Online Resources – Page 5 – alessandrina.com

Return to circles, knit “pies” 2, round yokes and more

Just as other knitwear styles have varied in style, ease, and fit over the years, round yoke sweaters have also done so. Yokes can be wide or narrow, in patterned or textured stitches, and in varied proximity to the neckline. This is not generally a tailored style. Ease in knits can be calculated on the basis of fashion or personal preference. With some familiarity with slopers, measurements may, however, be adjusted in this style as in any other sweater. Neckline measurements do not reflect the measurements achieved after adding finishes i.e. turtle or round. Depending on the size of the yoke, shaping can begin at the armhole level bind off (seen in the early hand knitting directions in the 70s), while smaller yoke shaping can begin at whatever point is desired, extending to the neckline, or simply to create a design band. The shaping is created by decreases if the garment is knit from the bottom up, and with increases, if worked from the top down. In most styles, the same number of rows are worked from the armhole bind off or held section to where yoke sections meet. At that point, if hand knitting on circulars the 4 sections: i.e. left sleeve, front yoke, right sleeve, and back yoke may be picked up and joined for completing the yoke. My illustrations have been created using Mac’s Pages lines and shapes. They are not to scale.

Beginning to visualize the process: yokes are generally superimposed on raglan shaping

they form part of a flat circle; here is how they might appear in a partially seamed cardigan without front bands. They may be created in varying widths or patterns,

and in a pullover with shaping in the back that raises the rear neckline. Some of the early patterns were executed with front/ back and both sleeves sharing equal measurements and slopes

separate the elements: the yoke

the front and back can begin to consider shaping at breasts, waist, and those wedges under where the yoke “circle” meets the sweater may be short rowed on each side with the intent of achieving a much better personal fit

sleeve

Hand knitters are probably familiar with Elizabeth Zimmermann and her daughter, Meg Swansen. Handknitting with Meg Swansen 1995, and Elizabeth Zimmermann’s Knitting workshop 1981, Knitting around 1989, Knitting without tears 1971 are classical references that include information on yoke creation, including these guidelines

Other authors suggest 1/4 of total body and sleeve measurement in stitches (excluding armhole) for a tighter neckline (turtle neck), one third for a more open style (crewneck). Original circumference/ body measurement should include any ease. Though decreases for the yoke: first halfway up 25%(one out of every 4), second 3/4 of the way up 33% (one out of every 3), and last 1/2 inch before full depth is reached 40% (two out of every 5) are the most common, they can be placed and varied to suit your own design.

In drafting your own patterns and partnering with someone, a tape measure or string can be laid on the shoulder line, etc. for an idea as to preferred placement and measurement. Necklines finished by bound-off stitches whether machine or hand-knit, do not stretch, so measuring your head with something that does not as well gives you a guideline. Yokes end in open stitches, so the thing to consider there is what method is used to finish the neckline and its own stretch factor after bind off. Hand knitters have the added benefit of splitting the work onto 2 circulars and trying on the sweater or its pieces on while in progress to double check fit.

Japanese designers began to publish patterns that often included yokes that were constructed on the top of the drop shoulder line, with the back yoke placed higher than on the front. Such yokes also began to be represented in stepped figures showing decreases. In the round calculations are gauge based, not relying on the pi formula.

modified raglan for higher placement of yoke on the back of the body

full pattern with traditional full cap sleeve

pieces meeting at dropped shoulder line: dotted line represents back collar placement, note difference in height between the back panel on the lower back, and front panel on lower right

a sample diagram from a Japanese magazine

Yoke shaping may be indicated in a stacked format. The final count and frequency of decreases are shown, publishers may vary in language. On the first row here 4 sts – 2X means there is a group of 4 stitches followed by a decrease 2 times, then 5 stitches followed by a decrease 23 times, etc.

Two online calculators are available to help with DIY: 1. the Yoke-U-Lator no longer live, and 2. for Lopi, Icelandic styles. The image below is a screenshot from the latter website, indicating a sample possible result. There had been issues with Silverlight not working in some late OS updates, making the site unusable for many. On 3/12/18 after installing the latest update for the plugin from Microsoft, I was able to run it using both Safari and Firefox respectively.

Jessica Tromp offers free circular knitting patterns with a round yoke, dimensions in inches and ounces.

There are endless possibilities for combining math formulas, gauge, and pi. There are many ways to do decreases. With planning so that much more frequent intervals happen between decrease rounds, the decreases themselves can be fabricated to line up in line, and the resulting texture creates the interest in the sweater as opposed to any color patterning (i.e. along white lines)

“pie wedges” may be placed on neckline, yokes, sweater parts, various silhouettes and garment pieces, or full shapes (red dots outline possible dolman sleeve)from a Japanese magazine a hint of detail that must be calculated and the pie may be oriented in different locations on any one piece

from a Japanese knitting magazine, an idea for long sleeve and side details merging with and becoming part of a circular yoke For some of the math calculations please see: https://alessandrina.com/2011/06/18/oh-the-math

“Decreases” in rib sometimes can be achieved through changes in needle size if hand knitting or tension changes on the machine. The yoke in machine knitting would need to be split into 2 parts or knit sideways. Plain colored rows between bands of FI may appear noticeably lighter in weight, so using a 1X1 one color FI pattern or double strand of one of the pattern colors may improve the look.

Before transferring stitches on the machine in the single color rows, make your transfers. The lace carriage may be used after selecting appropriate needles and putting them in position. Knit the following row before removing knitting on from the waste yarn or garter bar. If stitches are tight for garter bar use sometimes the row after transfers may be knit at a looser tension to facilitate the process, and the difference may not be noticeable when knitting at “normal tension” is resumed. The carriage should be set to plain knit for row prior to and after transfers. It may be easier to work toward the center from each side when returning stitches to the needle bed. In order to match the pattern at the shoulder seams or when motifs need to stack in position on separate bands, the stitches need to be rehung at specific positions on the needle bed that take into consideration the size of the repeat and its location within the stitch count. Also, take into account the seam allowance. One stitch extra on each of the meeting seam sides will allow the end needle selection stitch or an extra patterning needle to be hidden within a full stitch join. Working on machines that preselect needles or pushers makes tracking a bit easier. It is possible to combine knitting pieces in both directions. For example, knit yoke up toward neck, join shoulders and then pick up appropriate stitches to knit body and sleeves from the top down. Top-down makes any adjustments in length easier prior to finishing the sweater. Short rowing in garment segments underneath the yokes makes for a better fit at the bust line and upper back.

Calculators to help with all that math: online
http://www.thedietdiary.com/knittingfiend/tools/MagicFormulaSleeveTopDown.html
http://www.thedietdiary.com/knittingfiend/tools/MagicFormulaSleeve.html
http://www.thedietdiary.com/knittingfiend/tools/EvenlySpace.html
http://www.thedietdiary.com/knittingfiend/tools/IncreaseEvenlySpace.html
http://www.thedietdiary.com/knittingfiend/EZsweater/catalogSizeChart.html
http://www.thedietdiary.com/knittingfiend/tools/PieWedgeShawls.html
http://www.thedietdiary.com/knittingfiend/tools/PieWedgeShawls.html
http://www.eskimimimakes.com/knitulator-increase-decrease-knitting-calculator-eskimimi

for purchase:
https://itunes.apple.com/us/app/knitting-toolkit/id960312887?mt=8
https://itunes.apple.com/us/app/knit-evenly-calculator/id370449748?mt=8

Going low tech: if gauge works out to whole numbers, shapes can be plotted out on square grid graph paper (or grid created within the software to suit) where each square represents one stitch, one row. Draw connecting lines, follow the outline, filling in squares (or removing them) as the edge moves a whole unit (k2 tog). Here the goal is to go from 39 stitches to 5 over 60 rows. Color bands could be added and planned between decreases, which should occur on single color rows. Once a gauge is obtained, charting on graph paper or within programs can be boiled down to connecting dots and following outlines as above. Some simple breakdowns for outlines of garment pieces/ shapes

more inspiration from an old Japanese magazine

visualizing a peplum

This was a share of mine on FB last March attempting to illustrate shaping by decreases across rows while maintaining the FI designStarting with a square shape and going around.Garter stitch hand knit samples from a Japanese magazine, elongate X2 on the machine with selection toward the color changer for every 2 rows knit in each color to add striped patterning to modular wedges

Illusion DIY patterns in crochet

I previously posted on illusion knitting, and on one approach to designing simple patterns using the technique. The first 3 images below are of the swatch illustrating one of my hand knit patterns.

Since I am now involved in a group interested chiefly in crochet, I got curious about executing the fabric in crochet. Part of the problem is that enough texture needs to be created to be able to read the “shadows”. I tried crocheting in different parts of the chain, around the posts in the row below, and ultimately went back to afghan stitch. I had not used the latter since making blankets first for my son, and then for my grandchildren.

the Tunisian aka afghan stitch fabric as it looks head-on tilted up to its side and its rear view

Those of you new to the technique can find some instruction at the Red Heart website, and in a beginning how-to video from Crochetcrowd. I used Tunisian simple and Reverse Tunisian simple stitches to create my pattern. In this technique, chart texture rows are read right to left. The return rows are not illustrated. It takes 2 passes of color one, followed by 2 passes of color 2 to complete one pattern row. Yarn is carried up the side, color is changed in the same manner as in any crochet stitch. In my test swatch, no border stitches were planned for or included. It is always wise to test the repeat in repeat before working the fabric.

two passes are needed with each color, so here is the repeat with double length columns

A: color used B: forward and backward pass for each color C: number of passes to complete a single repeat. The highlighted box at the bottom indicates a completed single design row. Only 2 colors are in use in the swatch. I found it easier to track my work and the edges where the textures need to meet by using an additional pair of colors in the chart itself. Rather than use the crochet terminology I marked my first stitches with F and B for each color, referencing the front/ forward, and rear/ back vertical loops/ posts respectively. As one moves across the row from right to left, when the color/ texture change is reached, the yarn is brought to the front or the back as needed, and the next color/ texture is worked in the reverse post/ loop.

working in back loop only of the starting chain produces a firmer edge at the bottom of the piece return pass every other row, not represented in chart changing color Front, vertical loop Back, vertical loop H: horizontal, V: vertical red indicates hook entrance through the front, green for through back vertical bars respectively, prior to working the next stitch

Both swatches were made using similar weight yarns. The crochet version required more passes back and forth than in knitting, where the work may be turned over and the texture reversed on each knit row. The knit repeat measured approximately 5.5 inches L by approximately 4W, isolating my best guess stitch number equivalent to the crochet one. The crochet swatch measures 7 inches L by 6W.

Return to circles, knit and crochet “pies” 1

I began a series of posts on miters and spirals created on the knitting machine back in 2011. The oldest posts, knitting math and pies, back to that pie, a bit of holding, and revisiting miters and spirals to form varied shapes begin to address creating flat circles in machine knitting using holding techniques.

Hand-knitting in circular format and crochet share some similarities. There are 2 methods of constructing circular work in crochet. 1: in rounds, (akin to knit miters in shape) where the end of each circular row is joined up to its own beginning to form a ring. A new starting chain (s) is formed to take the row to the proper height for the next row to remain constant. Depending on the pattern, one has the option of continuing by turning the work or not at the end of each row. Doing so allows the opportunity of altering textures and work on the fronts or backs of stitches. 2: in spirals. Rather than joining the ring, one continues on by going to the tops of the posts in the previous row.

With spirals, it is useful to mark the beginning of each round. Knitting markers shaped like safety pins are handy for that purpose. A line in a contrasting color can also be created using a separate strand of yarn and alternating carrying it back or to the front prior to forming the first stitch in the new row.

As with knitting, crocheted circles are not true circles, but rather, they are polygons. The way to make shapes more circular is to scramble the location of the increase points, putting them in different starting positions in each round (always spacing them equally and keeping the formula). Within limits, one may make the starting number of stitches in the first round a multiple of the number of segments in the finished shape.

With the creation of a flat circle in mind, the number of stitches needed depends on the height of the stitch. The taller the stitch, the greater the number of stitches required. If the stitch stays the same throughout, the number of stitches added on each round is constant. Test work regularly at intervals as the work grows by placing it on a firm, flat surface, to see if working only one stitch into each stitch is required / enough at that point to maintain the shape. The more segments, the smoother the circumference.

Unlike in hand-knitting, the first loop on the hook does not count as a stitch until you make it into something.

Spirals or miters knit on the machine begin with their radius; one possible construction method may be inferred from these images

Spreadsheet programs such as Excel and Numbers have pie charts and other tools that can help visualize or even plan the work with symbols. Unlike machine knitting, both crochet and hand knitting may begin and grow from the center out or from the outside in. Calculated shaping with increases or decreases along circumferences at different points on the pie creates the desired shape. For the purposes of this discussion, I will address stitches in US terms. There are various published guidelines with some variations. The fiber content and matching gauge (if required) may need editing of the numbers, but, as starting points:
Single Crochet [sc]: Start with 6 sc and increase 6 sc in each round so that the total stitch count in each round is a multiple of 6
Half Double Crochet [hdc]: multiple of 8
Double Crochet [dc]: Multiple of 12
Treble [tr]: multiple of 16

Some symbols and number of stitches required in base rows in table form, for working from the center out:
the more wedges in the pie, the smoother the circumference no matter what the method. Single crochet is worked in 6 wedges double crochet in 12 wedges, wedges may be reduced to simple line segments rounds may also be created to log in and track more details adding wedge outlines before filling in symbols

single crochet worked with a slip stitch at the end of each row will produce points similar to those seen in miters in machine knitting

spirals produce a rounder shape double crochet echoes the forms

Building your own charts requires vector programs to allow for the rotation of symbols around an axis. My chart was quickly produced in Inkscape, which is free to download for both Mac and PC users. Mac users in addition will also need to download XQuartz to run the program. I created the chart with my own symbols and freeform and laid them down while viewing the grid. It turned out, however, that there are 2 published videos on how to use the program for charting crochet stitches, part 1 and part 2 by StitchesNScraps.com

Two YouTube videos on the topic: using Illustrator CS 5.1, Marnie Mac Lean’s video, and using StitchWorksSoftware. An online generator by Stitch Fiddle, and its associated video.

if donuts are the goal: find your round

An example: in single crochet, if round 3 had been completed, there would be 18 completed stitches. Chain 18, either slip stitch or continue in a spiral to match the count at that point. For round 4: increase every 4th, round 5: every fifth, round 6: every 6th, and round 7: every 7th stitch. Different stitch heights:

A few sites to see for crochet tutorials:
magic ring start: no chain stitches, no center hole
https://www.youtube.com/watch?v=sLUaywX0-WE
working in spirals
http://snovej.com/archives/freeform-crochet-spiral
a nice ending
https://www.youtube.com/watch?v=W_sW4xX_O70
https://www.youtube.com/watch?v=8L_rtWt78Jw&t=32s
crocheting a flat circle in single crochet: note the start “magic circle”
https://www.youtube.com/watch?v=8oDubbFVE3Y
https://www.youtube.com/watch?v=LZiCnCGP_NQ
changing colors https://www.youtube.com/watch?v=U8cLufFeenU

I tend to swatch in easy-to-see colors, and “friendly” yarn, and use tools that allow moving in and out of stitches easily until I have techniques sorted out. When knitting circles in the round, things get a bit more complex, particularly if one begins introducing items such as round yokes with patterns into garments where gauge matters significantly.

Some of the same principles may be used in hand knitting. For the magic loop start with circular needles: KnitFreedom and on DPs Webs yarn

A bit of holding 5: intarsia and more 2

So you have some shapes you love and know: wanting to go large, mixing them up, requires thinking things through. Testing on small swatches will help determine holding sequences and whether the results are predictable or even liked. I no longer have access to Adobe Photoshop or Illustrator, so some of my image editing is now achieved in Gimp. Labeling below is with Skitch, and charting is with Excel.

A starting freehand swatch experiment and some observations: shape variations in red areas occur by altering sequence for knitting first and last 2 shapes in the holding position

Planning possible sequences out in charting can be confusing. The image direction will be reversed on the knit side. Approaching the technique like intarsia with individual yarns or bobbins eliminates the need for some of the concerns where 2-row sequences or specific starting sides are necessary to keep yarns continuous or for the execution of the desired shape. Trying to imagine the shapes that create the larger one together in a simple 2D drawing can get one started, but then shapes need to be rearranged. I usually began by “playing”, trying to figure out steps needed, and follow that by trying to produce an executable chart. Making the process as easy as possible to track is always a consideration.

possible stitch counts and adding a center-line “stem”/ stripeits knitting sequence a resulting swatch, stitch counts not consistent with the chart

In the chart below the design is worked with 2 needles brought out to work or pushed back into work at any one time, making tracking changing numbers in hold unnecessary. Pink rows indicate starting and ending knit rows, orange “stitches” are cast on and bound off in turn, creating a shape extending out from the edge of the knit. Arrows indicate where shapes meet to create forms. knittable_marked

Holding sequence for each shape may be worked begin with carriage on either side; with experience, this may be planned at times to eliminate some of those cut yarn ends that later must be woven in. Getting back to arrows indicating carriage moves, using the center shape for illustration purposes and beginning with COR direction if beginning with COL, simply flip the image horizontally

600_078 The yarns used were “throw away acrylics” in white and red. The green is a rayon chenille, which required a looser tension, resulting in the other colors looser than I would want in a piece of the final fabric.
An idea for a larger image in the process of being editedA possible sequence in knitting if it is to be executed as shown. The arrow marks rows that knit all needles across the width of the piece. The piece segments are numbered to create a starting line for later joining.
If the goal is knitting as close to a flat circle as possible, eliminating rows will create a smaller center hole as well after the form is completed and seamed. Knitting segments 1-6 should be adequateLarger pieces ie shawls, adding knit rows without adding stitches can be done by altering #8, 1, 6, 7. The red line indicates changing angles. Blue and green lines below indicate increasing rows knit at the center of shapes as a result. Knitting and cast on sequences flow around left purl edge, straight or diagonal edges on a chart such as above may become foundation rows that are later seamed. Sort out your sequence and preferences on smaller swatches, keeping notes as you go. Additional shaping can happen along the edges of any plain knit rows between shapes by increasing or decreasing on either or both sides to create crescent shapes or triangle variants.

Now a quandary if gauge matters: knit stitches are not square. One option is to generate a grid appropriate graph paper. In holding sequences happen in 2-row sequences. Graph paper cells may be created at twice the height desired. Each rectangle will represent a single stitch, 2-row sequence. To create your own knitting graph paper in excel please see post as a place to start. A common knit ratio is 4W X 6H. An editable workbook in 2W X 6H ratio that takes into account the following outline in 2 row holding sequences: landscape2X6. Links for designing knit graph papers online:
http://www.tata-tatao.to/knit/matrix/e-index.html
http://www.theknittingsite.com/knitting-graph-paper/
http://sweaterscapes.com/lcharts3.htm
http://www.thedietdiary.com/knittingfiend/KnittersGraph.html
http://incompetech.com/graphpaper/asymmetric/

Using the 4X6 model reduced to 2X3 this is a sample generated using excel, with borders in a 2X6 ratio, so in execution, every single cell represents one stitch and 2 rows knit. The shape is one from the shape menu in the program, easily resized. The yellow bars show the gradations in holding. These cells are too small for adding text within the program itself. The math can be double-checked: there are 70 stitches, 34 rows in the rectangle at the center of the shape. Holding happens over 5 chart units (10 rows actual knitting) at the top and bottom of the center shape; 70/5 = 14 X5, matching the drawing The accompanying, editable workbook Excel 2008 landscape2X6

So the goal is a shawl or garment, graph paper is becoming impractical to follow? Time to pull out your knit leader. Draw out each wedge or piece full size, number segments breaking sections into knitting sequences, and let the KL guide you. For consistency, if the same shape is to be repeated many times and accuracy matters, it may be worth “air knitting” it while noting shaping as you go, keeping a row by row flow chart. An editable workbook to help track holding patterns, increases, decreases, etc. as a starting point for your own preferences: tracking knit.

Gauge or shape does not matter? time to scrumble it all and be surprised!

A bit of holding 4: intarsia and more

Picture knitting/intarsia may at times be achieved using holding techniques. As in any such knitting, supplies include extras such as bobbins, clothespins, or weighted clips, but no separate carriage. If the ribber is in use and one is working on a large piece, ribber covers allow the yarns to hang in front of the ribber bed.

Some of the rules for accomplishing this using short rows: it is helpful to work from a chart. Two-row sequences are required, so having the working chart double-length makes the process easier to visualize. “Follow” knitting directions with any tool to determine that the pattern is executable, with no long floats or slits.

The bottom of any diagonal line is always knit first.

Needles are brought out to hold on the carriage side, and pushed back into work opposite the carriage; one exception to this rule is if “automatic wrapping” is used. In the latter one, fewer needles are brought into hold than needed opposite the carriage, the row is knit, then with the carriage on the alternate side the first needle in hold next to stitches just knit is brought out to hold, resulting in a “wrap” and correcting the count to the desired number. Any number of needles may be pushed back into work at any time. More than single stitches brought to hold on the carriage side will produce floats.

When knitting shapes the only needles in work are those being worked to create that shape.

Base rows of knitting, whether in waste yarn or as part of the pattern, are needed prior to working in the holding position.

Remember that you are working on the purl side, so any image will be flipped horizontally on the knit side. Reverse the chart horizontally before working it if direction matters.

Begin with a simple shape. Letters indicate the knitting sequence for short-rowed sections. Patterning in these charts begins with COR, bold lines separate areas of plain knitting, letters indicate the order for executing short row segments. The fabric produced lies flat, with no noticeable 3D protrusions.

marking sequences with numbers is easier for me to follow; color changes help define segments, but do not reflect final colors in the design

a supermini swatch: holes are typical both in intarsia and in short rows if no wrapping occurs be prepared to weave in a lot of yarn ends going larger, note the wider “steps” created more complex geometry: line drawing on “graph paper”the start of color placement sequence for executing segments at the completion of the design in actual knitting the pattern must be elongated X2

I find it helpful to use familiar yarn and to work variations of a familiar shape prior to taking on more complex patterns. Below is a cousin of the first shape illustrated in this post, with a pattern worked beginning COL, repeated across the row, increments in the number of stitches worked in short rows but mirrored on both shape sides (shown in the first swatch segment).

filling in to produce a flat fabric, with straight sides: the bottom segment the top segment the amended chart

Some of the same shapes may be placed on a shaped edge. The repeat will likely need some editing; arrows indicate the direction of knitting for that row. If the background color is used for casting on and binding off, then the isolated shape floats on the ground, and the horizontal line of contrast color is eliminated.

creating an outline of shape with Color 1 horizontal rotation to achieve “leaf” shape melding shapes don’t like wrapping? for smaller holes offset the return to work position upper half of the shape by one less needle at the start, added at the end.
A first look at knitting direction and at stacking shapes, with bound-off stitches

combo_2935 The start of a smooth shaping sequence for those “leaf shapes” on the machine

The yarn used is acrylic, so pressing helps to make the shapes lie flat. Once again, using wool or any other yarn with “memory” will result in considerable curl at the side and at the top and bottom of the knit piece, so that is a consideration in putting in the effort. The more striping, the more yarn ends to weave in and row counts to watch. Using space-dyed or sock yarns may produce pleasing though unplanned stripe patterns in any of the shapes. My samples are not resolved final fabrics. There are many inspiring patterns available for purchase or at times free on the internet for hand knitting, usually in garter stitch as well as holding, resulting in a nearly square gauge, flat-lying knit.

Taking it to garments: accessories are easiest, since the gauge may not be significant. Shawl shapes in HK are often knit on circular needles, without the constraint of the fixed number of needles on any particular model KM. Sometimes, with adjustments, the same shapes may be rotated sideways on the KM. Segment sizes may differ due to the resulting change in gauge. Sampling techniques and shapes in smaller versions help work out the kinks.

Sources for inspiration: large-scale shapes

http://www.garnstudio.com/pattern.php?id=7365&cid=17
http://www.garnstudio.com/pattern.php?id=7543&cid=17
http://www.garnstudio.com/pattern.php?id=7375&cid=17
http://www.garnstudio.com/pattern.php?id=7099&cid=17
http://www.garnstudio.com/pattern.php?id=6729&cid=17
http://www.garnstudio.com/pattern.php?id=6333&cid=17
http://www.garnstudio.com/pattern.php?id=6001&cid=17

more details, varying concentration, and placement: free pattern
http://www.garnstudio.com/pattern.php?id=7606&cid=17

for purchase on Ravelry
http://www.ravelry.com/patterns/library/endless-rainbow
http://www.ravelry.com/patterns/library/rigoles
http://www.ravelry.com/patterns/library/dreambird-kal
http://www.ravelry.com/patterns/library/scarf-with-flames
http://www.ravelry.com/patterns/library/phoenix-wing—phoenix-flugel
http://www.ravelry.com/patterns/library/spring-plumage
http://www.ravelry.com/patterns/library/hundertwasser-neptunia
http://www.ravelry.com/patterns/library/swingtrelac

Cellular automata charts for knitting, etc.

I have written before on the fact that since my knitting is done primarily on a Brother 910 and a Brother punchcard models, I am ever curious re and exploring ways to produce chart images that will allow me to knit patterns via mylars or punchcards, with an occasional wincrea download to my Passap via an ancient laptop. My eternal wish list to date has included the option to download to a hacked Brother model I already own, or to my Passap, directly from my Mac (presently Mavericks OS). Mathematical knits via hacked or commercial knitting machine use have been explored by some, including Claire Williams and Fabienne. With the help of online generators, even with a lack of understanding of the math involved, one can produce charts for knitting or other textile applications.

The Wolfram site is a resource for both Mac and Windows platform users who are interested in math, computation, and its visual results. There is a downloadable CDF player that allows exploration of documents and provides for download, CDF format explained, demonstrations projects, search for cellular automata. Below are some samples obtained through browsing the site. In some instances show mesh option will provide a gridded motif, show scale will indicate “stitch counts”

then there is this

an isolated segment
the image in Photoshop (CS3) as it appears with the program’s self-color-adjusted grid GIMPcreating a colored grid grid for easier counts

see previous blogposts on isolating repeats, drawing additional markings, and other uses for GIMP.

A visual guide to automata “rules”

Weaving drafts as inspiration for other textile techniques

July 2021: since this post was published I have written on using a combination of Mac Numbers and Gimp to modify repeats from punchcard and electronic published sources including:
Numbers and GIMP: online punchcard patterns to electronics
Numbers and GIMP: online punchcard patterns to electronics 2
Numbers to GIMP to create images for electronic download
I am now adding a shorthand version for those with some familiarity with both programs using an online draft from Luminescence to obtain a knitting repeat. Images saved from the site even if drawn in black and white do not convert easily and cleanly to black or even 2 colors indexed images in Gimp, are workable using this combination software method.

As previously published:
Weaving drafts can be a source of inspiration for other textile mediums as well. Luminescence is an online weaving program developed by Andrew Glassner. There are ample instructions and help files on site with regards to weaving. My first instinct, however, is often to interpret images of all sorts for knits (I abandoned weaving many a year ago). I am sharing some very quick first experiments with the software with that possible intention. The same charts might be used for other counted stitch unit textiles.
The first draft I chose to load from the app’s pull-down menu was called High Seas. The numbers indicate “Fabric Size”, stitch and row counts in knits

120

Quoting from the help files: “Show grids: This is another cosmetic choice. Turning this on draws the internal grid lines for all 6 grids (warp pattern, warp colors, weft pattern, weft colors, tie-up, and fabric). These let you easily count the cells, which can make it easier to match a published draft. As with Show threads, this checkbox and its effect are disabled if the Fabric size is 100 or more.” “

“To save an image of the fabric, just right-click on it. You should get a pop-up menu that offers you a few options. One of these will be Save Image As… (or something close to that). Choose that, and you’ll get a standard dialog box that lets you put the image where you want it. Using Firefox on the Mac allows the image to be saved in the standard PNG format, which offers the highest quality. You can change that to JPG or anything else using almost any image editing program.” Safari is problematic with saves, allowing only for a web archive or screen capture.

99 easier to see and/ or count units, clear tiling: 60enough to easily sort out repeats: 30

your preferred paint program may be used to draw lines that isolate single “knit” repeats; threading and tie-up sequence repeats are used as guides, making the process fairly straightforward

imagining possible related borders a more complicated draft isolating the much larger repeat

always double-check tiling prior to knitting for accuracy, any “surprises”, and the possible pattern placement on the knitting machine’s needle bed

got a draft from an online pub? always good to start with a recognizable, simple design isolate the repeat (GIMP): crop tool and size control

in this instance, the result is a 154X 154 pixel square image, with 14 X 14 unit desired subdivision, making my grid preferences setting 11 X 11 pixels

tiling test: looks like a match!

line width, colors, etc. may all be set and changed to suit individual needs and preferences. Please note superimposed grid lines are lost when the image is tiled or exported from GIMP, some version of screen grab or snap must be used to capture and save gridded images

an additional draft, the same process

A bit on the charting: after launching the program and loading an image, the GIMP windows options will become available. I leave my toolbox always active. Tool Options give the opportunity for controlling crop size, pencil line width, etc. As you click on/ select any tool, the options windows will change and offer selections for managing that particular tool

crop pencil brush

notes from a previous post on charting for straight-line drawing on Mac: “first select color and pencil tool. Place a pencil dot where you want the line to start. If you press the shift key, a crosshair will appear, press the command key in turn as well for straight-line mode, click where you want the line to end. Consecutive clicks will continue drawing straight lines that originate from the end of the last line. Pressing both the shift and the command one at once after the initial pencil mark will call up the color picker and require a color selection and an “OK”

QR codes for knitting (2) or other textile techniques: “happy holidays” a few ways

I reviewed, edited, and added information to an earlier blog post on QR codes and knitting earlier today. The results from the same steps in processing the generated images may be applied to any fiber technique which results from using counted, single units. In light of the coming season, I thought I would offer some “happy holidays” variants. In assembling them, I found an additional free online generator that allows for far more control on output code pixel dimensions than others I have previously experimented with.

Aztec (smallest unit possible 100 pixels square)onto the morovia website the “blanket” size getting back to knittable, less than punchcard width a less than 50 wide repeat for mylar, and surprise!

A bit on ribbers: Japanese KMs, alignment, and symbols 1

Before approaching using ribbers in relationship to cables I thought I would mention a bit on alignment. An online source reviewing the topic with downloadable PDF: http://machineknittingetc.com/brother-kr120-kr710-kr830-kr850-kr230-kr260-service-manual.html. Studio machines’ how to may be found on a youtube video by Roberta Rose Kelley. Before making any adjustments check that the clamps that hold the ribber in place are flush with the table and securely clamped; that the screws in the setting plate are not loose, and that they, in turn, are installed at the same depth. As adjustments are being made, and the thumbscrew is tightened, the setting plate may actually slide toward the main bed, narrowing the gap. To prevent that from happening I had to use a metal spacer between the stopper and the main bed.

Make any adjustments based on needles at each end. Ribbers tend to bow in the center with wear and age. To check how needles in both beds line up in relationship to each other: with the racking lever on 5, the pitch lever on P, pull forward at least 10 needles on each end of both the main bed and the ribber, they should line up point to point. If any of the needles do not touch or line up, loosen the 2 screws to the left end of the ribber just a bit (a quarter turn is usually enough), tap the end of the ribber with your hand just enough to the right, or left to line up needle positions. Recheck the alignment on several spots across both beds, tighten screws, check again.

Another visual option for checking alignment is offered by Studio machines in their manual for the RT1 transfer carriage To check the height of the ribber: pitch lever on H, bring it to the full up position (Brother has 2 up positions), and bring forward at least 10 needles at each end of the main bed. Use spacers ie. a credit card, or claw weight hangers that came with ribber as measuring aides; they should slip easily between main bed needles and ribber gate pegs, the recommended distance between the back of the KR needles and the KH gate pegs is 0-0.6 mm.

The online PDF has additional photographs of the nut that needs to be loosened in order to change the height. To loosen it, the ribber needs to be brought to its down position. Use the spacer tool, start with a quarter turn, to begin with, (lefty loosey, righty tighty). Lift the ribber into place. By moving the thin metal lever (adjuster plate) up and down the height may be adjusted, one side at a time. Bring the ribber down to tighten the bolt, up again for a final check.

Lastly, with main bed needles out of work bring groups of ribber needles out to E. A single claw weight should slip behind the ribber needles and in front of the main bed gate pegs. Repeat adjustments if needed so the space between the beds is as equal as possible. The space between the bottom of the main bed and the top of the ribber gate pegs should be between 1.1 and 1.7 mm.

To adjust the distance between the 2 beds: bring at least 10 needles out at each end of the ribber. Use the spanner to loosen the thumbscrews, and a screwdriver to loosen the flat clamps.

If the nut should become completely loose for any reason: the part in question I believe, is #24 in the service manual, the “slide plate guide stud”. In the image below b= the bolt that became completely loose on one of my brackets. I discovered after getting things back together that a, which secures the ribber bracket, is actually directional with a barely perceptible change/ difference in shape. If it is accidentally rotated 180, it will keep the ribber bracket from changing height positions and working properly. Rotating it restored expected actions for me.

Yarn thickness and needle arrangements may also require some tweaking of height and other adjustments. Listening for changes in machine sounds as the fabric is knit, and visual checks over time are a great help in avoiding problems. Here are positions for bracket lever as indicated in the service manual

A reminder: if the needle presser bar on the ribber (all plastic) is to be removed, it is reinserted back in with ridges facing, and flat side down I have several sinker plates. An accessory that began to appear with ribbers at some point, seen here in this illustration:

below is a close up showing markings on the right side of upturned connecting arms in 2 different model year ribbers
and here the latch opening plate has been secured into place in the connecting arm without the #2 marking, where it makes a noticeable change, bringing the unit closer to needles when on the machine during knitting And, speaking of ribbers and clamps, not all clamps are created equal though they may appear to be doing their job until some attachments cause problems.
Studio (shorter) vs Brother in place Brother bulky on top of the standard clamp, its shorter cousin Knitting symbols used for the ribbing attachment show what the stitches would look like on the “wrong” side of the knit. In the Brother system, KR refers to the ribber bed, KH to the knit one: typical illustration of symbols as found in Brother punchcard pattern and technique books:

A brother publication on Japanese symbols for knitting available in English, French, and German, may be downloaded from http://machineknittingetc.com/japanese-symbols-for-knitting-machine.html ; page 15 is missing from the document. Another resource: http://tata-tatao.to/knit/japanese/e-index.html

More on charting, foreign symbols, and cables

This topic has come up as part of previous posts. I recently reviewed links and thought I would re-group them a bit differently here, adding some new. Please click on continue reading to have the list appear as active links if they do not immediately do so in your browser. The latest additions are at the post bottom.

http://www.stitchmastery.com

https://www.myfonts.com/fonts/adriprints/stitchin-knit/

https://www.softbyte.co.uk/designaknit.htm

http://www.envisioknit.com/features/

https://stitch-maps.com/about/key/

pixelated lettering

http://www.fontpalace.com/font-download/Notice+3+Std/

http://www.fonts2u.com/munro-small.font

http://www.fontspace.com/ten-by-twenty/munro

letters in knit stitches

http://www.fonts2u.com/knitfonta.font

http://www.fonts2u.com/knitfontb.font

http://www.fontspace.com/honey-and-death/knitfont

care labels

http://www.fontpalace.com/font-download/Notice+3+Std/

I have been trying to navigate Mac Numbers again, but in playing at my own latest charting with software after the Yosemite update, I find I am drifting back to using Excel once more as my primary “graph paper”. Charts published in foreign languages and magazines, and particularly those in Russian (where the same symbols appear to have different functions depending on the publisher) provide challenges in translating for using charts provided in hand or machine knitting.

Some sources from/for different countries that may help with interpretations:

http://www.knittingfool.com/Reference/KF_Symbols.aspx

http://www.garnstudio.com/glossary.php?langf=it&langt=en

Anna Burda magazine symbols PDF includes HK how-to illustrations: ab2 2/1/15

Verena chart from older pubs easily found on Pinterest

A partial volume of an out of print book on Japanese symbols

4/24/15: Sconcho is a GUI for creating knitting charts that come with a built-in stitch library. A manual is available. Custom stitch symbols may be created in Inkscape to form personal vector shapes. X11 may be required to run Inkscape on your computer as well, all are free.

6/14/2020 a free for iPhone and iPad app Knitting Chart also includes crochet symbols