My DAK explorations 1

WORK IN PROGRESS

Resources for users or those curious about the program are offered below. There are 5 help files and 5 manual files. They don’t interact at all and work completely independently from each other, can be opened from DesignaKnit or from a file browser window, are not available until the program is purchased and installed, each may be downloaded as a PDF. DesignaKnit Professional contains 5 modules:
Standard Garment Styling has built-in sweater patterns that may be adjusted to custom measurements and gauges
Original Pattern Drafting: allows for using a pattern designed in garment styling to custom features such as knitting the design sideways or making pieced such as the front and back different lengths
Stitch designer is a paint program. A grid may be created to match the stitch gauge for a sense of aspect ratio of the design in the finished piece. When the type of knitting for the project is selected, warnings as to possible errors in any rows provided
Interactive Knitting: with the proper cable connected to the computer and the knitting machine the design is followed row by row, voice prompts may be activated so as to receive warnings when to change colors as well as counters for the number of rows between shaping ie increases and decreases while knitting sleeves
Graphics Studio: convert graphics to stitch designs, including color separations for DBJ, color reductions, scaling for large non-repetitive designs
When the program is installed and opened the manuals are found listed after using Help 
in a series of tabs, ending with that for section 5. There are 5 help files and 5 manual files. They don’t interact at all and work completely independently from each other, can be opened from DesignaKnit or from a file browser window.
Online references:
a quick summary of version 9 upgrade features
https://softbyte.co.uk/DK9UpgradeForms/DK9_upgrade_features_F.pdf
videos DesignaKnit9 graphic studio
https://softbyte.co.uk/dk9englishvideotutorials.htm
the DAK Facebook group
https://www.facebook.com/groups/523785160964950
members of the group have access to teaching material shared by Sheila West https://www.facebook.com/groups/523785160964950/user/1164753159
Youtube tutorials for DesignaKnit 8
https://www.youtube.com/c/Knittitude/videos?view=0&sort=dd&shelf_id=0
a search for DesignaKnit9 tutorial yields mixed results, including many for version 8
https://www.youtube.com/results?search_query=designaknit+9+tutorials
Graphic design studio search https://www.youtube.com/results search_query=designaknit+graphic+design+studio
offered courses at knititnow, search https://www.knititnow.com/Courses/#
login required as well as fees

Brother magazines for a while published accompanying pat files for DAK, they can be found http://machineknittingetc.com/catalogsearch/result/?order=date&dir=desc&q=DAK+files+Brother
also for Studio http://machineknittingetc.com/catalogsearch/result/?order=date&dir=desc&q=Dak+files+for+silver+reed
and Passap http://machineknittingetc.com/catalogsearch/result/?order=date&dir=desc&q=Dak+files+for+passap

I am a complete novice at the use of this program, tend to start learning new tools by comparing them with what I am familiar with, which in my case are spreadsheets and other paint programs. I have decades of playing with changing file formats depending on end-use. My questions on aspects of the program’s use are not intended as criticism, they are born of curiosity and the attempt to explore a new tool.
I am using Dak on a PC, at the moment my blog posts are created exclusively on my Mac. There is much that is fluid in addition to learning the software.

These are the formats that can be opened, converted to stitch patterns using Graphics Studio Stitch Designer, or opened as a background image in Original Pattern Drafting and used for tracing a garment piece: BMP, GIF, ICO, JPG, PCX, PNG, TGA, TIF, WMF, P?M. There is no export option for saving the repeat images in stitch design file formats for use in other than the native program. Passap CUT files are completely excluded.
I lean towards looking for workarounds to accomplish what I want if the task is not native to the program I am using.
One way to achieve conversion for DAK file formats for use as a png or bmp download with other cables and software is to isolate and select the repeat unit, copy it to clipboard, paste in a paint program, export as png or other desired formats There is a handy option in Dak when thumbnails is chosen from the image menu, one can browse through saved folders containing compatible file-formats including the images in those Brother magazine downloads. The small preview will identify the specific file size. When you left-click on your choice, it will appear enlarged at the bottom left of the view window, it has been moved from its corner in my screengrab, left-click OK on the enlarged image, it will open in the program window. Minimize the size until no further reduction is allowed by using the magnifying glass or the scroll function in the mouse. This is a different operation from scaling the original to a different size. The save-as option for the image offered at that point are:
For choices emulating export in other paint programs, right-click on the image, choose copy, open a paint program (Arahpaint is my favorite at this moment), and from its image it menu choose paste. Using Arah’s color exchange, the image may then be converted to black and white for 2-color work and is saved in a format usable with other software and in other machines. Here the image has been pasted in Gimp using the same process, but if the image needs to then be reduced to BW, Arah is the easier and predictable tool to use.
Activating the working palette, referred to as yarn colors: from the manual It is possible to achieve color exchange easily in Dak as well. Most operations appear to rely on an understanding of its symbols and what might be considered a language one must learn in order to use the program effectively. By activating the view yarn button palette, the items that may be viewed and changed are:
A: represents left mouse click on that color
B: represents a right mouse click on that color
C: click will swap A color to B color
D: needle hook alone represents non selected needle, pusher, or simply color depending on the machine model
E: color worked on patterning needle ie contrast in fair isle, knit stitches in tuck or slip setting It is useful to establish working history using the same design motif. In the first image, left-click on red, the from color, right-click on white, the to color, click on the double arrow to make and apply the change
The process is repeated with left-click on blue, right-click on black, and on double arrow. White squares appear in the final color choice boxes in the bottom image
The print dialogue allows for saving patterns as bmps. One is walked through the following steps with a series of windows. To save the repeat as bmp
choices may then be made about file name and the location for the save, If there are no “short” needles in the image being processed as in the last screengrab above, there will be an error message onscreen, pointing out problems in the numbers of colors present in rows ie more than 2 for FI.  This is fixed by clicking on either the “needles” of one of the two active colors in the yarn palette to make one color the ground, the other the contrast. The results from this process for printable bmp files are shown below, not for a bmp that may be used to knit the pattern on an electronic machine using a different download method. Here the resulting stitch pattern picture is shown in color reverse as well.  Using other print options: for this repeat, the color change page is blank since the fabric is being knit as a 2-color fair isle, without added color changes  Printing pattern text will do exactly that in longhand form, for each stitch and each row of the repeat 

Dak is the only program I know of for home use that allows for visualization of the knit design with approximations of knit stitches, seen here in both the BW and the original color version of the above FI design, shown as knit stitches on the public side. The image needs to be a minimum size for the appearance of the details as is true in most paint programs for grid views.   At this time I am continuing to knit on my machines with punchcards and using Ayab, or img2track on my electronics, have no immediate plans to change that, hence my interest in using DAK software features while keeping in mind the possibility of using the final repeats on other machine models.

The information on using the stitch designer lace module originally written here has been moved to its own post along with new content, updates, and corrections.

Numbers and GIMP: online punchcard patterns to electronics 2

11/23 Outside the topic of this post, ArahPaint 6 and its tool Guess Weave from Grid has become my preferred method for converting published design repeats including those intended for punchcard machines for use on electronic models.
Two samples: A black-and-white published card repeat isolated using ArahPaint, 
the 24X48 PNG  

and, from the Russian site, #4559, 24X1349/23
The latest Gimp update download: 2.10.34
Recently some Pinterest stitch pattern finds turned up in Ravelry along with questions with regard to using them in electronic models.
To review some of the editing required, in this case, for a tuck design The pattern is the typical 24-cell width. Row numbers are confusing and not specific to a brand. The repeat was likely punched using a roll rather than a single factory-numbered card. The magnified, manual count totals 62 rows.
The stitch type is not specified in the pin, it appears to be a tuck pattern breaking the rule of no side-by-side unpunched squares at regular intervals.
Assuming the shared card is correct and missing only the standard initial 2 all-punched rows, using software can help assess design accuracy. The latter proves useful if one is planning to punch cards as well.
The first 24X62 cropped design is shown to have faulty alignment when drawn in repeat.   With a few rows removed,  the final 24X48 repeat aligns properly  When two needles are tucked side by side, and those same needles are brought forward prior to being knit on the next pass, there will be wider loops across them. Tension and weights may need to be adjusted more than once to avoid problems.  The swatch was knit using an unknown fiber that was scorched in part when steamed/ pressed, as seen in the image on the left.  Another look at the inspiration swatch shows the knit was actually turned clockwise, a reminder that rotating knits can vary the appearance of the results.   Reviewed and edited, 12/2022
There is a Russian online site offering a huge range of punch card designs. The question of how to convert the site files for use in electronic machines surfaces periodically and did so again recently in FB groups.
My posts with information related to this topic:
Brother KMs: punchcards and their use 
Numbers and GIMP: online punchcard patterns to electronics 1
color exchange Gimp update for Mac 2

A Russian language tutorial on converting punchcard images using DAK
A recent video offering on navigating the site in English, begin viewing on minute 5
The site link
Small previews link for FI
The translated site link  offers larger previews
The options in English for working with published cards The help menu is available after the card is chosen Designs are presented on pages that list them from longest to shortest row counts for the complete repeats. Punchcard users can reproduce holes as given. There is also an option for entering a new design and it appears, in turn, one may be able to generate a separation for its use in DBJ.
Beginning with a smaller design intended for machines with 12-stitch repeat restrictions simplifies the view and processing of it for newbies. The published patterns are offered Silver Reed ready. The option for converting the cards for use on Brother 260 renumbers it with the appropriate location for the number 1 row marks required by the operation of the different brand’s card reader. Toyota versions are also available. Making the holes larger is a boon to reproducing the drawing correctly regardless of end-use. Splitting the card into segments is helpful when using factory blanks with a 60-row maximum repeat, and often also when processing the image for use on electronic machines, which is affected by screen size views available to the software user. For some reason, I found the commands erratic when working on the translated version of the site, and fared much better in the original language publication.
In the 2022 adaptation, the small previews were chosen for conversion to pngs rather than the full card templates used below.
The chosen card image may be dragged onto one’s desktop. I use Numbers to create my tables. The 2 all-punched rows, marked with blue arrows, and any standard vertical rows of holes on each side of the provided designs need to be isolated and eliminated. This is a 12-stitch repeat required for use on some machine models or useful when using a thicker yarn on every other needle to achieve the same design, every other vertical row is blank.
A: the table with cells 20X20 sized to match the number of rows and stitches in the original. The card image is arranged in the back of the table with the constrain properties option unchecked in its image-arrange menu.
B: cells corresponding to marked holes are filled in with black since the final goal is to create an indexed BMP or PNG. Not all programs for downloading to electronic machines read BMPs. Gimp does, and once opened they can be exported in the PNG format.
Using and holding down the command key during cell selection helps perform the coloring cells in action on groups, clicking on any cell again while still holding the key down will deselect the fill. Release the key, choose the fill-in color, repeat, and continue until the holes in the full design are filled in.
C: click and hold the command key, select every other blank vertical column marked with letters at the top of the table, the blank vertical rows are selected, release the command key, right-click on any of the same letter selections again, and choose to delete selected columns from the pull-down menu or after marking the rows directly from the table menu at the top of the screen. Eliminate all cell borders. The result shows how the pattern will appear when used to program fair isle.  Screengrab the final image surrounded by extra white cells, and open it in GIMP.
Change the mode to indexed BW, crop the file to content thus excluding any extra white cells, and scale to the original design’s 24 by 74 dimensions. Punched holes are now pixels; export the knit-ready PNG.
Using the filter, map, and tile options allows one to check on horizontal and vertical repeat alignments for any errors and begin to imagine how the repeat might appear on a finished piece. Color exchange may be used on the BW files converted to RGB mode to visualize the knit using specific colors. On the far left below the final PNG is shown magnified X 800 with a superimposed grid, then filter-map-tiled to 48X148 size. It is followed by a BW color-reversed version of the same, as well as color-exchanged ones. Getting a preview of how a finished garment might appear, here the tiled version is 192 pixels in width and one may glean some idea as to whether that repeat should ever really be used in a sweater or even a blanket. Further image scaling or cropping can happen based on the knit gauge. A very quick rendering imagining pattern and color placements using a simple sweater outline Collections of every other needle repeats for processing with a similar approach may be found in these volumes, available for free download
Chunky punchcard patterns  12 stitch Patterns of Knitting With Creative Punch Cards Juki 12 StitchBoth volumes include accompanying swatch illustrations.

In machine knitting, the word lace is used in categorizing a large variety of knit fabrics. The terms include:
simple lace, executed with carriages that transfer and knit in a single pass
multiple transfer/ fashion/ fancy/ lace: executed with carriages that transfer only
lace and fine lace combinations
fine lace
tuck stitch combined with transfer lace
tuck/ pull up lace
transfer lace combined with weaving
punch/thread lace
ladder lace
punch tuck rib
drive/drop stitch lace
If one explores the second selection for 24 stitch cards looking for openwork patterns for 24 stitch cards, the resulting  20 pages of repeats do not differentiate between the lace categories, so the onus is on the visitor to determine proper repeat use.
In addition, the option for switching machine brands does not readjust for changes required for the pattern to read correctly in the alternate machine brand card reader. As an example, transfer lace cards are shown with blank starting rows, ending with punched holes, a Studio brand feature, and in some cases with a punched row ending with blank rows, a Brother feature.
If changes are made in machine brand selection, the only adjustments in the new image appear to be made to the numbering sequence, but not to the punched or unpunched starting and ending rows.

For punchcard users or enlarged views: printing the PDF breaks the repeat into segments required if one is using individual 60-row maximum length factory cards and not a punchcard roll. On the far right, the a difference in relative size between a factory punchcard and the PDF image printed without any adjustments.  Filling in the dots with a black marker renders the to-be-punched holes more visible through the card, making marking prior to punching easier and faster.  For a better, printed match size, after capturing the image from the PDF for a single page outside image edges, opening it in Gimp, and cropping it to content, it is then possible to scale the results to measurements of a factory punchcard equal in width and adjusted for the number of rows in the image. My card required print measurements were 14.1cm by 26.1. Scaling executed with an aspect ratio that is too long.  breaking the chain-link, removing size constraints The result with printing to match the card stock measurements was extremely close to the desired size, useful, but hard to photograph  Entering patterns: the translation Working with the Russian menu:

The saved pattern will be assigned a number, in this case, 9831In the 24-stitch repeat FI area of the site, enter the assigned number into the search field on the upper right changing the view to larger holes if preferred, the option also becomes available to separate for 2 colors DBJ  translated to “recalculating for 2 fountains”.
Screengrab or save pdf, depending on needs.

2022: This process appears complicated, but with some familiarity with both Numbers and Gimp, can be fairly quick. Revisiting the site, I made the accidental discovery that working with images as shown below, by superimposing a Numbers grid to these point measurements, developing the designs became quicker and easier to manage  Two instances: from any black and white chart and a seasonal 24X120 repeat from this website.  Beginning with a published and gridded punchcard model: I am used to converting patterns for testing and using them on electronic machines. If the goal is only to have a printable template for marking holes to be punched, see the very bottom of this post for the quickest method.
The technique steps reviewed as applied to pattern # 403 as seen in this scan  Open the image in Gimp, and crop to the outer edges of the selected punchcard. Eliminate unnecessary information by using the select tool and bucket filling each area including non-repeat information with white. Adding a visible pixel line along one of the edges of this image will help locate handles for adjusting its size on the white spreadsheet ground. Save the result.  In Numbers, at 100% magnification, create a new table, 24 cells in width by 48 rows in height. Using a thicker cell border in a contrasting color is useful, here the border style is set to 3 points. Drag the image onto the spreadsheet, place the mouse pointer on and hold it in place on any one of its handles, appearing as white squares along its edges to a larger size than the table, then use Image Arrange and uncheck constrain proportions. Select the whole table, and drag and position it in front of the image.  Using the image handles adjust its size and place it for easy tracing.
Size and position in the Arrange menu will help with fine-tuning. Fill in the cells above the white squares visible beneath with any color that will facilitate keeping track of the marks.  Move the table away from the image at the end of the process. Visually check for any obvious errors in the overall repeat.
Scaling while retaining the odd number value resulted in patterning errors.
The problem was solved by resizing the table cells to even numbers, 14X14 points.  Remove all cell borders, and set the zoom at 50%. Screengrab the result with a white border around it.
Open the grab in Gimp.
Use the Image and Crop to content option.  Set Fuzzy select to select by color click on the contrast color, and pixels will be surrounded by broken lines select bucket fill to black, click on rectangle select, and then anywhere in the window to fix the result, the dotted lines will disappear  Follow with these steps
Image Mode menu, convert from RGB to BW Indexed Colors Menu, and choose Invert. Image Scale to 24X48 Magnify X800, Show Grid, and check for any errors.
Save the file.
Filter, Map Tile for the repeat alignment check.  The resulting, proofed repeat, 24X48 The top row of images summarizes the steps using Numbers, and the bottom row the results using Gimp  See punchcard templates for more information on associated settings, including downloadable spreadsheets.

Using the setting for centimeter ruler units, a partial segment of the above table’s repeat was printed. The result is shown ready for tracing over an improvised light box The squares on the card with black cells beneath them may be marked with any tool. For the result to be knit in the tuck stitch setting, users would need to punch all unmarked squares. If only the marked squares are punched, the pattern card could instead be used for thread lace in machine models with that capability.
A slightly different approach for pattern 8095 from the Russian site. Prior to committing to the process, check the row numbers in the PDF, and make certain the repeat is correct. This one happens to have a missing, blank row Using the small preview from  http://perfo.12rus.ru/index.php, download it Open it in Gimp
Crop the image to eliminate the border
Fuzzy select by color the background which only appears white.  Bucket-fill the ground with white from the Gimp palette, and only the repeat will remain Do not convert it to indexed
Create a Numbers table containing 24 cells in width, and 58 in height using the centimeters ruler setting, with cell size set at 0.5cm wide by 4.5cm high. The full table size will measure 10.8cm by 29cm.
Drag and drop the design image onto the sheet, resize it to table measurements, position it underneath the table, and begin filling in cells.
A: in some instances, it is possible to work all in black. As I progressed up the repeat I had to readjust the image placement slightly
B: the image size was tweaked to measurements of 11.2X29.1, and a separate color cell border is used
C: the full repeat is separated into sections to fit on standard letter sheets when printed. The result: The electronic repeat: Before committing to a knit, using Gimp, Filter, Map, Tile, check alignments. In addition, the result helps visualize whether or not the result is what was expected If the only thing needed is a traceable template for punching holes using the 11.2X29.1 measurements in resizing the cropped preview in Numbers, open it in its own sheet, watching its placement and you are good to go! Working in Gimp alone, the alternatives to working in pixels: Using a screengrab of a DAK DBJ color separation: the repeat itself is cropped to its edges with the rectangle select tool. The size is calculated using the formula for the width and height of cells in the unit measurement of your choice, ie cm or mm. Even though scaling is done with the chain link broken, the program will round off the values to very slightly different numbers. The printed repeat underneath a blank punchcard is ready for marking.  When using Numbers, the program will separate the repeat into segments for you if needed. My charts and results have been produced using default document borders.
If using only a paint program ie in the above case Gimp, the user is in charge of dividing the template into segments that will fit on the printed pages. Using legal-size paper can in many cases avoid printing on multiple sheets.
Some math is inevitable, the considerations involved:
in terms of mm and cm, 1 mm= .1 cm, ie. 216 mm+ 21.6 cm, a shift to the left with the addition of a decimal point
Working in cm: using punchcard 8095 once more
Each square on a blank punchcard is 4.5 cm wide and 0.5cm high
Full punchcard: 24 stitches, the fixed width for punchcards = 10.8cm
58 rows, the variable, in this instance = 29cm.
In printing, using default borders:
US Letter: 45 X 0.5 = 22.5 cm = maximum # design rows
Full repeat = 58 rows X.5= 29cm.
First sheet: 45 rows X.5=22.5cm
Second sheet: 13rows X.5= 6.5 cm 22.5+6.5=29cm
On Legal61 X 0.5 = 30.5cm = maximum # design rows

It is possible to download a PDF of each card from the website. When downloaded and printed as given, my result can be seen as obviously off-scale

 

Numbers and GIMP: online punchcard patterns to electronics 1

My blog is a live document.
At times I return to previously published posts and there have been software updates in the interim, and/or my familiarity with using multiple tools has grown.
I preserve the contents of the original post, they reflect where I began and the evolution of my approach to learning software navigation with specific design goals in mind.
At times some small additions are made to the body of the old post, at others,   dated post scrips point to later, perhaps easier or quicker methods to achieve the same goals.
____________________________________________________________________________________There is a Russian website with a treasure trove of machine knitting patterns, some for 12 stitch models, and extensive collections for 24 stitch models including for fair isle, lace, and single motifs.
There are pull-down options to show the full repeats charted for Silver Reed (default), Brother, and Toyota brands. The numbering system on the right of the cards will be shifted to the appropriate starting line, but the images themselves do not seem to adjust the placement of the punched holes when that is necessary for correct knitting when switching to other knitting machine brands.
The collections begin with the longest repeats. One such repeat

I had never had an interest in owning DAK, though never say never, I did purchase the program when my knitting software was switched to a Windows PC. From the promotional material and forums, it would appear their Graphics Studio offers an interesting range of design possibilities in converting such files.
My experiences with the program have been chronicled in related posts.
Those of us who are Mac and Gimp users need not be left out, the conversions are achievable with the investment of a bit of time and patience.
The charts as presented often cannot be successfully converted to the indexed mode and scaled in Gimp to produce readable patterns.
One long solution is to combine the use of a spreadsheet table, in my case created in Mac Numbers, with Gimp design options.
Prior knowledge of the basics of both programs is required.
I assume similar steps could be used with Excel.
A follow-up post on this topic:  Numbers and GIMP: online punchcard patterns to electronics 2.
It is easier to test how-tos beginning with a source diagram that has larger, more readable dots representing the punched holes. This was found on Pinterest, dimensions for both stitches and rows are not always provided. The units in many such illustrations are not square, and the goal is to end up with a PNG where each square unit represents one stitch, one row.
The cell size I prefer in Numbers tables has come to be 20X20 pts.
This particular design is 24 stitches wide, and 60 rows high.
To make it workable in that cell size, the repeat is opened in Gimp, cropped to its margins, scaled to 240 X 600 pixels, and the new image is exported.  In Numbers, drag and drop the image onto a new sheet if working on a previously created Numbers document. Click on the image, and then on format/ arrange to resize it to the desired proportions,  A table is then created, 24 cells wide, 60 high, each measuring 20 pt by 20 pt, with total measurements of 480 by 1200 pts.   Resize the image if needed to match the table size, in this case, to 480X1200. The size may be adjusted by using the up and down marks to the right of the size option or typing in desired values in each window followed by the return key, more accurate control than simply dragging on points at the corners of the imported original. Turning off constrain proportions allows for added tweaking of the size if needed.
On the left is the first table image, including extra rows to check for stitch and row numbering, and to its right, the resized punchcard pattern.  Select the whole table 24 cells by 60, by clicking on the circular symbol at the upper left, and alter the cell borders to a bright, contrasting color. I chose red, 3-point  thickness.  Move the table over the punchcard image or its mirror if needed.
The arrange option may be used to place either in front or back of the other.  Dragging the table using that circle on the upper left corner will place it directly on top of the design.
Select individual cells or cell groups by using the command key and releasing it periodically, to fill the cells with color.   The repeat in progress Copy and paste the completed table. Make certain there is a different color cell in any white squares at the far corners of the image, in this case, upper right and upper left (yellow), remove cell borders 1. screengrab a larger area than the repeat
2. open the screengrabbed image in Gimp
3. choose Image, Crop to Content, to eliminate any extra surrounding cells
4. fill any contrasting  color, in this case, those yellow cells, with white
5. choose image/mode/convert to indexed B/W colors
6. proceed to scale the image. In some instances, this needs to happen in 2 steps, the first scaling to make certain both values are divisible by 20, and the second to scale to the desired repeat size of 24X60
7. prior to saving the PNG for download, magnify the file to at least 800X, and with the grid in view, perform the first visual check. Then, using filter-map-tile, repeat the design in height and width multiple times to check its horizontal and vertical alignments as well as to visualize how it might appear in the intended project. A quicker process using only Gimp version 2.10.34, 2023 One needs to have a basic understanding of punchcard illustration markings, and often the repeat required for the use of the design in electronics may only be a very small portion of the total offered in the publication. The extra rows represent perforations that are not part of the design and may be cropped off in Gimp. The image of the repeat on the left is what began the FB discussion, while the one to its right illustrates the same after making the marks more visible. Making the marks more visible is possible by changing number values as well as by moving the slider immediately below the input levels Proceed as for the first image, being mindful of an unnecessary row at the bottom. The saved image can be tweaked in size by turning off Constrain Proportions and adjusting values for width and height for proper placement under the table grid. It soon becomes evident that the card is composed of smaller repeat segments, which in turn can be copied and pasted making for quicker work in filling in the whole punchcard row requirement. Check the repeat alignment by tiling it. The smallest adjusted electronic repeat, 12X20 pixels.  The far longer repeats might best be managed broken up into sections. An easier, quicker solution is presented in later posts.
This is part of #6717, shown in the process of trimming unwanted info in Gimp and after adjusting color levels to create a sharper image. The converted, partial punchcard repeat 2023: ArahPaint‘s weave from grid tool makes working with the full repeat possible. The final repeat was cropped by 2 rows at the top to 24X206 to avoid a 4-row solid color line produced when the original was tiled vertically.
Returning to the use of Numbers and Gimp: what of the lace punchcard repeats? There seems to be no differentiation between the different types of lace on the Russian website: thread lace, simple lace where stitches are knit and transferred in a single pass (a Silver Reed/Studio special), and lace requiring the use of 2 separate carriages, one to knit, and the other to transfer are all grouped together. In addition, the pull-down menu and changing machine brand selection,

if used, will change the numbering on the side of the card, but not the design content  The conversion process intended for the final use on the Brother machine: the image on the far right shows a review of the proper placement of pairs of empty rows between lace segment sequences, highlighted in grey In the past I have found lace repeats, in particular, to be particularly cranky when scaled down in Gimp due to the paucity of black cells. After the above steps, I decided to try color invert, resize, and color invert again, which in this instance, produced what appears to be an accurate repeat. Of course, the final png is likely to need mirroring for use in some electronic models The process did not work for me in using Gimp alone to edit test repeats from the website directly. The white dots, in that case, disappear with scaling to the desired size.
Using resize X 2 with color invert and back with a Stitchworld #150 pattern image got me closer to an editable lace repeat using Gimp alone, worth considering in the future. 2023: a different approach:
Left: the image from the Stitchworld book measures 26X64 cells
it is slightly tilted, the angle has been rotated for better results, and cropped to the borders of the actual design repeat
Center: the cropped image measures 442X846 pixels, it is scaled with a broken chain link first to a multiple of the original, since the output will be on a square grid, not a rectangular one, in this case, to 260X640.
Use Colors, Threshold, followed by Image, Mode, convert to BW Indexed
Right: Image, scale again with intact chain link to the final 26X64 size, export the PNG   With experience, one learns to trust the process.
A proof of concept for the final PNG matching the original is not in any way necessary but is offered here for this particular file or simply for reference.
Work in RGB mode, select and click on the rectangle tool after any steps to make changes to fix the layers.
Select edit, and undo to revert to any previous step(s).
1. open the initial cropped and rotated image, note the pixel proportions
2. in a new work window, open the final PNG, and scale it to the same pixel dimensions as 1
3. select all black pixels, and bucket fill them with red
4. use layer, transparency, white background to alpha, making it transparent
5. copy 4
6. paste 4 on 1, note that pixel placement for the final repeat matches that for the black squares on the original chart

Revisiting automated shell shapes

My original posts on exploring automating shell shapes were written in my 910 electronic days using mylar sheets in early 2013: Thinking of modules: a shell “diary”“Automated” shell shapes
The repeat produced a visually successful fabric. I received a question on FB about executing the shells on a punchcard machine, and another on how I “come up with these things”. The repeats are not quick inventions, they take working out, sometimes through several first failed attempts.
Since the early posts posts my approach to explanations has changed as I became increasingly familiar with newly available software and updates, and a 930 and img2track made downloading pngs possible in a new way.
iPhone cameras make it far easier to “shoot and share”.
My original mylar repeat entered as separate programs in days when each mylar sheet was precious. The 910 in my default setting produced the “image’ as drawn on the knit side of the resulting fabric. The post was written prior to my tiling the repeats as a matter of routine to check their alignments. Doing so would have shown a couple of missing pixels, and pointed to any other errors in filling in mylar squares.All transfers were made in the same direction.
The start of the visualizing  the shell shapes with errors later observed and resolved. As always, ideas need error-proofing and refining, easier done in a chart if possible prior to any actual knitting.
This type of design begins to address an uninterrupted repeat on the electronic on a limited stitch count, whether all in a single direction or reversing every other full row of shapes. It is applicable to joining several punchcards, but only on single 24 stitch widths.
There are a number of changes to make if it is necessary to get the pattern to reverse direction in alternate rows of completed shapes in a brick layout.
My first tests were planned with knitting moving only from left to right. To execute such a pattern on a punchcard KM, the repeat needs to be altered from 14X2 to 12X2 in width. This is the start of sorting that out:Attempts to visualize holding can happen in spreadsheets, documents, image processing canvases, or even simply on graph paper, moving/ “drawing” back and forth across the cells mimicking carriage movements and marking them accordingly.
Large staggered repeats can be programmed in electronic models
All shapes are limited in terms of the width of the repeat occurring across the number of available needles on any machine.
Some previous posts on electronic knitting such repeats:
Holding/short rows: hand tech to chart to automating with slip stitch 1
Ayab: short rows automated with slipstitch
A return to short row shapings: bumps and slits

The 910 produced the design as programmed on the knit side. On the punchcard machines, the image-as-drawn is produce on the purl side.
Lettering is likely the most familiar instance where mirroring is required for punchcard machines to produce it correctly, a consideration here as well. The 930 automatically mirrors downloaded motifs, if direction matters, as in these samples, either mirror the design horizontally prior to saving the png for download to the machine, or use the mirror button selection on the operation panel after the download.
I find it easier to fill in the shapes in the direction I wish to have them appear on the knit side.
An attempt at a continuous 24 stitch repeat, with the same technique applicable to electronic models  while avoiding programming 2 different repeats and having shapes in different colors across full repeat segments.
This proved to be a fail.With larger gaps between changes, the yarn may be changed every X rows manually, making an easy fix to breaking rules for when using the color changer.
The next step is working out 12 stitch repeats with patterning needles to be brought in and out of holding position as well. The options on a punchcard would include 8, 12, and 24 stitch motif widths.
The machines will be set to slip in both directions throughout, end needle selection must be canceled. This method is not executable easily on km models that do not offer that option, electronics use KC II.
Note that machines sold in Europe in comparable models may have different names for the same functions, ie. SM in some instances is the equivalent of KC II, whereas in US it signifies a Single Motif.
Punchcard settings for end needle selection:  I do not have any blank punchcards to test a repeat on at the moment.
The 930 essentially behaves the same way by producing the entered pattern on the purl side, making it possible to use the unaltered final designs.
The starting 24 stitch brick repeat   Other shapes have previously been explored using slip stitch, and later, slip stitch combined with holding. A brief return to previous turns at holding and slip stitch used to create alternating color shapes: in 2013/02/12/an-entrelac-pretender/, a continuous slip stitch only card was used. The result on the knit side,while on the reverse floats between alternating shapes are the norm Results with no floats are found in the swatches in the posts, two designs are programmed alternately upon completion of each full row of shapes : 2013/02/21/entrelac-pretender-2/and a larger, 24 stitch motif used on a punchchard machine as a continuous repeat : 2013/04/11/entrelac-pretender-3/

Returning to the goal of the moment: to knit the shells in a float-less way, using a technique executable on a punchcard machine as well. The repeat as initially drawn is 28 rows high.
If the punchcard or the electronic advance every row with each pass of the carriage, the alternating shifting blocks of the repeat will be selected in full with every 28 passes.
In this instance, one returns to the start of the design repeat every 28 rows. Identical shell full shapes are created across the knitting rather than the shifting shapes desired in alternating full row repeats.
Separating the 28-row repeat into 2-14 row ones.
The 12 stitch repeat is tiled X2 horizontally, beginning with a half shape, while here the repeat for all full-size shells is planned,  Marking up the needle bed with water-soluble markers or pencils helps track placements of repeats across the desired number of needles in work: dark lines indicate placement beginning with the mark for half a repeat to maintain straight side edges on the finished piece. Red lines mark the placement of the stitches when they are moved to the left in order to knit the full shells across the bed. On a 930, the image will be knit in the direction of the pattern as drawn on the knit side, as it would be on a punchcard machine.
To begin knitting the shells with COR, since the pattern is fixed on the needle bed, one option is to move the work in one direction or the other on the needle bed using a garter bar, so that the knitting is in the proper place for the desired anticipated needle selection. This was easier in my own mind than reprogramming the pattern repeat for each full row of shells whether by entering a new download or altering placement using the position option at the start of each row. One of my first working repeats amended later in several steps is shown here mirrored in black and whiteVisualizing the process on the needle bedScaling the image to render it a bit more legible:The machine will be set for slip stitch in both directions and holding. End needle selection is canceled.
The first preselection row is from left to right. Every needle will be preselected and will knit every stitch for the first 2 rows in the desired shell color.
Color changes are made manually.
At the completion of a row of shells, its corresponding color ends on the left side, a free pass is made, returning to the right. Knitting with the new color for the alternate groups of shells begins again on the right side.
After the first 2 all knit rows, as the carriage works its way back to the right on the following pass, preselecting will occur for a decreasing number of stitches. This is the first-row holding selection when using the above repeat:
Moving stitches on the needle bed avoids having to program separate repeats after each full stripe of shells.
Beginning piece with half a shell on each side: all but the first 6 stitches are brought out to hold. When more than the single needle is selected at the top of the first half-shell (6 sts to start, 1 at the end), COR: bring the next group of 12 stitches to the left into work, knit to left.
COL: bring original 6 needles out to hold. Bring into work any needles not selected in the group of 12 into work as well.
Continue knitting, repeating the process across the bed.
On design row 14 of the last half-shell remove work on a garter bar.
To execute full shells across the next row of shapes: using a garter bar move the work 6 stitches to the left.
Return emptied needles to A position (out of work, OOW).
With all remaining needles in B preselect the next row (1) from left to right. Cam settings need not be changed.
Change color if desired, knitting 2 rows across all the stitches.
Bring all needles out to hold except for the first group of 12 sts between red marks, and repeat the process previously described across the bed.
When the last shell is completed, design row 14, remove the work on the garter bar again, shift it 6 stitches to the right.
Push back the now emptied needles back to A (OOW).
With all stitches in the B position, make a free pass to the right, row 1 of the half shell row will be preselected, change color, continue across the pattern row as described. This yarn is far too thin but makes stitch formation easy to identify.I used two repeats side by side to eliminate having to consider and choose the position option on the 930 needle bed, resulting in having the pattern centered in each 24 stitch fixed segment of needle selection.
Using a needle tape for punchcard machines electronic models make transitions when using published or DIY 24 stitch designs.
It is possible to add all knit rows or even patterned ones between shell rows. On an electronic KM with 2 carriages available, adding a FI band would be simpler than trying to manage to change cam buttons in addition to the other number of steps already involved with the slip stitch and holding combination along with moving the knit on the needle bed.
Contrasting color row stripes can be programmed by adding 2 or more/ even number rows of all black squares (or punched holes) at the top of each 14-row segment of the final repeat. Reverse shaping of shells appears to not be necessary to avoid biasing on my limited tests. The proof of concept swatch:I was too aggressive with clipping yarn ends on the left side, especially while in the process of changing colors, not ever a good idea. Automating the pattern fully on electronic models using only slip stitch patterning is possible. The length of such patterns grows exponentially in proportion to the size of the repeats. Reviewing errors in the beginning concept An attempt to visualize the placement of the shape variations in the finished piece using the shell motifs beginning with the shapes created in order to create a straight side edge

Redrawing the pattern for a 36 stitch test. On the left is the drawn image of the pattern, on the right the mirrored image for downloading to my machine to produce it in the desired direction. Much of the time is invested in developing and testing the final and correct image for download, the knitting that follows that is fairly quick.  My repeat is 36 stitches wide, 98 rows highCOR: knit a base row in color one from right to left
COL: KCII (no end needle selection) to right, the only needles preselected will be those corresponding to the programmed black squares, the remaining will be in B position. Knit to the right.
COR: set the machine to slip in both directions. Knit slowly and evenly. All needles in work on the bed must be cleared with each pass of the carriage.
Continue in pattern across the bed, checking that all stitches are knitting off properly.
When all needles are preselected, change colors for the next set of shells. These rows create the base for the next group of shapes. If a stripe or other pattern is wanted regularly, those rows are best added to the programmed pattern itself.
The automated test swatch: Preserving the 3D texture relies on using yarns with “memory”, ie wool and avoiding aggressive blocking. Using thinner yarns makes the stitch formation more evident. Hard pressing, in this case, knit using acrylic yarns, flattens the fabric considerably, and often, permanently. Both the hold/slip (top) and fully automated swatches (bottom) are shown.2023: a screen grab from the shell charts was cropped to its outline, opened in ArahPaint, and using the program’s tool “guess weave from grid“, the 36X98 png  was obtained with a few mouse clicks,

Isolating like modules and looking for any differences in each of them to prepare for a larger number of repeats across the needle bed in each half of the design  There are several methods for securing yarn ends both during and after knitting in the final pieces using these techniques. Testing such methods on swatches is the best way to determine what works for yarn and colors used as well as our own personal preference.
The pattern width may be adjusted to create considerably larger shells if desired. Punchcard knitters are limited to 8, 12, and 24 stitch repeats. For them, this would be the maximum size, including an added number of rows for contrasting color stripes, in this instance 4. A return to the original 14 stitch repeat, illustrating a way to begin editing for an extra row in width at the bottom of the shape and ending on 2 stitches rather than a single stitch at the topImagining adding increases and or decreases for shaping at sides, which in turn could lead to an evaluation of switching to entrelac approaches when creating large shell shapes for similar effects. The 3D qualities and distortions are obviously missing from these illustrations.A Prada sweater using similar shapes If you are interested in any large size clamshells, and intarsia appeals to you whether in hand or machine knitting, Cheryl Brunette has thorough directions for many such shapes, including 2 videos on shell shapes Part 1, and Part 2
More online inspiration using large shapes:
from a Russian blog

a hand-knit blanket from Garnstudio the common illustration for shaping triangular shawls using such motifs Similar pattern repeats are at times also referred to as scallops, fans, or scales. A “scallop” design a “fan”

 

 

Blistered stitches dbj

Some of my previous posts on double bed fabrics with designs creating pockets in both one and two colors:
quilting-on-the-knitting-machine-1/
quilting-on-the-brother-km-2-solid-color-back-dbj/
revisiting machine knit quilting 
quilting using ayab software
references-for-double-bed-single-color-references-for-double-bed-single-color-fabrics-with-pockets/

A review of some of the terms used in describing fabrics with raised designs in various patterns:
blistered fabrics: two rows of the main color are knit the same as in standard dbj, but more rows are added and knit with the blister color on only one of the two beds used to create textured pockets. Technically they can be executed in a single color as well as in two colors per row. The extra rows result in the blisters being raised or lifted up from the fabric surface, they are often also referred to as pintucks. These fabrics do not have the width and stretch of many other 2 color dbj fabrics.
When exploring this family of knits, use plain, fairly smooth and thin yarns. This is a fabric where pressing should be avoided so the texture is not lost or altered. For setting the pockets created sometimes slipping a wire or tool through the bubbles will do the trick as for any hems. Simple, bold patterns work the best. Spreading the texture evenly throughout the design will decrease distortions in width. Leaving needles out of work combined with racking can alter the basic technique considerably.
In the two-color version, a double thickness fabric with a crumpled face side and a single color backing is created. The blistered areas are knit in one bed only, the rest is full needle rib with floats from each blister enclosed in the fabric.
Begin with a repeat that is elongated X2, the jacquard separated pattern needs to be double marked. Needles are arranged as for DBJ. For 2 colors the main bed is set to slip in both directions throughout, but the ribber settings need to be changed and set to knit and slip alternately for 2 rows to produce the single color backing.  Good needle condition is a must if occasional stitches are dropped on the ribber they can be repaired when the work is off the machine.
Ripples are created by setting one bed to slip and the other to knit for several rows, then setting both beds to knit simultaneously to join the tucks in repeats. They are selective pintucks, on every needle rib. The main bed is set to slip on both directions throughout, the ribber carriage is set to slip for 4 or more even numbers of rows, and then to knit for 2 rows (this number may also be varied depending on the specific pattern). This is a fabric that likes to be weighted evenly. Tight ribber tension will help increase the definition of ripples. As in any multicolor fabric, each set of ripple stitches may be knit using a different color yarn.  Some designs tolerate having the main bed set to tuck rather than knit.
Brother machines often are limited to 4 rows knitting on the bed creating the ripple before closing the rib.
Transferring blister stitches to the main bed, with a shadow lace tool or a transfer carriage is referred to as “shadow lace”. Adding blank rows in your design makes it easier to have a transfer point to the opposite bed. Using a plaiting feeder will add color contrast.
“Nopps” which are essentially small bumps on tightly textured tuck stitch grounds require careful tension adjustments.

An image was shared in a machine knitting group on Facebook. It cropped up in Pinterest, could be traced back to some Russian knitting forums and a how-to knit query was made
There is an Italian language youtube channel with a throve of machine knitting videos, one on jacquard groffato executed on punchcard machines, with a companion video on punching the card. Groffato means embossed.
Points to remember: the more needles on either bed knit alone to create the pockets, the more the tension used needs to approach the one for single bed knitting there with the same yarn. Large shapes are best used, represented by white squares /unpunched areas. Punchcards such as ones published with large unpunched areas for thread lace designs or tuck stitches with large punched areas color reversed can work once the principle is sorted out.
The setting used in the video is for tubular/ circular knitting.
The all punched rows in the video actually match rows that would be knit anyway because the main carriage is set to knit in one of the two directions, not slip. Two yarn ends are used, which could result in a fairly dense fabric with limited drape. Switching to a single yarn end can alter both considerably.
In designing your own patterns for testing it is best at the start to keep shapes simple and not worry about repeat variations.  I am working on a 930 using img2track, but my repeat is 24 stitches wide and usable on a punchcard model, its source is another pin. To make the design twice as long, when planning an electronic download, the image can be stretched in the design software or by altering the stretch factor to 2 in img2track. Tiling the design prior to download can help one imagine the potential results in using it for an all-over pattern or what its appearance might be if the repeat is shifted into a brick configuration.
Use a familiar, smooth yarn in an easy-to-see color. Tension changes alone can change the dimension in the textured surface, so having a “normal” baseline for tensions and “feel” while knitting from previous uses of the yarn double bed gives one a good starting point.
The “flower” image used in my tests is shown here in the original, and then is color reversed so its shape will blister, not the ground. Below it, on the left, the image was stretched within img2track, on the right within my design program which happens to be Gimp. In both instances, the original 24X24 design becomes 24X48 in actual knitting

The tiled image for both a standard repeat and a brick configuration shifting by 12 stitches to the right are not thrilling me, but the goal is to explore the knit technique, modifications in the original or even abandoning it can happen later My starting samples were knit on 32 stitches, not enough to get a sense of or a good view of the horizontal repeat of 24 stitches. At first, I used the design version with no horizontal black lines in the download. The difference between the every needle rib at the bottom of the pieces and the slip stitch blister fabric is easily seen. Slip stitches are short and thin whether single or double bed. On the left, I used the tensions of 4/4, as for the particular yarn in past experiments. On the right, the switch was made to 4/2. The tighter ribber tension made the blisters more pronounced. The non selected needles on the main bed create the pockets. Because functions repeat for pairs of rows in this design, the first preselection row can happen from either side and cam buttons may be reversed with similar results as seen in top vs bottom below. Opposite part buttons are used as in option A or B.As I have explained in the past, I tend to leave the slide lever permanently in the center position. It becomes one less variable, forgetting to reset it can result in errors in gauge and more mishaps when knitting multiple pieces where gauge matters significantly or in reproducing previous work. The “striped” repeat produces essentially the same fabric. The knit carriage may be set to slip in both directions when using it since the row of all punched holes or black pixels will knit every stitch on every needle selected while in the previous samples the cam button set to knit in one direction performed that function regardless of any markings on the design repeat.  The ribber is set to knit in one direction, slip in the other. Reversing sides for cam button settings produces the same fabric  

To my mind, the best shapes for this sort of surface design are clearly geometric ones. My eye sees them as more easily identified on the surface of the resulting knit. Sticking with the original “flower” however, here it is after a bit of editing of just a few pixels followed by a larger swatchThe Stitchworld Pattern Book is another good source for predesigned repeats, many in units suitable for punchcards as well. I was attracted to the possible geometry in this particular patternThe repeat I chose is designated as suitable for the Garter Carriage. It is 24 stitches wide by 48 rows high, shown below as provided, charted in Gimp as .png for download, and tiled to help visualize how continuous repeats might line up. The image .png was downloaded with img2track to my 930, with a stretch factor of 1.0, retaining the original repeat sizeThe resulting knit is interesting on both its knit and the purl sides, clearly shows how the “image” is shortened in slip stitch techniques, elongation would be required to create more of the diamond shape Final decisions are often best made after a period of rest for both the knit and for our eyes. It is only in the actual knitting that the shapes can be finally evaluated, worked on further, or abandoned. One of my own best selling felted items for more than a decade was born from an accidental effect on a large swatch that nearly landed in the trashcan after it became something different than what I had planned or expected.

Foreign language machine knitting youtube channels

I am sharing some online foreign language video channels that offer, in my opinion, a huge variety of topics in their content with the possibility upon their viewing of being inspired, and learning techniques, and new ways to use tools. Some have subtitles but often there is no need for them because of clarity in the material presented:

English (a foreign language to some): a treasure trove of techniques and repair videos across a huge range of KM brands theanwerladyknits 
Lots of beautifully executed hand techniques and more Knitology 

Italian: Ortenzia Renza Menciotti

Japanese: knitlabo 

Portuguese: Isatrico

Spanish: Knit Studium

Hindi: Kritica creation, Gaura Knitting Classes

Russian: Playlist 

Machine knitting seam as you knit

This technique can be used in many ways including to attach a front band to a sweater, body pieces of a garment such as when knitting a raglan sleeve from the top-down, flat pieces of knitting to make a tube ie in some socks, and for decorative joins adding a strip of knitting between 2 (or more) previously completed pieces. Most often, one is joining the 2 (or 3) pieces with the purl side facing.
Looking at the purl side of any knitting you will see a knot and a loop along the side edges of the work. The loop is formed on the carriage side at the start of each pass, the “knot” opposite the starting carriage side as that side of that row is reached and the yarn twists. Work the first piece, A, and remove it from the machine. Generally, with a smaller row gauge it is best to join loops, with thicker yarns, and larger stitches, or if you plan to felt the finished piece, work with the knots. Any single or even double-eye tool, Jolie, or another favorite may be used to insert into the individual space at the edge for picking up.
If joining rows to rows: begin the second piece, B. Though the join can happen on either side, in this case, cast on, knit a row, and end with the carriage on the right side (COR).  Pick up the first knot (or loop) on A, from its bottom-up, and hang it onto the left end needle (opposite the carriage) of the cast on row for B.
Knit two rows, returning to COR
Go to the next knot (loop) on A. Pick it up and place it on the outside left edge needle of B, opposite the carriage.
Knit 2 rows and continue on, repeating the last 2 steps to the desired length.
Remember to pick up knots (loop) opposite the carriage every other row.

If the pieces to be joined are long, place a yarn marker on the side(s) to be joined at regular intervals simply by adding a short piece of contrasting color yarn and laying it in the hook on the end needle(s). It will not become a permanent part of the stitch. The markers will serve as guides in seaming, and can be easily removed when they are reached by a quick tug.

Open stitches may also be joined using this method, but they would have to be hooked onto the second piece every row rather than every other, and caution should be taken in terms of skipping any stitch, as any such stitch will unravel at the end of the process unless it has been secured.
If a bound-off edge of a sideways knit is joined to a knit band, then some adjustment in gauge or row count needs to be made. Knit stitches generally around 4 in width to 3 in height so every 4th part of the bound-off chain may need to be skipped Depending on the stitch type and yarn used a simple tension change and observing the loop (knot) rule every other row may work without any additional adjustments. The Brother Knitting Technique Book offers an interesting variation as a way of creating a double-wide repeat using a punchcard motif  This is a long-ago demo swatch. The chevrons are shaped by holding, could be knit on any machine in any width. After the first strip is knit to the desired length, the second is joined to it as it is being knit. I generally prefer the joins with the carriage on the right and the completed strip hooked onto its left side. If the color changer is to be used, then the strip being created to join to the finished piece should always be knit on the left side of the bed in order to allow for traveling to and from the color changer every 2 rows. The image here is turned sideways, the chevrons could be used either vertically or horizontally depending on the design plans.  The above method may be used to join fair isle patterns in order to achieve significantly wider final panels. Some artists, when no electronic models were available, would join cards in continued lengths and plan their repeats side by side to achieve large, non-repetitive images. The punchcard width markings on your Brother needle tape can serve as guides. I use punchcard repeats so often I replaced the needle tape in my 910 early on with one for punchcard models. Markings may also be seen on them for every 8 stitches If the second piece is to be joined with the new piece on its right, add a single stitch to the full punchcard repeat (solid line or thin line section on tape, anywhere on the bed) on the right side, hook up the edge loop (or knot) from the first piece onto the new one, which uses the same needle location as that extra needle in the previous piece for the first stitch in work on its left (full line or blank space on tape). The cast on thread as shown in the techniques publication is not necessary. If wishing to join on the opposite side, then add the extra needle to the first piece on the left edge of the full repeat. With care one can plan for smaller stitch repeats as well. The needle tape or even the knit bed may be marked with water-soluble markers to indicate the extra needle position when adding new vertical strips of knitting. In this former demo swatch, I used a space-dyed yarn for the ground accounting for the difference in color on each piece. Color pooling in such yarns is another consideration that may require specific planning in any technique. Here a slip-stitch ruffle was joined on the left to one of my completed shawl bodies.  The above discussion is based on joins occurring on the same needle location on the needle bed. There is no reason why that should be a constant. A strip or shape can be created with two separate, completed knit pieces joined to it as it progresses in length. “Always” hook onto the new piece opposite the carriage, with usually a minimum of 3 stitches on the new center panel.
Here I grabbed 2 random swatches, one is knit side out, the other purl side out, and one is upside down. The magenta yarn is thinner than the wool, the tension initially used was a dot more than one, left that way by some other experiment or poltergeists. It pays to check all settings prior to beginning any project. To start with I cast on with the magenta and knit a row, hooked up the loop from piece one, starting from its planned bottom edge, COLknit one row to the other side, hooked up piece 2, CORand continued until I reached the point where I wanted to experiment with increases, keeping the shape symmetrical. I picked up a loop from both added pieces and hooked them onto the first empty needle on each side of the strip, essentially casting on an added stitch on each side each time, following with 2 knit rows.  After working on my “desired shape” I tested decreases:COR: after hooking up the next row, knit one row to the left and transfer the stitch just created on the left onto the adjacent needle on its right, creating a simple decrease.  Knit to the right and continue with a straight edge on the right side, repeating the decrease on the left every other row, I kept a straight edge on the right after I reached the top of the piece there. Here is the reverse side of the piece. The cleanest joins happen when the edges are straight to start with, above there was a movement of the edges happening because of the distortion of the fabric created by the eyelets. A light pressing if possible may also set the edge stitches, help them lie flat, and make them more visible. When working with slanted edges on the first piece this is one way to join it, taking into consideration whether any adjustment in the frequency of hooking up needs to be made.  A better edge will be obtained if the decreases to that piece were made using the full-fashioned method, resulting in a neat “chain” for pick up along its finished edge.
Joining lace motifs There are other options for decorative joins as one knits, one such is shown in a video by Roberta Rose Kelly.

And not to be forgotten, playing with materials or anything else that allows for an edge to be hooked onto a latch holding a knit stitch ;-). Here the add-on is polar fleece, it could be crochet, lace, etc.

References for double bed single color fabrics with pockets

Another facebook thread has begun a sort of “trip down the rabbit hole”. Until I have time to swatch my theories on the specific fabric in question, I thought I would list some ways offered in publications available for download online and in my previous blog posts that touch on this area.  To start with, some fabrics are commonly referred to as pintucks, though tuck stitch is a completely different category of stitches, and they are usually shown in a single color. Understanding the repeat, however, one could plan for the shapes to occur within horizontal stripes of varied colors. 

from the Brother Ribber techniques book

Other terms: ripple ribs are a type of selective pintuck pattern in which more rows are regularly worked on the main bed than on the ribber. The main bed carriage is set to slip in both directions throughout, the ribber carriage is set to slip for four rows, and knit for 2. The width of the work needs even weight, and most likely the edge stitches will as well. The tensions used approximate that used in every needle rib for the same yarn.  To exaggerate the ripple effect, the ribber setting may be set up to three whole tensions tighter than the MB if possible or desired. Two-color versions are possible. From the Brother Ribber techniques book, note they use the term synonymously with pintucks In blister jacquard more rows are also worked on the main bed than on the ribber, creating a fabric with at times high textured. It may be executed in 2 colors as well. A “normal” DBJ card can be used, but the ribber carriage settings need to be changed with each color change. Things become far easier if the fabric is color separated for the technique and the original design is modified. Color variations merit their own posts

Some of my previous posts on double bed “quilting” including some 2 color variations within the same horizontal rows as well
2018/02/23/quilting-using-ayab-software/
2018/02/15/revisiting-machine-knit-quilting/
2013/05/30/quilting-on-the-brother-km-2-solid-color-back-dbj/
2013/05/16/quilting-on-the-knitting-machine-1/

 

 

Sock knitting resources and ideas for machine knitting

The only sock(s) I have ever knit have been as demos in my classes. I actively dislike wearing them, and it winds up being a sheer necessity in our winters to actually break down and wear them. I have had an ongoing interest in 3D knitted, explored some pleating, have always been fond of holding techniques. This year has not allowed for as much time exploring and producing as I might have wanted, am hoping to increase both activities in the coming one.
Forums of late have buzzed with knit socks, here are some possible online resources: from machineknittingetc.com:
studio-tips-and-techniques-issue-37-charting-socks
singer-sock-book-seamed-and-circularmachine-knit-news-machine-knit-socks-supplementempisal-sock-patterns

From assorted sources: visualizing shaping sequences: aspect ratio was disregarded in order to combine several images into a large one, particularly noticeable in the middle image on the top row 😉Patterns from manufacturers: Superba manual  Passap Duo 80From a Brother pub. The original paper version actually came with knit leader patterns

There are many ways to seam join such shapes. Seam-as-you-knit is another option. Diana Sullivan offers a video on the technique. Considering its limitations: the seaming needs to occur on equally shaped segments, this would eliminate any shaping to allow for widening parts of the leg as one moves up toward the knee, so the height of the sock would need to be shortened, planning for fit. If one desires a true rib at the top of the completed sock, IMO seams at least for the rib are unavoidable, and one must take measures to make certain cast ons and bind offs for ribbed bands match in look and width. The same issue with shaping occurs when knitting socks tubular. For a tube to grow or decrease in diameter retaining its circular form, the only way to achieve the result is to increase or decrease evenly across knitting bed(s) involved, far easier to achieve if one surrenders the seamless idea and allows for a seam in the design. Here A sections would be knit first, B sections would follow with seaming along the dotted lines. The toe is a 3D shape achieved by holding, with no seaming necessary.
If one is fond of holding intarsia techniques and cumulative joins, this book is available  For advice and ideas on knitting the swan socks see https://knitterstoolchest.wordpress.com/category/circular-knitting/
a video link is included, as well as this schematic

machine knit sock and slipper pattern resource
socks, heels, and more 
eliminating short row holes
general instructions 
penny socks 

Sock calculators: http://roued.com/supersockcalculator.php  https://www.goodknitkisses.com/sock-calculator/  https://www.storey.com/crochet-calculator/toe-up-sock.html

From Knitty, an online hand knitting magazine: universal sock article 
A hand knitting resource on choosing your sock heels 
From Drops design, HK, a spiral sock , and a side to side version, both food for thought in terms of adapting for machine knitting.

For folks who prefer videos, a search on youtube will offer lots of choices, and Roberta Rose Kelley offers 2 that provide a wealth of ideas and information, on tubular socks, the other on adding afterthought heels , using decker combs on Passap machinestransferring ribbed band stitches using a garter bar 

Small scale experiments for larger ideas: the spiral sock
Mary Thomas’ book of knitting patterns was first published in 1943, my edition in 1972. This is the usual cover photo on page 38 a repeat and instructions are offered for a spiral tube sock. The latter has no heel shaping, but traditional toe shaping can be added. The knit/purl design can easily be executed single bed by folks who own a G carriage. My mini sock was knit on 30 stitches +1 for sewing. The blocks can be varied in width depending on the required circumference of the finished tube. The extra pattern stitch in the chart is to allow for seaming a half stitch on each edge and maintaining the pattern. *After every 6 rows knit transfer the right-hand needle of every ribber group to the main bed, on the main bed transfer the right needle of every group down to the ribber**,  repeat * to ** for the desired length. There are a number of ways to deal with the toe part of the stocking. I would opt for transferring stitches to the main bed and knitting one row, using holding remove half the width onto waste yarn then bringing half the stitches on the alternate side into work. The toes may then be worked using stocking stitch, scrapping off, and seaming or grafting the stitches held on scrap to each other. My working repeat, with a 12 stitch repeat usable on punchcard machines as well isolated by the added green border testing the tiling, making certain any programming would line up Cast on for a ribbed band at top of the sock in any preferred configuration. Be certain cast on stretches enough to accommodate the finished width of the tube as it stretches to fit the leg. Transfer stitches between beds in the desired knit/purl configuration. When the desired height is reached transfer all stitches to the top bed, drop the ribber, switch sinker plates, knit a row on all stitches, divide for toe shaping. Here one half away from yarn end and carriage is knit with waste yarn and dropped off when shaping is complete, After toe shaping is finished and waste yarn is added, the work is removed from the machine Because all transfers are made in one direction, as in any knit fabric where that happens, the fabric will bias Here the toe shaping is seamed, the twist in the body of the sock begins to show One side of my knitting was looser than the other, something to watch in any “real” piece. Thin yarn knit on tension 4 is probably also not the best suited for any socks in terms of wear. After seaming and worn by a few cotton balls 😉Lastly, it is possible to knit socks sideways (as well as gloves), usually in garter stitch and in hand knitting. This is a crochet illustration that points to the general construction method.

On the machine, the shaping would need to occur with increases and decreases rather than holding to create the heels, and toes could be shaped, probably best by full-fashioned increases and decreases. There would be at least one grafted seam the width of the sock, the cuff could be added with the side straight edge picked up and knit from there. To get shaping to match, in theory,  one option would be to start with waste yarn, knit to half the above shape, scrap off. Rehang starting open stitches, reverse shaping, graft seam. Dotted lines represent open stitches, decreases and increases can be planned so that only the smaller group of stitches on one side are moved with a garter bar 

Racking mechanical problem and possible repair saga

I enjoy the technical aspects and structures of knit fabric, learned to do simple, common minor repairs in a studio where there were not technicians during lab hours or even studio hours. That said, I had a broken knit carriage that was going to be my source for learning to work with its inner guts that never made it to any useful reassembly in spite of the passage of a couple of decades. I have a lot of hesitation in taking equipment apart, though out of necessity and with the help of online videos and information I have been able to go increasingly further with more confidence. Still saving carriages full of springs and “things” for someone else 😉

Over the years I have not used my KR850 ribber frequently. Last year at some point I produced a collection of racked, ribbed 3D effect scarves, giving it a major work out. I traditionally kept my ribber off my Brother machines, used my Passap for double bed and DBJ, and my line of accessories for sale was often knit single bed on my standard or bulky machines. As a result, I rarely needed to adjust the ribber bed position relative to pitch. I had purchased the ribber used.
As I have returned to knitting more frequently of late and wanted to expand posts that included racking I found suddenly the first movement upon reversing racking direction failed, requiring 2 full turns of the handle before advancing to the next position. Not too long after the pitch lever was not moving properly as well. The operation and service manuals for the ribber had not provided much advice, nor could I find any helpful information online. I highlighted pertinent areas with color in the images below. From the service manual: I asked on Ravelry for advice or shared experiences. A possible culprit was suggested to me, and I was pointed toward the parts manual, where I was faced with this, which at first seemed pretty daunting

When I tried to turn the screws marked in red I found they were loose. After I  took apart the racking handle, braving far more disassembly than turned out to be needed, housing little screws and washers in separate small plastic containers along with their comrade larger parts, I found perhaps I could have reduced the effort considerably. I did not take photos during the process, as I was not brimming with confidence in the result. Enlarging a portion of the above helped me understand how parts related to each other a bit better.

The rectangular piece (red) was loose inside the machine. Removing # 57 is a necessity in order to get at the location for reinsertion of #10 in the slot under #9, to be held in turn by the screws #11. I marked critical areas with colored arrows in sequential photos It really may not have been necessary to even remove the bracket lever. The #10 piece of metal was loose inside the machine, might simply have fallen out if I had turned the bed on its side and given it a mild shake after removing #57. This is with the piece in question in its housing where it belongs (white arrow), shown in relation to the needle retainer bar (black arrow) and screws marked with red arrows that hold it in place. The piece is obviously thinner than the space it lives in, so for screws to anchor it properly, a flathead screwdriver or other improvised tool needs to be inserted under it, lifting it into position and holding it in place with its holes lined up with outside of bed so screws can grip it and be tightened properly. My racking handle and pitch lever seem to be working properly once more. I had hours of intimacy with my ribber, it has now been thoroughly cleaned and oiled and has all its screws no longer off or loose, we are far better acquainted. No regrets, but the “repair” as illustrated above would have taken a matter of minutes.