Category: Software

Just because snowflakes are six sided crystals

I have been using Gimp for more than a decade, but the last 3. and 3.+ versions have had bugs that broke familiar functions, among them saves are now in greyscale, RGB mode is disabled, there are file naming issues, and editing and saving preferences are only temporarily saved.
It took a bit of digging to find a 2024 version that appears to work more predictably: https://gimp.macupdate.com/app/mac/14597/gimp/old-versions.

ArahPaint has become my primary design tool. In the past year, some new features have been added, but have not yet been documented here.
There are 6 previous blog posts with suggestions on how to use the program in knit design.
This post shares my doodles in the development of a theme, not specific step-by-step instructions on how to achieve them.
Learn more about ArahPaint on the related Facebook page, YouTube shorts and videos, and by browsing the excellent manual available to download.
Some sections to explore in the PDF: using tools pp. 19-23, drawing straight lines, verticals and diagonals, and shapes pp. 28-30, working with colors 35-59, and repeat modes 63, 90-95. Brick repeats are narrow and long, suitable for punchcard model machines when meeting the 24-stitch restraint rules. Pillar or half-drop, depending on offset, are wide by default and only usable in electronic machine models.
A very brief review of some of the techniques used in the following designs: as the straight line tool is used, an angle for the line appears above the palette area, the value will change following the mouse movement, and the line will stay in place with the release of the mouse. The tool menu offers options for easy transformations and rotations on the whole canvas, on the chosen full image, or selected portions of it using rectangle select. Parts of the design may be copied and changed before pasting into place or in a new window. Working in multiple color palettes, double-clicking on either foreground or background selections allows for changes to those specific selections. Changes may be made using double clicks sequentially to first protect one or more of the colors to selectively work on the background, then again, to render any color transparent, and a third time to revert to the original palette. I work on a Mac desktop with an M1 chip and OS 26.0.1.
The forms classified as snowflakes in knitting, cross stitch, etc., are often multiples of 4 segmental shapes at 45-degree angles.
That said, a snowflake is technically defined as a single, delicate, six-sided crystal of snow that falls from the sky.
This is the start of a coloring book virtual approach to accommodate the math for a 2D fair isle or DBJ design using pixels.
The more familiar views are developed using 60-degree guides and can vary in complexity. Some of the more complex designs become suitable for applied duplicate stitch or beading to improve the definition of stitches. The base grids are 61X61 pixel canvases to allow for single stitch centers/ pivot lines. Working with double line thickness lines, a 46X46 shape.The PNGs below are not fully developed designs, and are intended for download and use to yield DIY versions that meet your own size and preferences.
Beginning with a 61X61 template with a single pixel pivotal point, the hexagon shape is identified, and it is drawn at 30-degree angles with symmetrical diagonal line placements. Superimposing color blocks and lines, 

the shape rendered all blue, with the blue protected, fill ground with white, crop the result to 34X34, convert to BW. The tiled half drop repeat has negative space that will accommodate smaller added designs in DIY if preferred, 68X34 

A 15-degree template, with single-line pivot points, to render all lines in grey or any preferred color, lock the white, follow with color bucket-filling with the chosen color. Unlock any protected color(s) before proceeding.
The new canvas is 60X60 for visibility and initial pattern drafting.
The full size is retained in the first attempted repeat; note the six-pointed star shape.

Cleaning up, editing pixels,
another 60X60 design
adjusting for a smaller size and a slightly more circular effect
cropped to 44X44 in brick, 44X88
half drop, 88X44, determining missing pixels, adding others to form complete shapes.
A different approach, using colors to plot a 6-pointed star in a different orientation, follows color changes for observing different-sized “flakes”, edited as preferred.

Opportunities to explore negative spaces
30X34
30X68 60X34

30X34 with a bolder outline. Not forgetting those cubes, a start in BW, keeping whole star shapes. A “small” 28X32 motif formed following lines in the template.   33X33 with different shapings. Superimposed equal-size stars with one rotated, 38X38. If there is a need to go big, 32X58.Pondering double-thickness lines, the rotated star shape, 72X60. The possibilities for shifting color placements can lead to endless shape variations.
The final choice then becomes as to the best method for executing any of this as a knit fabric, and whether using 3 or 4 colors is practical, whether the designs will become distorted, the rabbit holes are endless.
For a source of inspiration for more variations and shapes, visit
https://numericaldesign.blogspot.com/2016/07/exagonos-02.html
https://patterninislamicart.com/s/published-material/drawings-diagrams-analyses/publication/geometric-patterns-borders , a sample from the pubA template for pursuing more the ideas using color, 78X44tile as many times as needed for the base canvas,  or begin with the same design rendered in black and white.And here, a version of finding Waldo, look to find the different size flakes 😉

Playing with cube shapes

A collection of geometric design blocks built with squares, rectangles, and lines looked at combinations that were 2D but could play with the illusion of movement, these repeats look at cubes in growing sizes.
The larger repeats have long floats, and are more suitable for DBJ than FI.
Fore easy manipulation mirror the images horizontally.
To mirror punch cards, flip them over and insert them into card reader. Depending on the complexity of the design, numbering the back of the card can be useful.
8X14

Its mirrored version8X22
10X20
10X20
12X2220X10
Exploring mirroring and rotations of the design repeat to achieve the start of DIY secondary shapesLarger design repeats become more suitable for DBJ, the conventional max in FI  single bed knitting is 5 needles knitting in either or both colors
24X44The opportunity to explore 3 colors per row
36X59

Exchanging colors to match yarn stash or to find secondary shapes in RGB/ expanded palette mode. Choosing from previously developed design repeats, DIY 3 color versions can easily be achieved through filling in dotted areas.testing the changes in orientation using ArahPaint toolsto mirror first horizontally and then vertically.
A different design with a vertical orientation, 12X26repeated to the same number of pixels/ potential stitches as the above. Developing a more complex geometric shape, 24X20, built by taking away or adding color pixels to create new forms. Working in multiple colors, software assistance visualizes complex shapes built from small units rotated to form new ones.
These were gleaned from Wolfram Math exploring Neat Alternating Tilings of the Plane, in their computational design format, CDF; the linked tilings site permits testing live interactive demos. The version of the CDF player operating on my Mac is 13.3. Nothing appears to be working properly in the latest available one, 14+, tested and now uninstalled.
Triangular unit variations ie,are found in the blog post Truchet/Smith inspired designs 2 meet ArahPaint.
Side-by-side stitches forming lines or intersections in pairs of pixels are unavoidable.
Here, there are vertical lines that form and will shift with the rotation of the files. The colors can easily be replaced in coloring book style to match yarn colors or personal taste.
A small unit, the vertical line is highlighted in the closeup image, 8X824X24different color-way, altering the visual impact by mirroring or rotating the file to shift the placement of the dark color
More collections to explore are listed below. For an updated list/ more, see blog index, new listing DESIGN REPEAT COLLECTIONS
Hound’s tooth FI variations were in a very early post, which offered only charts. PNGs for the designs are now in the process of being added
Playing with diamond and argyle repeats
Developing tiled repeats suitable for multiple stitch types includes some optical illusions
Seasonal knits inspired by published repeats 1 winter, holiday
Seasonal knits inspired by published repeats 2, hearts
Weaving drafts as inspiration for other textile techniques
Seasonal knits inspired by published repeats FW 2025
Working with diagonal patterning in machine knitting

Seasonal knits inspired by published repeats FW 2025

With the approach of fall and winter once again, the post with Seasonal knits inspired by published repeats 1 was discussed in Ravelry.
This share adds to the library of collected repeats, aiming for daily updates.
When choosing any design, view or print the tiled image or selected portions magnified as much as possible, after giving the eyes a rest, before committing to knitting, which can sometimes be followed by disappointment.
Recently, I have begun to use the 930 Lace Carriage for preselecting needles in B position, moving toward the knit carriage, and then removing it, instead of switching to slip stitch for a free pass when needed and risking confusion in returning yarns to their proper position or forgetting to switch cam buttons for proper technique.
Charts will be provided for designs suitable for punchcard use.
18X24
22X2022X2224X22 24X24

24X24
The difference achieved by inverting colors in the PNG or switching placement of the yarns in their feeders:

25X2626X2626X2626X2626X2626X26
27X27 two ways
30X30 with half segments repeating39X3034X3234×32  color inverted tiling40X40
42X40isolated from tiled repeat, 42X4046X46 two wayscombining repeats
48X48
65X6572X72
Developing DIY repeats for color striping or with color-inverted tiles can begin with any motif drawn in repeat with areas where pixels repeat in even numbers across rows or columns, lining up horizontally, vertically, or both.
If the goal is to knit a single bed fair isle, consider float management to secure the 10 stitch floats, as in this case, alter the repeat, or simply choose another.
There are several approaches for generating new designs from those already developed. One is to begin with a tiled version, choosing possible breakup points, which are highlighted here in magenta. The manually isolated repeat, 27X54, with the bottom half color-inverted.The design, drawn in repeat X 3, formed alternating color inverted horizontal bands with pairs of pixels at the tiling vertex. Making the choice based on personal preference to eliminate the extra pixels, using ArahPaint mirror X-1, 53X54.Color inverting each quarter for pattern blocks, 53X54,mirrored X-1, 52X54A slightly different approach, starting with the 27X27 file, undisturbed, draw in repeat X2 in height, and using rectangle select choose the part of the design with the double row of pixels as the point for dividing the image into 3 segments, using rectangle select and colors > invert all, to form the new 27X54 file, for the horizontal repeat.The same file drawn in half-half-drop repeat for alternating tiles of the pattern, 54X54.The 27X27 doubled in width, 54X27,with the center 27 pixel section color inverted,for vertical stripes. Adding a few pixels for float control?
Problem area 1Problem area 2The proof of concept, knit on 61 stitches.Punchcard knitters can also add holes to specific areas for float control, such as in the 24X22 repeat shared at the top of the post.Card programmed designs are centered, mirrored horizontally, and repeated in fixed locations across the needlebed. The needle tape markings serve as guides.
When making pieces, if the goal is to place the center of the design other than in the default location, one solution is to move the work to a different place on the needle bed; the other is to shift the motif before punching the card.
Here, the chosen design is drawn in repeat to 48X22, the center segment is isolated, and cropped to the new 24X22 motif, shown on the right with the new holes to punch highlighted in magenta.The chart for the full card, the PNG.The proof of concept swatch: repeating motif components on a more open background, beginning with 50X50From A tale of crustaceans and critters, a large tile, 87X87,
from Color separations for larger-scale mosaics and mazes

Alternating color tuck stitch shapes on striped ground

The post Single bed tuck and slip stitch fabrics 1  reviews some of the differences between the two stitch types, and the characteristics of appropriate pattern repeats.
Single bed tuck and slip stitch fabrics 2: adding color introduces visualization and samples, executing both with frequent color changes while Visualizing maze or mosaic potential from tuck or slip stitch repeats begins with designs that are already developed/published and constructs the visualization of the potential results with frequent color changes.
DIY repeats bring together approaches and ideas developed over time.
A color separations post published more than a decade ago, first looked at achieving this design repeat using Excel, and the topic was revisited this year in Revisiting old color separations, testing present software methods, leading to present testing of the concept using the same software tools to produce a tuck knit pattern with alternating color shapes while observing the conventional tuck stitch rules.
In this case, if each color is to knit tucks for 2 rows, then it must be represented by cell units that are formed in single width, and 2 rows in height/ across each pair of rows.
Using only BW pixels, the process began with a 13X26 PNGdoubled in height to 13X52, redrawn on a larger canvas, to 14X56using ArahPaint drawn in half-drop repeat, offset by 28 or by 1/2 using the pull-down choice.    28X56Relatively small designs are easy to manage.
A first alternative: in one half of the repeat, erase or fill in with white the first 2 rows of black squares in the design, while in the second half of the repeat, do so with rows  3 and 4, and test alignment by drawing the design in repeat.Visualizing placement of tuck stitches on striped ground:
1. the original repeat
2. the revised repeat
3. the striped ground in any chosen colors
4. #2 with white color to alpha copied and pasted on #3
5. in any final knit when programming the design, the black cells in #4 need to be white for tuck stitches, and the ground a solid black.
Both #4 and #5 prove that held stitches/tuck loops in both colors are not represented together on any pair of rows. A second alternative uses ArahPaint on half the repeat at a time to allow for the 2-row upward shift between designs
1. adjust the grid width to 14, providing a vertical guide along the vertical midline
2. fill a 14X56 new image with a first 4-row brush3. copy and paste it on #1 right, after rendering the green color in 4 transparent5. a new 14X56 image filled with a second 4X4 brush6. copy and paste it on #4 left, after rendering the magenta color in 4 transparent7. the final repeat The test knit repeat, 28X56, is centered in a 60X56 canvas with an added two-stitch vertical border on each side; end needle selection is canceled.   The repeat may be used as is. To meet tuck rules, it then must be color reversed using the machine’s appropriate button after downloading, or color reverse the PNG before saving, and use that as is. The change to the second lighter color yarn was made to facilitate the ability to visually check the proper formation of stitches on the purl side during the test knitting of the swatch. The repeat may be reduced for use in punchcard models.and is drawn in repeat to obtain the brick configuration on the left, and then the software tool is used to find the single 24X48 repeat on its right.
The colored chart visualizes the placement of the tuck loops on a 2-color striped ground.
Punchcard knitters may mark the black cells and follow with punching all other squares, as indicated by the black cells in the chart on the far right.
24X24 PNG before the color separation for electronic knitting, before color reversal, and after it. It is possible to use the punchcard reader to repeat each row twice. The 24X24 version of the separated repeat,however, would need to be punched twice to accommodate the length necessary for the card to roll properly continuously, so not labor-saving.
Punching as required without added adjustments, such as using elongation, can make it easier to correct any errors during knitting.
Exploring the appearance of a smaller repeat by comparing results using the same yarns:

16X24 color reversed and tested on 48 stitches, 48X48 PNGThe repeat may be made usable for a punch card machine by spacing the design to 12X24 stitch vertical segments and punching the white ground. The addition of a few pixels forms continuous shapes. The design drawn in repeat and color reversed for test knitting on the 930, 48X48 pixels,  results in appearance and movement with a change in colorway, with more 3D texture than appears in the images.

Double jacquard using punchcard machines 2

Double jacquard using punchcard machines discussed how to separate a design for use in DBJ. Early pubs and manuals suggested punching several template cards to use as a guide in marking a third card for punching, a very slow low-tech process decades before presently available computers and software.
The design must be composed of an even number of rows. When developing DIY ones in the present software, the original PNG is doubled in height, meeting that requirement.
A review of ribber settings including for DBJ knitting, includes an explanation of the lili-buttons function.
The goal for this particular knit fabric is to knit each color in each design row only once, limited to designs containing only two colors per row, achieved automatically by the push of a button on electronic machines, ie in Brother, selecting the KRC button.
Double Jacquard and color separations: some previous posts, links, hints DAK users know this as method B.
One design row of pattern requires 2 rows of punched holes in the card, representing two carriage passes from and back to the color changer. Machine knitters often begin with a single bed and become familiar with knits that are worked using color changes every two rows ie tuck, slip, mosaics, and more with the first preselection row from right to left toward the color changer, and with each color in each row knitting with each pass to the opposite side.
In this DBJ separation, preselection begins from the left, with the first color knitting in the pattern only on the first pass from right to left.
The change can be a source of errors for new dbj knitters, resulting in stripes if preselection is made from the right side, or if the knit carriage is not set appropriately.
I am presently working on a Mac with OS Sequoia 15.4.1, Gimp 3.0.2, and ArahPaint 6.0.3375.
Rendering colors transparent in both Gimp and ArahPaint makes quick work of custom color separations for DBJ and many other both single and double bed fabrics.
Gimp: update hopefully with bug fixes May 26 https://www.gimp.org/downloads/
with each new update, it appears there are enough bugs in designing one-bit images that more than once I have reverted temporarily to older versions of the program.
This repeat posed no problem for me, using the subsequent 24X24 plaid repeat the program repeatedly failed to render the expected results, even after a computer restart. The process worked seamlessly in the previous version.
Issues were also encountered with a 2024 update.
The workaround ultimately, in this case, saving the inverted image filled with the blue brush, opening it with Gimp, and checking for the transparency alpha channel, finally enabled the conversion of the blue color to transparent to complete the separation, #7.
1: 24X24 image, RGB Mode, check Layer>Transparency, click to add alpha channel if not greyed out2. scale, broken link, to 24X48
3: open new, 24X48, color invert4: open new brush, 8X4, white color to alpha, copy5: fill #3, with brush at this point, the result looked odd, but copied and pasted on #2 it produced the desired results. The alternative, producing a more familiar appearance, was to save this, (#5), as a PNG, open it with Gimp, check for the alpha channel,
6: blue color to alpha

7: copy and paste #6 on #2,

  • converted to BW mode at this point will produce this saving the file, and opening it again with Gimp will produce the correct separation  For more on developing custom palettes see ArahPaint and Gimp in knit design 3
    ArahPaint
     the punchcard steps summarized  The larger repeat step by step: working in multiple windows, toggling as needed
    1: 24X242: multiply YX2, 24X483: #2, colors, invert all4: Tools, layer –> brush, 8X4 5: fill color 24X48 with brush6: copy the brush filled image, 5, paste it on the color reversed, X3, after rendering white color transparent 7: copy # 6 and paste it on #2, the elongated image, after rendering the color transparent, and save the after making certain the number of colors is set to 2 for a programmable PNG.
    When shapes are drawn with simple outlines, in as few as single stitches, some of the stitches may disappear into the ground or not knit properly if the gaps between them are very wide.
    Borrowing a motif from the last post, 24X52  following the above sequences: the file doubled in height to 24X104colors inverted brush-filled 24X104copied, white rendered transparent, and pasted on the color inverted image copied, red rendered transparent and pasted on the original 24X104 image produces the color separation check that the number of colors is set to 2 if it will be used to program an electronic model.
    The separation reproduces the electronic KRC, which starts preselection for row one from left to right, with the first pattern row of color knit from right to left, followed by color changes every 2 rows.
    In DIY one may design for personal preference. It is possible to move that last single row to the start of the repeat and then begin with the carriages on the right for the first preselection row followed by color changes every 2 rows.
    The repeats on a punchcard model are fixed in place, if a different arrangement is planned, the knitting needs to be on specific placements on the needle bed. The proof of concept with a full first repeat knit in striper backing and the second using birdseye. Beginning with a far smaller, randomly drawn repeat suitable for a punchcard model, 12X14a full FI card, 12X42Separation for DBJ in the traditional method
    the initial design double height, 12X28 color reversed the same size file brush filled copied and pasted on the color reversed image, with white color to alpha in turn copied and pasted on the first elongated image, red color to alpha compared with the amended color separation shown in repeat The difference in the results with the full separation repeated in full height twice: the swatch on the left was knit on the 930 programming the 12X14 repeat across the bed and selecting the KRC button, so the placement of the repeat on the needle bed differs from the card version although the same number of needles were used. The first preselection row was from left to right, with the knit carriage set to N as in many knits worked single bed with a start from the right. With the carriage on the right, the knit carriage was then changed to slip in both directions. The combination resulted in the first line of solid color knitting to the right and the first pattern row in the same color knitting from right to left. See below the swatch for suggestions as to how to eliminate the solid color row.
    The swatch on the right uses the shifted repeat, in fixed 24 stitch widths, with the preselection row from right to left in the cast on/ base color, followed by color changes in pattern every two rows.
    Both methods will produce a single row of the design repeated at the bottom of the piece.
    The amended repeat allows for the use of the more familiar approach.
    To knit, choose your backing technique ie striper, or birdseye.
    Cast on the appropriate number of needles using the base color, and knit at least 2 rows in the chosen technique ie with ribber set to knit in both directions or to slip in both directions using lili buttons. The knit bed is also set to knit.
    Ending on the right, program the pattern, preselect it to the left, change color, set the knit carriage to slip in both directions and continue knitting changing colors every 2 rows.
    The workaround to eliminate that extra solid color row as seen in the first swatch if using a previously published or factory-supplied card with this separation, advance the card to the very last row of the repeat, lock it on that row remembering to release the card after the preselection row.
    Similar steps apply to the electronic KRC separation as well.
    Choose your backing technique ie striper or birdseye.
    Cast on the appropriate number of needles using the base color, and knit at least 2 rows in the chosen technique ie with ribber set to knit in both directions or to slip in both directions using lili buttons.
    End with carriage on the left, change color, the ribber setting remains unchanged, and the main bed is set to slip in both directions.
    As the carriages knit to the right, the ribber will knit on every needle for striper backing or EON in the new color for birdseye, the top bed needles are preselected but no knitting occurs.
    With movement from the right and back to the left the first row of the pattern will be knit on the top bed, the ribber also will continue to knit on every needle or EON depending on the type of backing chosen.
    The settings on both beds remain unchanged as color changes continue to be made every 2 rows from the left.
    A very mini sample proof of concept in birdseye backing

Playing with floral designs

More collections to explore
Hound’s tooth FI variations  was a very early post which offered only charts, PNGs for the designs are now in the process of being added
Playing with diamond and argyle repeats
Developing tiled repeats suitable for multiple stitch types, includes some optical illusions
Seasonal knits inspired by published repeats 1 winter, holiday
Seasonal knits inspired by published repeats 2, hearts

Drawing any designs in repeat aids visualization of the potential finished piece. From mylar sheets and punchcard/ electronic pubs
40X43
drawn in repeat, 160X172

44X68
176X20448X54drawn in repeat, 144X16260X56 drawn in repeat, 180X16860X90drawn in repeat 180X9075X80drawn in repeat, 225X240Roses have intermittently appeared in my posts, ie in this exercise using Gimp to develop pattern repeats
The remaining repeats are marked in bold text and are followed by tiled versions on larger canvases.
Suitable for punchcard models, producing striped vertical patterning,
24X70 244X140In this case, elements were added in the negative spaces to reduce the size of floats, 24X24 slightly edited in half drop repeat, 24X51144X143 24X52 144X156color reversed 24X52If knitting in fair isle, the color reversal may be easily tested by switching yarn positions in the A/B yarn feeders.
With evolving software and beginning with online finds, more complex designs are attainable with a short series of mouse clicks.
Filet crochet pubs are endless sources of inspiration along with cross stitch, beadwork, etc.
83X117 165X230 to trim, edit, and make your own, 202X13444X50 132X15046X50138X15048X44144X13270X80210X24030X90 its half drop version, 60X90Drawing both in repeat to 180X180 helps to choose whether further editing is needed, and if the shift in vertical/horizontal vs diagonal striping is preferred
More designs suitable for borders or in pieces with planned vertical repeats:
30X78150X156  36X6072X60144X12040X90120X180 80X90120X18046X5046X10092X50184X200 the start of editing to reduce the white horizontal bands,  184X15046X80138X160 53X136 70X62 bouquet 70X124210X248Large enough for blankets, modify to suit,  140X140203X192203X197 A starting point for DIY introducing other elements, 141X217The spacing between motifs can be controlled in a different way by beginning with the chosen design, ie this 35X36pasting it in place on a large canvas ie 150X150, rendering the white color to alpha/transparent and placing it deliberately singly or with newly captured series finding the repeat, 36X65 144X130 Endless punchcard inspiration may be found at http://perfo.12rus.ru/ including these samples, some of which would form problematic floats if worked in single bed fair isle, usable in electronic models offering the DBJ>KRC option.Converting the images to pngs and testing tiling helps to visualize whether the knit results in a piece would be to one’s taste. A sampling:
24X5224X5824X96Other ways to combine repeats or manage negative spaces:
from ArahPaint in knit design 5 an idea from a punchcard volume DIY began with working in multiple colors until the decision was made as to how many to use in the final design, my starting palette consisted of 4 colors: the starting motif, 35X36 was placed on a white ground, 60X60, replacing the black with color 2 and the shape was outlined using a one-pixel pencil in green/color 1a four pixel brush using white and color 3 was saved and used to fill the background with the pattern, the green outline was removed, the design was trimmed to a final choice 40X48 160X144in brick repeat 40X96

160X192in half drop repeat 80X48

160X144clearer visualization of  the repeat in 3 colors and in 2Larger background brush fills may not line up properly when rendered in brick or half drop as seen in the center of this 50X50 The solution is to develop the more complicated design first using the floral shapes, beginning with the 50X50 picture and a 4-color palette, draw in  brick repeat, offset in 25 pixels lock colors in the floral image fill  the white ground with 10X10 brush Tools > find exact repeat, 50X100drawn in repeat, 200X150if rendered in 3 colors for knitting, set the number of colors from 4 to 3and to 2 colors for BW the half drop in 4 colors rendered through the same process, 100X50  Combining patterns, referenced in the same blog post, 60X58180X174Vertical designs can be combined as well, ie. with a scarf in mind, single repeats 76X8076X14 borders were developed for the bottom and the top of the whole item. A very short virtual representation of a finished piece The programming sequence for the components is influenced by the software used and the machine model.
For items such as wall hangings or blankets, 89X89   trimmed avoiding doubled segments and combined as tiles to 167X167and a single, large design, Another small floral vertical design/ potential border, 14X44   An untested mosaic design to develop/edit in DIY before executing the color separation for knitting it with color changes every 2 rows, 44X146color reversedFigurative designs in mosaic knitting includes some floral designs on varied grounds ie.

Revisiting old color separations, testing present software methods

ArahPaint has become my most frequent go-to when designing repeats. A previous blog post explains the process used below.
More will be added as I review old posts.

From 2013 Block slip stitch separations
In developing DIY, beginning with symmetrical designs can lay the foundations for more varied pattern placements.
The re-drawn original 10X8 double length 10X16 two-row brush filled 12X16brush fill, white color to alpha added surrounding space, 16X21brick repeat offset by 11 rows, 48X42 isolating the repeat, BW indexed, 32X21 check tiling, 64X63 using a 2-row brush fill to visualize motif placements doubled in height for slip stitch knitting, 32X42 double height, color reversed, in repeat for knitting 64X84slightly different spacing, 28X20 double height, in repeat for knitting. 70X120Shapes on a nearly balanced ground require added steps
24X1124X22every-other row white color to alpha 24X22 drawn in repeat 48X6648X66 mirrored cropped to 24X66, using red for visibility copy and paste on the first BW repeat converting white color to alpha: begin in center continue with half repeats 48X66 3 color isolating the 24X22 repeatBW version checking tiling the color reversed PNGtested on 60 stitches, end needle selection on

Tips on Single bed tuck and slip stitch fabrics 2: adding color

Playing with diamond and argyle repeats

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

 

 

A DIY large scale repeat adapted from an online published collection

Electronic pattern books now available for free online often include images of mylars or of files for knitting using specific machine models and/or accessories.
The designs may be used as provided or serve as springboards for DIY variations.
Some knitters prefer large-scale designs in non-repetitive patterns on garment pieces.
Roses and houndstooth designs reappear frequently on runways. This was included in a Studio pub and caught my eye. Conversion to the full 96X172 file. Visualizing the potential large piece knit, it was not an instant favorite. Working towards a DIY design and examining varied methods and steps:
the inspired 4-stitch brush to be used in the background fills a small “rose” from a punchcard repeat, 24X24the first approach uses color to alpha to place the design on a pattern-filled ground, the file is adjusted to 30X30 to allow for outlining the rose in a third color the result, in turn, is centered on a 44X44 new image.
To have the white pixels forming the petals undisturbed when using color to alpha, the background is changed to cyan in a new window, fill a new picture, 44X44, with pattern copy and paste the flower, anchoring it in place after rendering the cyan transparent and change the magenta outline to white, tile to 132X132playing with the movement of the shapes to change the overall placement,  the brick repeat immediately shows patterning problems, and the shapes appear small the 30-pixel file is doubled in size to 60X60, check that the number of colors is set to 3, fill the white background with pattern magenta pixels to white the intersection problem in a standard brick repeat reoccurs if the white outline is considered too thick, reduce it to one pixel from 2.
In this 60X60 image, the lines forming the petals are also colored in magenta, and the outline is reduced from 2 pixels to 1, Changing the approach: the above is drawn in repeat on a white ground. Rotating any individual elements becomes possible with no disruption in the yet-to-be brush-filled design. Filling in the white ground with the pattern results in no tiling errors eliminating the third color, BW brick, it is not possible to isolate a smaller repeat keeping directions constant in alternate rows of the pattern makes isolating the smallest repeat possible, 60X120. Back to the inspiration florals, isolating one of the roses, 61X59, note that the shape is not symmetrical with a single-pixel third color outline, on a white ground, 64X64tiled in a simple brick repeat to 128X192 on a white ground with the background pattern-filled64X128 isolated smallest repeat tiled in BW with colored outline removed testing random placements produce a design with the smallest programmable repeat note that the horizontal distance between the flower shapes is not fixed

seeking symmetry 50X58 scaled to 58X58planning added borders 64X64  outlined a full single repeat 192X256 using the same random arrangement building the smallest straightforward single brick repeat if there are limitations on the size of the programmed image ie to avoid multiple tracks in machines such as the 930 using img2track the slightly scaled design reduced to an 80X80 repeat to play with in any configuration of your choice. The test swatch for the full single repeatContinuing on a floral theme, inspired by a filet crochet design, 30X90 its half drop version, 60X90drawing both in repeat to 180X180 helps to determine whether further editing is needed, and if the shift in vertical/horizontal vs diagonal striping is preferred  

DIY pattern design groups developed in 2 or more colors

Although knitting designs in more than 2 colors is associated with issues in maintaining aspect ratio and discussing the performance of specific color separations, PNGs planned in multiple colors can serve as a paint-by-numbers start and eventually be reduced to BW.
In DIY begin with a small repeat for pattern repeat and knitting tests to determine preferred techniques and final appearance
18X16the pattern movement determines the single repeat size
48X48Familiarity with software aids in developing baseline custom charts that are useful in planning DIY designs in linear, diagonal, or rotated aspects.
Chosen motifs can be added and distributed based on personal preferences.
The first charted grid for later motif placements begins here with a 40X40 repeat

also isolated to 80X80Working with seasonal motifs after removing a few more pixels 
creating  blank negative spaces or areas for other motif additions varying the frames for each segment,
32X32
with added blank rows 32X40adjusting foundation grid repeat, 52X52 a published repeat with source designs isolate and add motifs, erase or change pixel colors to suit, choose final segment(s) to place in the overall design  
color to alpha isolate the smallest repeat, 52X52 Working with horizontal repeats: the appearance at this scale of a third color is an illusion, the PNGs are BW
38X52 with half the height color reversed  adjusted to 36X50When intending to explore colorways matching available yarns in fair isle bands, work with expanded palettes/RGB mode a cousin in BW began with 36X126 steps in editing removing/adding a few more bothersome (to me) pixels Making choices to retain a specific shape, in this case, the star formed by adjoining blocks and triangles: the starting PNG, 36X36plotted on a 12X12 grid, drawn in repeat to 144X144 resized to 18X18in the tiled repeat, 144X144, the orange blocks remain 12X12, drawn here with a 6X6 grid developing tumbling blocks: a beginning outline, 28X28drawn in repeat to check overall alignment filling in with colors to form secondary shapes
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