravel cord, thread a thin knitting needle or wire through the knit, and hang evenly spaced weights on that. Follow with your preferred cast on, and knitting in pattern.

The swatch as it appears on the purl side (traditional “public side” for tuck stitch). The bottom 4 repeats show what the fabric looks like before one intervenes with the hand technique

its knit side and a bit closer a few more

in early publications combinations of lace and tuck, creating a large scale mesh were also referred to as mock crochet

Punch cards to electronics: book symbols and samples

A number of variables need to be considered when adapting punchcard patterns for use on electronic knitting machines. These images pertain to Brother use, but the principles are shared between KM brands. I will add more information as time goes on. Online free downloads for magazines, manuals, etc., may be found at
http://knittsings.com/knitting-machine-manuals/
http://toyotaknitting.blogspot.com/
machineknittingetc.com
https://www.knititnow.com/ManualAndDocuments/
some additions of late include designs in 12, 18, and 30 stitch repeats in addition to the familiar 24 and 40 ones, and to help with interpretations of symbols: Japanese symbols for machine knitters
Punchcard collections for all brands @ Needles of steel
For a later post including information on scanning and editing published designs electronically see 2018/07/02/numbers-to-gimp-to-create-images-for-electronic-download/

As the transition was made from manual machines to push-button, and then to punchcard selection systems, the early collections included diagrams of symbols familiar to hand knitters, and interestingly worded text that disappeared or was reduced in later punchcard books.
I am first presenting information in the order in which it appeared in this particular collection’s paper published version, I have not found this volume in the above-mentioned sources for free download.
The collected images are gathered from more than one source, so there is some repetition of information.

LACE KNITTING

Punchcards may be used to guide one for hand techniques, here a version of e-wrap is used on selected needles for weaving effect, and the diagram on the upper left is for a different fabric. Punchcards may also be used to help track twisted stitches, cables, and racking This is a 2 carriages patterning operation, lace extension rails must be used, with each carriage disengaged from the belt while the other is moving across the knitting and back to its resting place.

SYMBOLS IN PATTERN KNITTING

Below each punchcard, the repeat is identified in numbers for stitches and rows. The cards presented are the minimum length required for the card to roll smoothly within the reader when joined for continuous knitting (at least 36 rows). Electronic knitters may isolate the individual, smallest repeat, draw only the squares that appear as white in the cards, enter them via mylar or download, and use color reverse.

Skip is aka slip or part. These cards would work for tuck stitch as well, and may even tolerate elongation, depending on yarn thickness.

Opposite cam buttons are in use; the fabric changes appearance depending on which of the 2 stitch types is forward, so if instructions with cards are to be followed, then the starting side for the pattern in this instance should be COR. Both tuck buttons (or slip) may be used as well, for a different fabric. If the tuck or slip texture is created over an even number of rows (2, 4), changing colors for each paired row sequence can create some interesting color patterns with very short floats akin to planned mosaics and mazes.

The fair isle patterns below are actually poor choices in terms of float control, pushing its limits. It is usually recommended that floats be no wider than 5 stitches, and even then, they may have to be controlled to make the finished garment easier to wear.

Brother only produces a transfer lace (as opposed to studio simple lace, where the carriage transfers and knits with each pass of the carriage). The lace carriage is the one advancing the punch card. The knit carriage does not select needles, but rather, knits 2 (or more) plain knit rows

Lace card markings, including those for fine lace: in the latter, stitches are transferred and shared between pairs of needles, best knit in a light color, with smooth yarn so the surface texture becomes more noticeable.

Lace point cams may be used on the punchcard machine to create vertical bands of lace. This is also achievable electronically by programming for knit stitches between vertical (or horizontal bands).

Tuck (left) and weaving (right) may be combined with lace. In these fabrics, both carriages are selecting needles, so extension rails must be used. The two columns on the left of the cards indicate movements for the lace carriage on the left and the knit carriage on the right. Straight arrows indicate single carriage passes, curved ones 2.

Yet another fabric using 2 carriages selecting needles for patterning.

Here, the “openness” is created by having the appropriate needles out of work, creating ladders in those spaces. Some interesting results can be obtained by transferring the recommended out-of-work needles’ stitches to the ribber. ” Air knitting” can help with verifying that proper needle placement is in use.

to match the location of the out-of-work needles to markings for punchcards, which are often given with lines delineating 0 needle position, the image will need to be mirrored horizontally

THREAD OR PUNCH LACE is possible only on machine models that have 2 buttons in mc position. The thicker yarn knits along with the thinner one where there are unpunched areas or white squares, the thinner yarn knits alone where the punched holes or black squares occur, with the thicker yarn floating behind it. More information on this fabric

Suitable for tuck and possibly tolerant of elongation as well:

Punchcard machines mirror motifs when knit. This may not be noticed when copying small repeats, but it becomes more evident in larger ones. For knitting on the 910, the supplied motif would need to be mirrored when programmed to retain the intended direction. With other machine models, one needs to know whether the “image” on the card will appear on the purl side, matching punchcard pattern and needle selection, or the knit side, thus reversing it.

2 FI samples with potential float formations that may require added management.
The automatic reversal of lettering and motifs.

When you think that that is all sorted out in your head, there are these in slip stitch, the direction of stitches matches, because the purl side is used, images are reversed on the knit side.

the mirrored punchcards The punchcard change knob has selections for single motif and pattern knitting (KC)

The 910 has settings KC I and II, KC II cancels end needle selection, while in punchcard machines this has to be done manually if the pattern stitch requires it. One such example is when any patterns are made with needles out of work. End needle selection would make the needles on each side of the empty space select forward and create a knit stitch. In tuck or slip, that would be an out-of-pattern knit stitch, in FI, a vertical line of the color in the B feeder would appear along on each side of the OOW needles.

Ribber settings and symbols for Brother machines

Tuck lace trims and fabrics 2

Working between electronic and punchcard machines needs to take into account that repeats on a punchcard KM must be a factor of 24 (2, 3, 4, 6, 8, 12). An electronic tuck stitch repeat may be any width. Since the above is seven stitches wide, if punched accordingly it would occupy 21 out of 24 stitch units on a punchcard. As is unless those extra needles on the far right or left are left out of work for ladders or transferred down to the ribber, it would not be suitable for an all-over fabric. It can, however, be used for a trim. If the latter is the intent, only one series of vertical repeats as seen in the chart needs to be punched. The numbers below the image indicate Brother needle tape markings. The Brother needled tape has a center O position marking, with numbers beginning count with one and radiating out marked in groups of 5 in both directions. This is a 6-row tuck fabric, thinner yarns should be used if the pattern is automated, as tuck loops build up in needle hooks. If you wish to experiment with slightly thicker yarns, decrease the unpunched areas to 4 rows, or execute the repeat using holding. Held stitches sit on top of the needle shank, tolerance is determined by how many rows it either takes for knit stitches on sides of the loops jump off needles or accumulated loops in hooks or any stitches become unable to knit off consistently on the next all knit pass.
To test the yarn and repeat out, try the technique by using holding, then punch your card. Automating makes the process less prone to error and faster if great lengths of trim are needed. It is also possible to punch or program only the part of the card that is planned for the repeat. The single-width repeat may be programmed as pixels, on left, or punched holes on right. In electronics a single 8-row repeat is adequate, punchcard knitters repeat 5 times to 40 pattern rows punched. I prefer starting such designs on a knit row. To do that, the design repeat start may be shifted Using the trim as the cast on edge for a garment: determine the length required after a technique test. Knit a bit extra and remove on waste yarn, so more may be added or some be unraveled if needed or you wish to change the configuration using it as your cast on. Rehang and cast on later when it is completed. The flared-out portions of the trim will be used to “cast on” the edge of the piece, continuing with some needles out of work. An attempt at a line drawing of the “trim” sideways Using the curved out edge of the trim, hang half stitches if possible, or one full stitch away from its edge as illustrated below. Knit 4 rows. With a tool pick up all ladder loops created by NOOW (RC 1-4) and hang them on the center empty needle. Knit rows (RC 5, 6), hang ladder loops on still empty needles, knit across all needles, continue with garment

needle arrangement picking up loops

The yarn used is cotton and appears to have a tendency toward biasing on knit rows as seen in the tendency to lean in one direction in the above photos. It has no stretch, so stitches that knit off several tuck loops remain elongated. A look at the structure on the purl side: For more trims in this family, please see later post Tuck trims 4 and other edgings

In Brother knitting when needles are out of work, the automatic end needle selection may interfere with the pattern, and this is a consideration in many stitch types.
All over fabrics, analyzing a published Brother tuck lace punchcard repeat:
Single bed: to test the pattern, arrange the needles as shown below the full pattern repeat.
Cast on and knit a few rows, set the change knob to KCII, knit one row. Push in both tuck buttons, and knit the desired number of rows. If using the pattern on electronic machines, the needle selection needs to match on the top bed. Depending on the model electronic, the pattern may have to be reversed for accurate needle selection.
I prefer to start on a row where all needles in work are selected, providing an added visual check that indeed the proper needles are in use.
Begin with waste yarn and ravel cord, followed by a permanent cast on.
I like to use a crochet cast on and bind off, with extra chains where needles are out of work. The fabric will stretch sideways depending on the number of rows tucked as well as needle set up, so casting on and binding off needs to accommodate that stretch in finished pieces.
Punched holes or black pixels represent knit stitches, as always unpunched areas of the card, or white squares represent tucked rows. The knit stitch (blue) above which tuck loops (red) are formed becomes elongated for as many rows as unpunched cells or white pixels in the pattern until that same stitch is selected forward to be knit When using card 304, tucking happens for 3 rows forming loops that span across needles out of work, then all stitches on needles on rows with numbered markings on blue cells knit for one row. Orange gradient-filled cells represent rows on which tuck loops are being formed on the held single stitches, which in turn grow in length. The full 24 stitch repeat, shifted for my preference, with the smallest electronic 8 stitch repeats outlined with red border In electronic knitting, repeats may be planned across the number of needles in work based on personal preference. Here the repeat is adjusted to produce knit stitches on both sides of the swatch, 35 stitches X 16 rows. On the 930: the odd number of needles are automatically placed on the left, with the pattern used in the isolated design setting.
Air knitting the selection for the first row will bring proper needles to forward position, odd number on left, even number on right.
Unselected needles on the right and left must be taken out of work, knitting will continue on the remaining selections. Double bed: there are a couple of options for varying the fabrics. In one, to retain the laciness of the knit transfer only stitches creating those long vertical columns on the top bed down to the ribber. In the other, any or all out-of-work needles on the main bed will be transferred down to the ribber. Hybrid combinations of both modes of transfer could explore the knit further in yet more ways.
If casting on in rib, set half pitch lever on H, racking indicator on 5. Cast on the desired number of stitches and knit base rows.
Set half pitch lever on P, transfer stitches between beds arranging them as shown with NOOW on both beds. Set change knob to KCII, knit one row. Push in both tuck buttons on the main bed, knit in pattern for the desired number of rows.
Lately, I have been experimenting with chain or crochet cast ons and bind offs with extra chains between needles in work, and actually began my single bed swatch in pattern immediately after the cast-on row on the needles preselected in air knitting for row 1. Some weight, distributed evenly across all stitches is necessary. The main bed remains set to tuck in both directions throughout, the ribber when used is set to knit in both.
The bottom of the swatch shows the single bed fabric, the top a double bed version.
When knitting on the double bed, in this instance, the stitches where those all knit vertical columns occur on the main bed, marked with red dots, were transferred down to the ribber. Here the main bed needles, continuing in pattern, are selected forward for knitting on the next carriage pass, here the elongated stitches and tuck loops are shown after they have been knit together on the main bed. Transferring all non-selected needles down to the ribber: the tuck loops still form on the main bed, the ribber is set to knit every needle in both directions. The resulting knit, very different in appearance and in width than the previous sample, using the same tensions
For how-tos, illustrations, and swatches showing fabrics knit with all needles in work on both beds, please see post: Ribber fabrics with main bed tuck patterning 1/ pick rib

“Crochet” meets machine knitting techniques: tuck lace trims and fabrics 1

Any discussion of crochet like fabrics on home knitting machines, whether single or double bed, invariably lead to looking at gathered loops, whether created as a hand technique using holding or automated by using the tuck setting. The function of the card remains the same when cam buttons are engaged, regardless of whether knitting single or double bed. In Brother machines punched holes result in needles being selected to D position (brother has no C), those needles will knit (second color in FI, thin yarn in thread lace / B feeder). Unpunched areas remain in B position, and will tuck or slip, (color 1/A feeder FI, both yarns together in thread lace) based on cam settings. Another Brother feature is that the needle tape to help with markings for stitch counts, pattern repeats, etc. centers between 2 # 1 needle positions. This can cause some confusion when translating patterns from other makers that rely on needle position numbers only for their directions.

I often use punchcard designs on my electronic machines after isolating the repeat, most often for the sake of speed and convenience. Swapping out the needle tape for the electronic with one for a punchcard machine makes identifying and placing repeats easier. In Brother punchcard machines tapes the heavy solid line, followed by a thin line on alternate sides, reflects each 24 stitch repeat. Repeats on these KMs are fixed, there is no option for altering the starting position. When using electronics in some patterns, aside from the added convenience of color-reverse for minimal “drawing”, it is helpful to know that the punchcard design reflects what happens on the purl side, so letters, etc are reversed on the knit side. As a result, when translating for electronics, some patterns may also require being flipped horizontally. Using the markings on needle tape is pointless if the tape is not properly centered. Check needle “bow” mark at 100 on the left side, the last needle on that side should rest directly in its center. As the retainer bar begins to loosen a bit from wear, the tape may start shifting position, and cello tape may be needed to anchor it in place

Marking colors have varied over the years

“Trims” can be any width, from narrow to wider bands. Punching cards is enough work so that it is worthwhile to get as many functions or fabrics out of each card as possible. Various software makes it easy to check repeat tiling, or simply scan/copy the card with black paper behind it, cut it up, and cello segments together to sort out needle placement. I chart mostly in Excel, old fashioned colored pencils, and graph paperwork just fine

self-drawn punchcard for Brotherside by side repeats in this instance, left side needs some adjustment

got a pre-punched card? tucks occurring for 3 rows for an all-over pattern, or trim choosing a section of repeat Studio card (use appropriate starting row for the machine)same needle arrangement, tucks will now occur for 4 rows

Love your ribber? use any tuck lace appropriate card. Transfer any or all of the needles to be left in A position (OOW) on the main bed onto the ribber, and you will have a pattern combining knit and purl stitches. Use waste yarn, ravel cord, and ribber comb with weights through waste yarn. Cast ons and bind-offs may require planning and choice depending on yarn used and the number of rows tucking. These in turn result in a stretch in width and diminished length proportionately in the body of the finished fabric. After casting on and setting up both beds, set ribber on P (so needles on both beds are directly opposite each other) to center ribber created vertical columns between those on the opposite bed.

When more than one stitch tucks

A quick post to address another question:

Two cards that meet limitations on fabrics with side by side tuck stitches when using Japanese machines

Side by side tuck loops create floats similar to those created by slip stitch; the yarn is held in the needles however, so they are longer than those in slip stitch, which are simply not worked and travel in front of gate pegs. In Brother KM, the non selected needles tuck

In the card above left, after tucking for 2 rows, the needles are all selected forward in order to knit across the next whole row (every square punched). This is the result as needles come forward, illustrating some of the potential problems and limitations with wider or longer “tucks”

fabric 1 fabric 2

Knitting in pattern with 2 carriages vs color changer, Brother punchcard KMs 2

After my recent attempt to resurrect my single bed color changer and frustration with my 910 behaving “flaky” when reading mylar sheets drawn using template marking pencils (perhaps, because over time of some of the marks flaking off the surface of the mylar, with changes their density as a result), I went back to the idea of using my punchcard machine. I pulled out an old friend, illustrated in my post 2012/10/15/mosaics-and-mazes-from-design-to-pattern/ , had forgotten about my other post 2016/08/25/knitting-in-pattern-with-2-carriages-brother-punchcard-kms/ and actually came up with a second alternative for starting to knit with 2 carriages. Here is a bit more description: I began with a card punched with repeats that are single rows in height, and would normally have to be elongated for use with a color changer. Since 2 carriages are used, the starting side does not necessarily matter. With COR, color 1, carriage set to KC, card set on row 1 but not locked, but rather, set to advance normally. The first carriage then is moved to the opposite side of the bed (in this case the left). The second carriage is now placed on the extension rail on the right, cam settings set for the choice stitch to be worked (in this first case tuck or slip). It is threaded with the second color, is used to knit 2 rows of col 2, returns to right. The carriage on the left now comes off the rail on that side and onto the needle bed, with cam buttons set for appropriate stitch type, it travels to the right, and then back to its starting point. Yarn weight alters the appearance of any fabric considerably. As always, slip is short and thin, tuck short and wide.

The same method may be used with any punchcard requiring color changes every X even number of rows. FI can be knit with 2 separate sets of colors in each carriage, or with one carriage set to select but with no cam buttons engaged for solid color stripes between motif repeats (it will plain knit, with color in A feeder, the card keeps advancing). Cam settings may be combined for different or opposing textures or stitch types without any manual changes to cam buttons. Of course, also helps if your punchcard is punched correctly to start with ;-). Problems in the slip stitch red and white segment were due to tension adjustments being needed for stitches to knit off properly.

Lastly, there has never been a single bed 2 color changer for the 260 bulky. Extension rails for the bulky machine were manufactured at one point. If a second carriage for the bulky is available as well as the rails, working this way opens up a range of complex fabrics for execution more easily.

And then, buyer beware! I am still experimenting with a patterned ruffle. So I tried the card first with 2 carriages, but the design was different than one of my aged swatches using the same card.

I went back to the color changer, assuming this yarn pair might work in it, and it did, but here is the resulting fabric, so it would appear the above is technically twice as long. Frankly, when the color changer works, when only one carriage cam setting is used or very few changes are needed, and if you don’t do things like pushing the wrong button, have your yarns happily mating or causing loops in all your brushes as they travel from the yarn changer side, it may even be quicker than using 2 carriages. What is possible may not produce what you originally intended, but sometimes the surprise can be a very pleasant one. If not, then it’s back to the drawing board to accommodate the techniques and yarns involved. Pictured below is part of the working repeat, whited out areas are not punched for these swatches, they are covered with cellophane. Denise Musk’s book on the technique of slipstitch provided the source/ inspiration for the experiments. For the second swatch, the card was flipped over vertically.

Areas of the knit placement on THE needle bed may be changed to suit. I like working within the 24 stitch marking on the needle tape for this sort of work. Flipping the card vertically when using the color changer in this instance will allow that, and begins each row with knit stitches (every hole punched on right in the image above), and patterned knitting and needle selection stops shy of the “slipped” stitches (unpunched areas on left). In using the slipstitch setting this may not make a significant difference since the yarn threads stay in front of the gate pegs. This repeat is also suitable for the tuck setting. The yarn gets laid in hooks as the non punched area of the repeat is cleared. While not knitting or necessarily affecting the pattern, this can cause added issues with loops and yarn tangles on that side (one may be noted in photo of purl side of swatch below). Seam-as-you-knit can also now occur on the opposite side, away from yarn ends and color changer.

Purl side showing loop at non-knitting (or punched) side and edge curl on the left may actually be used as a “design feature”. The density of the tuck stitch helps keep it in place.

the knit side

an “oldie” of mine, using the technique in a single color

4/6/17 I am getting along better with the color changer by making different yarn choices, so I now have a WIP, and am going about a shawl design backward: ruffle first, body later. Reasoning: seam-as-you-knit should be easier if not taking place during ruffle knitting. If the latter is not bound off it may be continued with body knitting taken off on scrap yarn if needed to facilitate doing so. BTW, as with all knitting that uses patterning on only part of the knitting on the machine, end needle selection must be canceled on the knitting undercarriage. Any reverse movement of the carriage will advance the card for a pattern row, so that is an added possibility for errors as the knit grows in length. The pattern has 18-row segments, 36 for the full repeat. For 36 passes of the carriage, only 8 full rows of knitting take place. Every individual has their own design process. I tend not to sketch, but rather to make decisions as each piece grows. As for some math? 800 rows would actually take 3600 passes of the carriage, the shawl requirements TBD. (3276 on completion).

A previous post with notes on color changers: https://alessandrina.com/2014/01/26/some-notes-on-machine-knitting-color-changers/

Older model machines had no provision for a second yarn mast, and an accessory was available for mounting on their left side. Having the yarn in that position brings it closer to the changer and seems to help with undesired looping and sliding within the changer’s wheels. This shows the carriage traveling toward the extension rail, with the auxiliary mast in place

If the ribber setting plate needs to be moved forward in order to balance your ribber when in use, setting it as close to the needle bed as possible or even removing it may be needed if it starts to catch and hold the yarn

the “finished” ruffle; HK markers every 20 repeats to help track rows knit and being joined on with “seam as you knit” technique
the finished shawl after a successful truce with my color changer

going green the series grows

Knitting in pattern with 2 carriages, Brother punchcard KMs 1

I touched on knitting with 2 carriages in some previous posts:
2011/03/30/knitting-with-2-carriages/
2011/03/29/lace-meets-hold-and-goes-round/
2015/03/31/combining-tuck-stitches-with-lace-2-automating-them/

If 2 carriages are in use for patterning extension rails are a must. For this discussion we are excluding the lace carriage as the #2, the intent is to use 2 knit carriages with each set to desired cam functions. As one carriage is put to rest and the other one is set to move from the opposite side, the card does not advance, so the last row selected is repeated one more time. In one of those lightbulb moments today (any excuse not to do laundry) it occurred to me that starting out with an odd number repeat pre-punched card, coming from the opposite direction at the end of each odd row repeat, an even-numbered repeat would actually be knit. The card below is a Brother issue with all standard knitting machines. Card number (2 in this instance) may vary, depending on the year of purchase. Color changes here as well would have to be planned for every even number of rows, so respective carriages can travel to and from each side.

The swatch below begins with locked selection row on punchcard row marked #1 (standard location); tuck setting is used in first 2 segments, FI on third; pattern produced is “OK”, but not actually tucking for 4 consecutive rows; note how much narrower FI is than tuck. Tuck tends to be short and fat, slip and fair isle short and skinny when compared to plain knit in same yarns

Since Brother preselects for the next row of knitting, setting the first selection row one locked below the usual spot on in this case #48 got me what I wanted, each color now tucking for 4 rows

Then something a bit more exciting occurred to me; one is an odd number, so any card where single rows are punched could be executed in theory, changing color every 2 rows (remembering to start with first selection row one row below # 1-row mark on the card). This sample was knit with 2 carriages, using a maze card, illustrated in a previous post, in which each row had been punched only one time, requiring for the repeat to be elongated X2

the image from the previous post

Using 2 carriages allows for combining yarns using different tensions, cam settings, fiber content, or sometimes using materials that the single bed color changer is not “friendly” with. Also, there is no pushing the wrong button, causing errors in sequence, or dropped knitting if no yarn is picked up.

A punchcard carriage may be used on electronic machines. I work on a KH892, and a 910. The 910 is from a much earlier model year than the punchcard machine. The back rail for the KH to travel on, is a different shape, with slits as opposed to smooth, and a bit more raised. The electronic carriage set on KC locks on the belt and advances the card appropriately, but the fit is quite snug, making it hard to push, while the 892 behaved well on the 910. If borrowing carriages and sinker plates from different model years or one type of machine to use on another, proceed with caution and listen to your machine. Sometimes the span of time between model issues is irrelevant, even if model years are only a year apart, and the swap is not the best for successful knitting, may “work” in one direction, but not as well in the other.

sample back rails: 910 892

Dec 7, 2018 Knitting studio simple lace with 2 lace carriages transferring stitches

Vertical racking 3: automating half fisherman in pattern (2)

Working with the half fisherman racking discussed in the last post, here is an approach to interpreting the fabric seen below for knitting on a Brother model knitting machine. For the sample chart, I chose a 12 stitch repeat, making it executable on any knitting machine. The ribber is set to half-pitch. An often-overlooked clue as to what is happening or is about to be found in the arrows just below the racking position indicator. With the latter at 5, the red triangle appears pointing to L. As the bed is racked to position 4, the red arrow now points to the letter R. This is a simple racking pattern involving only the 2 positions, either to R or L

pitch_rack

Once on position 4, the red arrow indicates the direction in which the bed was racked on the last move (R), the “empty” arrow the direction for the next move (L), bringing the position back to 5. More complex patterns require a bit more planning and tracking to avoid errors.

Racking patterns in books often recommend beginning the fabric with the setting on 5, or the center position for the machine in question. Doing so allows for balanced edges in patterns that swing by multiple positions in both directions. In this instance, for the sake of avoiding mistakes in as many ways as possible, I would start the pattern on racking position 10. Racking cannot go any further to the right, so no chance for example of racking to 6 rather than 4 in the knitting because of inattention. Having a “cheat sheet” with row numbers where no racking occurs, and the position of the carriage to R or L at their start and or after the knitting is also helpful. I had to lower the tension on both beds considerably to avoid forming loops that in turn got hung up on gate pegs. Especially at the start make certain that the comb and weights drop properly. Using KCI will ensure that the first and last stitch on the main bed always knit. In the patterning used on the Passap back bed (previous post), the groups of needles in each half of the repeat will change to the alternate position with each pass of the lock. On the rows where the back lock is changed to N, selection continues in pattern, but no tucking occurs. In this chart, the pattern is maintained continuously throughout, while blank “remaining” squares are filled in on rows where no tucking or racking occurs = N, every needle knits. In Brother machines, both tuck buttons are pushed in. Selected needles knit, non selected tuck across the row. new program 2

I tested the pattern approach on my 910, with a 38 row, 20 stitch repeat in a random acrylic. I had some issue with some needles not selecting properly, for whatever reason. The repeat was not planned so a full 10 stitches were at each side of the knit, resulting in the difference on the right side of the swatch photo from its left.

half the repeat with color change on a single plain knit row (use of color changer only possible with even row change sequences), the top stripe of the swatch in plain rib

back to scales and knitting them

Overall, wider repeats and thicker yarns gave me harder to knit fabric, with less noticeable pockets and lack of stretch and “bounce”; ultimately I went back to a 6X6, 12 stitch 2-row sequences illustrated in the chart above. The thinner yarn needs to be with a bit of stretch, and enough strength not to break when ribbed and racked at the tightest possible tension. This is a fabric that requires concentration, having as many clues as possible to help stay on track is useful. If errors are made close enough to the all knit row, it is possible to unravel carefully to that point and continue on. Mylars or punchcards may be marked to reflect racking position. Here the mark on the right = 10, the one on the left = 9. Marks take into consideration that the card reader’ design row and knitter’s eye level row views are not the same.

A row cheat sheet can help track carriage location for all knit rows. Pictured below is part of mine. Wording for clues or description of sequences should make sense to the person knitting, not necessarily follow a specific formula.

some of what “did not work”, including a very long swatch with a confusing pattern due to creative operator error

a finished piece with yarn ends not yet woven in

The fabric is tugged lengthwise, left unblocked, and pockets may pop on either side of it, with the majority on one side of the knit as opposed to the other

the start of a series in varied colors and fibers

Racking 2: vertical chevrons/ herringbone +

Here again, half fisherman or full fisherman rib is be used. The zig-zag happens at the top and bottom of the fabric. In half fisherman, the setup is once again for full needle rib. If knitting in one color the sequence is: knit one row, rack a space, knit one row, rack back again (X and Y below represent the 2 racking positions involved

for 2 color fisherman, the sequence is knit 2 rows with col 1, rack one space, knit 2 rows with color 2, rack one space back again

this fabric is produced in conjunction with a pattern repeat using the principle that black squares knit (pushers up, needles preselected), white squares tuck (pushers down, needles not selected), the repeat is 12 stitches wide, 2 rows high; it is possible to have 6 stitches tucking side by side because this is an every needle rib, and there will be a knit stitch on the opposite bed anchoring down each tuck loop

one color half fisherman side one one color half fisherman side 22 color setting, color changes every 2 rows, side 1, thinner yarn
side 2

2 color version, changing color every 20 rows; racking interrupted with plain knit rows at top and bottom creating horizontal pockets

This type of repeat became popular in Passap clubs for use in their Passap ripple afghan. The racking first to the left and knit a row, knit to the right and knit a row, was interrupted after 36 rows, followed by a color change and a no-racking knit row before resuming the previous racking sequences.
When single or multiple odd # of rows with no racking are introduced at intervals the zigzags once again happen at sides rather than top or bottom, with the knitting after the no racking row(s) reversing direction. The yarn used in these swatches is a random acrylic, presses flat, not the best if aiming for any 3D textures; the color difference is due to photos being taken at different times of day

side one side two

what happens when multiple odd numbers of rows are knit changing back lock set to N (all knit), no tuck stitches. The fabric still swings in opposite directions, and in addition, the all knit rows produce areas that “poke out”, beginning to create scales of sorts

side one side two back to vertical: full fisherman with color changes every 2 rows, side one side 2, with a few stitches knit off issues

it is a matter of personal preference whether the extra effort with full fisherman rib is worth any difference in appearance or result in the final fabrics. Changes in tension, yarn fiber content, and machines used add to the variables. Good notes in trials help one determine predictable results and to choose whether the effort may be worth it or not. Using laborious techniques for borders rather than whole items is always an option.

1/22/2016: half fisherman racked rib knit in thinner yarn, wider # of stitches and more rows in pattern group before single N/N row, no blocking

same fabric with color change every 2 rows

Ribber pitch, a bit on racking 1: chevrons/ horizontal herringbone

A “how might this be done challenge” of late re this fabric brought to mind racked patterns for chevrons, both vertical and horizontal, and the possibility of producing them on home knitting machines. To review some of the principles in racking in both Brother and Passap knitting machines: the pitch is the distance between each needle groove along the needle bed is sometimes also referred to as gauge. The size varies between machine brands and types of machines. For example, the Brother bulky has a 9 mm pitch, the Passap a 5 mm one; the larger the pitch number, the thicker the yarn that may be used.

Full pitch lines up needles and gate pegs (or channels) on both beds directly opposite each other. To knit patterns in full pitch, the rule is that for every needle in the working position on the main bed, the corresponding needle on the opposite bed must be out of work, and vice versa. This setting is never used when groups of all needles are in work on both beds. Stitch patterns using this setting are designed to have opposite needles in work on either bed at any one time, but not both at once. The number of maximum needles in use for ribs on both beds will usually total 200 (4.5 mm machines), and the setting accommodates yarns thicker than when every needle is in use.

In half-pitch both bed needles are now offset by half a position, centering them between each other. The full complement of needles for possible use now is potentially 400 (4.5 mm machines); the setting accommodates thinner yarns than one might use on the single bed.

The half pitch lever on Brother may be moved from P to H to change alignments. In Passap the racking handle may be used in an up or down position to do so. The racking or swing lever allows the ribber bed to be swung one full pitch to the right or to the left in a series of stepped moves. The racking handle on Brother machines is located on the left-hand side of the ribber bed. Racking swing indicator positions are numbered 0-10. When the racking indicator has been moved over to the next number, this means the ribber has moved by one full pitch. With the swing indicator at 5, both beds will be centered opposite each other, the usual position. Starting points may vary when racking is used in patterns. Beds cannot be racked with needles in holding, as needles will then crash into each other. It is always a good idea to check ribber alignment before tackling more complex, double bed fabrics. In Passap the racking indicator is situated above the racking handle, and arrows indicate the direction of the last movement. The scale at the top of the front bed shows the possible racking movements from a center point of 0 to 3 to either to right or left of center. I chose to place numbers below the factory ones on the machine from 0 to 7, finding that method easier to follow, since I do not rely on built-in patterns and racking prompts from the console. For the purposes of these swatches, I am reverting to the factory indicators.

In the Passap system, the racking handle has 2 main positions: up, and down. When the racking handle is up needles are directly opposite each other (P pitch in Brother), when it is down the needles are between each other on opposing beds (H on Brother). There are some racking handle positions at different parts of the “clock” that are recommended when using some of the Passap accessories.

Regardless of machine brand needles have 3 basic functions: knit, slip (do not knit), tuck (gather loops). Passap pushers have 3 positions: work, rest, and out of work. When a pusher is in the up position the corresponding needle will knit no matter what the setting on the pattern dial. This is the equivalent of having needle pre-selection on Brother, but forgetting to change cam buttons from the normal knit setting. When a pusher is at rest it will slip or tuck depending on lock setting to AX, DX, or FX (in Brother these would be needles not selected, in B position). If locks are set to C, E, or G, the pushers have no effect on the needles. Pusher positions may be changed manually, automatically by arrow keys (back lock Passap, lili buttons, and lever Brother ribber), automatically by readers whether electronic or punchcard on both brands in the Brother main bed or front bed Passap are in use. NO pushers are used in N (double or single bed plain knit), CX (tubular), EX (double bed, tuck).

I personally find racking easier in terms of the numbering in Brother brand machines. For these samples, however, I chose to work on my E 6000. Adding tuck to the mix creates more textured surfaces, and a half or full fisherman’s rib where every needle tucks, then knits as the carriage reverses direction on either single or both beds, is a place to start. I have written previously on tracking brother racking sequences using a punchcard numbering system. If no other pattern is used on the main or front beds, needle and pusher selection might be used to track the racking position there as well. These fabrics require concentration. In terms of chevrons, both horizontal and vertical may be produced. Some published sources include a youtube video by Diana Sullivan, knit on a Japanese machine, and a baby blanket in full fisherman rib knit on the Duo 80. The version below is my half fisherman adaptation of the latter. The photos illustrate both sides of the fabric. The racking is done by moving a single of each of only 2 positions to the right or to the left. Single (or multiple, odd-numbered) rows at the end of each sequence place the carriage at its start on the opposite side, rather than altering the numbered sequences as in the Diana video. I began my fabric on Passap racking position 2, to the right of 0, locks set at KX, N, first and last needle in work on the front bed. The back bed tucks every needle right to left, knits them left to right. There is a slight difference in texture between the 2 sides of the fabric.

activate row counter after CX rows in the cast on, with locks on left, so knitting the racked pattern begins with locks on Right, RC on 1. Below is my working “cheat sheet”

cheat sheet settings

For scales and chevrons on Brother machines please see 2018/07/19/more-scales-and-chevrons-in-ribbed-racked-4-fabrics/