Category: Img2track

image editing and download software and cables

More Truchet inspired tiles, a brief look at gradient filter use


The latest ArahPaint user manual download,  updated on February 9, 2023, includes added directions for drawing in repeat including a truchet/Smith tile variant.
This post will not provide specific how-tos, the pngs can be downloaded and used to perhaps test Arah’s features or to aid in finding a personal, preferred method for manipulating DIY designs.

There are additional Arahpaint options for altering designs in width and height which may be used progressively on the same image. Some in the group of edits and rotations are evocative of the Passap console’s Alter programming loop.   Lower in the same menu, diagonal mirroring opens yet another series of possibilities. These samples were produced in a Passap workshop, using the console Alter, add commands. Note that mirrored areas have identical pairs of side-by-side pixels at their meeting points,  while ArahPaint offers an opportunity to change that, a thing to keep in mind when returning to simpler motifs such as those used for tuck stitch. Performing the rotations, however, will render the result with an odd number of pixels in width, often making them less likely to be usable in punchcard models  My area of interest has been primarily and still is in creating textures beginning with small repeats that may grow in complexity and size to make the structures programmable and thus easier to track and execute.
Presently I rarely engage in multiple color motif work ie fair isle or other large-scale textile pattern applications but my curiosity in applied techniques has led me down this potential giant rabbit hole.
The speed and ease of drawing variations for repeats using ArahPaint make the process addictive.
The source of inspiration for this design series is “The curse of truchet tiles”.
When recognizable circles are a goal, these tiled motifs often begin with starting sizes as wide as the 24-stitch standard punchcard repeat limitation, and the manipulated larger motifs are suitable only for electronic machine models capable of accepting software downloads. Adding lines and extra dots of circles
Isolating fractions and individually rotating segments to draw again rendering larger repeats More info on knitting DBJ using more than 2 colors per row:
DBJ: more than 2 colors per row 3 3/22
Img2track_multiple colors per row dbj, each color knitting only once 1/21
DBJ: more than 2 colors per row 2   12/19
DBJ: more than 2 colors per row 1 12/19
Adding one more color to the last repeat whole planning a knitting a test at a max of 3 colors per row knittable in a single track 
The img2track window Positions of the respective yarns in the color changer as suggested by the program result in accuracy prompts by the machine on which of the respective colors should be in use at any one time.  Planning gauge-dependent pieces using large repeats requires large test swatches, generally a minimum of 100 stitches by 100 rows.
Adding and varying the colors in the design draft to match the yarns to be used in the repeat helps to visualize the possible result, and allows for using the sequence suggested by the download program to help track the proper color changes.
The test here is 60 stitches wide, knit one full repeat in height, measuring 7.5 inches in width by 11.75 inches in height after resting. On rows where the colors for the dots and squiggles may knit in small parts or not at all, there will be a preselection of large groups of needles such as seen here.  Birdseye setting is used to decrease motif lengthening. The img2track user manual describes the steps necessary for downloading to different model knitting machines and possibly using more than single tracks. A series inspired by another of the tiles in the linked publication   
Similar to one of the source repeats, increasing the balance between light and dark Open areas or specific rotations in the visual space may be created by eliminating or rotating individual segments.
To change the mirroring type, place a mouse pointer over the arrow that you want to change, and press the left mouse button. The arrow will jump to the next mirror type. With only 5 mirror types, you will get what you want in a maximum of 4 clicks. If you press the right mouse button, it will put the arrow to the default orientation. The result of course is dependent on the original file choice. Combining duplicating repeat variations with drawing in repeat helps one develop a DIY library of favored tilings. Begin with a possible background Tools/ Find Repeat  Aiming for knot variations, a cross-over to add to segments of the ground, manipulating individual tiles, adding copy and paste More play with manual duplication of tiles as opposed to drawing in repeat Combining different scale repeat segments, starting with 54X36 pixels  And it’s not all about just circles, a 36X36 pixel design to play with A reminder, if the plan is to add color in continuous lines, it is best to place the colors after the full design repeat has been developed rather than on the individual starting tile segments, For some, this would be considered a design feature.  A very different look may be achieved using any of the available filters. A square image of any size may be filled with a color gradient while keeping in mind the fact that knitting is very low resolution and the maximum number of available needles for patterning is 200 or under.
Beginning with a 20-stitch file. Below the software tool options on the right, click on the tool in the area marked with the red shape to produce a design that may then in turn be drawn in repeat No edges were cleaned up in this view. The design meets the maximum 200 pixels/needles size Going larger, an 80-pixel start to end with a 160-pixel blanket or tapestry suitable image with some wiggle room for adding a frame/border. The concept may be used in various densities for use in an accessory such as a scarf, spaced and colored to your liking, or even sweater bodies and sleeves planned specifically based on stitch and row counts for each of the pieces involved. Filters may also be applied in developing other stitch structures in addition to working with color motif designs. That topic merits its own post.

Truchet/Smith inspired designs 2 meet ArahPaint

Added explorations of the Smith tiles.
Most common knitting machines capable of accepting electronic pattern downloads have a number of needles ranging between 180 and 200 on either of the available beds.
Punchcard machines have a 24-stitch constraint in width for repeats that are selected in fixed locations on the top bed, while height row counts can be endless if one keeps joining punchcards together.
The narrow repeat width does not allow for impactful tiling such as seen in the truchet variants.
A 24-stitch initial repeat can be created, but will not align properly ie. here:
the 24X56 png, colored in and repeated in width and height X3. It can, however, be drawn in repeat using ArahPaint to produce a new and successful design repeat ie this 48X112 pixels version and its appearance in repeat on a larger canvas: Electronic machines can be used to knit large, non-repetitive designs based on the number of needles available on their beds.
Unless knit-from-screen software is used, the size of the files downloaded to specific machine models varies depending on both the software used and the knitting machine’s available memory.
One of the issues using online generators as seen in the previous post is that the files tend to be high in pixel counts and rendered in RGB mode.
Changing image modes to BW indexed and scaling the large design to a smaller version have an effect on the edge definition of the shapes and are likely to require clean-up to remove or add pixels.
Beginning with small and clearly defined forms, tiling repeatedly to larger ones will allow for results that can be cropped to specific sizes with clean edges along the secondary shapes.
Beginning the proposed method with the Smith tile, a place to start is to choose the smallest successful circular forms.
The repeat works using quarter squares, so the file size needs to be an even number of pixels in width and height.
Getting a sense of the appearance of the edges of small circular shapes, with the intent of choosing one for fabric development, beginning with an 8-pixel diameter, and increasing it in turn by 2 pixels at a time to 20.  The 8-pixel circle is chosen for this exercise.
Following the steps outlined by the developer in the video viewable on Instagram and Facebook, open a new picture, and set the image size to 8X8 pixels The goal is to create a clean design outline forming shapes that may be filled in to yield the secondary tiling designs.
To zoom in or out in ArahPaint: use Shift+ or – on Mac, click on the magnifying lens icons in the toolbox, use the command key and roll the mouse wheel or scroll along the vertical center line of the mouse, or press any number from 0-9 on the keyboard to change zoom directly to that level (1 means 100%, 6 means 600%, O means 1000%).
In RGB mode even if the shapes are drawn in black, when converted to indexed BW some pixels will be lost. If any lines are broken, control in using the bucket fill tool on only selected areas is lost.
To begin with, set the number of colors and the pencil size to one pixel   Use the draw circle tool, and select drawing from the center Draw a quarter circle starting on the bottom right of the square, and ending in the center of this image. In this case, there will be 4 white pixels on the left of the line, half the diameter of the planned circle. Click on the pencil tool to set the image. Repeat the Process, drawing a mirrored image beginning on the upper left pixel position, and ending in the center of the image as well Open the drawing in the repeat window and set the number of repeats vertically and horizontally, done here first in standard alignment. Do not click on random, select new picture, OK. If satisfied, save the png. Undo may be used to revert to the original file unless new picture was left unchecked.
For the Smith tile repeat, do click on random to apply different rotations of the repeat.
Load the 8X8 file
Zoom out to check the pattern and view changes adequately
Open the draw in repeat window
Click on random, and the proposed rotations will appear as symbols,  click on new picture and then on OK to view the result, a file that will now be 32X48 pixels. The result can be saved. To preview other arrangements:
choose undo, return to draw in repeat, random, preview, and with each repeated click on random a new image will appear on the screen. At any point select a new picture, OK, and save the result.  The final png for test knitting for my test swatch Its segments bucket filled with black  If bucket fill fails selectively and floods the whole image, return to drawing in repeat and click on close. Return to the image and continue the fill-in process.
Developing a larger repeat to select an area of interest while keeping in mind the maximum needle width of 200. This repeat is perhaps usefully cropped to blanket size.  Seeking a shorter and narrower motif for a scarf, in the range of 60 to 100 pixels in width that may not require too many tracks when programming the 930, the same 32X48 design is drawn in repeat X4 in width, X2 in height to 128X96 pixels. The above is split directly in half vertically for this exercise, rendering two files, each composed of 64X96 pixels. The left half,   and the right Checking vertical alignments and committing to the one on the right for the test swatch, knitting on 60 stitches for 120 design rows, using KCI, and starting with dark color from left.    That shape in blue that looks almost rectangular is actually not quite circular in the repeat, seen here color-reversed on the bottom right, with the definition also slightly lost in the knit due to the stitch size and birdseye stitches twist.  Comparing the 3 swatches in scale and shape definition: A tiny repeat formed with a thicker line Drawn in random repeat Dividing shapes into symmetrical segments is easy after configuring grid properties, in this case into thirds 12X12 in repeat adding an outline to change the weight of the lines by a single pixel all over without using more specific options Using the filled in double circle 18X18 repeats drawn in repeat While the definition of true circular shapes may be an issue for some when knitting the Smith variant, others may enjoy variations made by playing with other shapes and angles, here a 16-pixel square was divided into quarters adding a single pixel contour combining quarter circles sith full squares   Building larger repeats with interwoven intersections Playing with adding colors. In many instances when tiles are drawn in repeats requiring rotations of the original file, coloring in needs to be done after the final image has been composed.   Color exchanging fine black outlines to white, or filling the white background with black in order to reduce files for knitting no more than 3 colors per row.  The more complex designs become exponentially larger, require electronic downloads, and must meet the limitations of machine memory. The maximum equivalent for pixel per stitch is 200 pixels in width on 4.5 mm knitting machines, and 180 for Passap, with the possibility of separating the width and length into panels for large pieces ie tapestries, or blankets. Long vertical design segments, depending on their height, may also need to be separated in steps for programming them to produce narrow, long, pieces such as scarves or shawls.
The truchet triangles pose a different issue in knit design.
Quilters are familiar with block designs easily found in print and online that technically may be broken down into triangular blocks joined and meeting to form sharp points. Truchet in his publication used half-square triangles and assigned letters to the segments,   providing alphabetical references in illustrations for the permutations,  all far easier to achieve nowadays with the aid of software.
In ArahPaint, begin with choosing a square size, in this instance, 8 pixels by 8 pixels, matching that in the exercise using circles, and draw a triangle filling the canvas from corner to corner Drawing in repeat, the choice is made to repeat the triangles twice in both width and height, the preview symbols for the rotations of the shape are illustrated pointing in the same direction by default.  Clicking on any of those half-arrow shapes will rotate the specific shape in the tiled design, this becomes an action that may be influenced manually.  Selecting new image will render this,  which illustrates what happens when those triangles are used in knit motif designs. Inevitably, there will be areas where corner pixels meet to join others and the choice will need to be made between using the original or the color-reversed version of the repeat. Designing for a maximum 200-pixel design, the number of available needles on Japanese knitting machines, and continuing with random selections, paste 25 times in each direction, ultimately saving one of the new images:
its color reversed version Deciding on the first, an isolated area can be cropped to be used in an accessory ie a 72-stitch scarf, retaining full triangles, using the full 200-pixel height. Wanting to retain a 96-row max height for use on the 930, what happens when repeats line up vertically?  the isolated 72X96 design The assumption is that any change in vertical simple repeats will line up forming new triangles at the intersections not visually interpreted as patterning errors, the above repeated 3 times in height to 72X288 Committing to a test swatch: the wool ply is 2/13, and the space dyed rayon 20/2 and thinner in appearance. The contrast is not high, to begin with, and since the sample is knit as DBJ, as a result of the difference in yarn thickness the dark color bleeds through behind the lighter, reducing that contrast even further.
The places where the single pixels at the individual shape corners meet other shapes in the repeat can still be easily located.
The sample repeat size is 68X96 pixels, designed to include 2-stitch vertical borders drawn with dark pixels, the knit carriage was set to KCII, which allows the formation of distinct single color edges  Another alternative: beginning with a 9X9 repeat, drawn in repeat to 225X225, shapes do not touch in this rendering,  but do if color-inverted.  Isolating a repeat from the “floating” triangles, 45X81 tiled X3 to 45X243 may look ok but aside from the issue of choosing visually floating shapes vs still touching ones,  the big problem to be considered is the fact that for the machine KRC color separation to happen correctly, the repeat downloaded must be an even number of rows. A workaround may be to double the original height to 162 rows prior to programming it since one cannot use double height and KRC buttons at the same time in many machine models. Pursuing personal preferences can be endless. I am increasingly fond of the repeat that began with the 8X8 square.
Working with quarter-filled segments:  multiplied by 20 in each direction to a 200-pixel repeat. Drawn using random/ preview/ prior to saving the file  Its color reversed view

Truchet tiling design inspiration 1

For many years my knitting of accessories and wearable pieces was my source of income, guided by what pricing the local market would bear, the limitations of mylar sheets or that of an early Passap interface to program repeats, and the amount of time required to complete each piece.
There is practicality and ease in playing with colors using small motifs single-bed, and varying materials and yarn plies allowed me to aim for limited edition designs without looking at identical finished products more than once or occasionally a few times.
At first, Ayab and then img2track changed the playing field in terms of downloading and programming designs.
Eventually, my knitting moved from production pieces for sale to creating samples for my blog almost exclusively.
I have had a long and continued interest in math-based designs, and knit a line of accessories using automata-inspired repeats, often limiting the repeats in size to ones that would align vertically without having to program multiple DBJ segments, reducing the possibility of programming errors in scarves that would often require around 1200 knit rows in length.
A 930 followed the 910, this, knit in July 2021, was my first try at using img2track to download multiple tracks. There are many ways to yield math-based patterns, and nowadays online generators and reference sites abound, making it possible for nongeeks to use the resulting files to create knit suitable designs.
Some recent Truchet tile images shared on Instagram brought me back to exploring math-based images and what by default needs to be executed as larger-scale design motifs in knitting.
Sebastian Truchet was a Carmelite priest whose “Memoir sur les Combinasions” was published in 1704. It is a wealth of patterns built up from a simple motif, which you can see here
http://gallica.bnf.fr/ark:/12148/bpt6k3486m.image.f526.langFR and in which he discussed squares, half black, half white, split into triangles, with four possible orientations for each tile. He was also the inventor of the point system for indicating the sizes of typeface fonts.
His method of tiling by the combination of manipulating four-letter codes, A, B, C, and D, in rotations using triangular shapes inspired new variations in tilings.
Cyril Stanley Smith introduced two alternatives to the basic Truchet tile in 1987. One uses only diagonal lines to create maze-like designs where the coloring is removed and only the boundaries remain. The other, resulting in the designs produced in this post, uses quarter circles that may be filled or used as outlines and rotated to form the final shapes.  Distinctions in naming the tiles are not often made. “Truchet” is the commonly used generic term.
Some articles on the tilings:
Generalizations of truchet tiles, Multiscale Truchet Patterns, The Tiling Patterns of Sebastien Truchet and the Topology of Structural Hierarchy, and More on tiles, fun with portraits.
Basic elements include contrasting triangles,  quarter circles, and diagonal lines.
One may find code for programming DIY in various GitHub links. Python is far beyond my interest or skill, there are many ways to achieve the designs.
Spreadsheets are also programmable, but require the development of formulas.

Developing patterns from online sources, beginning with the Smith variation using quarter circles: the Wolfram site is a computing and math one well worth exploring, the files there are Computable Document Files, a document standard developed by Wolfram Research. They can be saved and opened using the Wolfram CDF Player, which is a standalone application and a Web browser plug-in provided for free.
To preview search results in a browser: https://demonstrations.wolfram.com/TruchetTiles/.
Ad blockers may interfere with proper previews in Safari but appears to not be an issue using Chrome as the browser.
Files cannot be saved from the preview results other than as screengrabs.
What is cdf  
For permanent access to preferred CDFs:
CDF Wolfram player download is available for Mac and Windows, you will be asked to provide an email address.
After the player is installed and opened, click on the central option, and search for your area of interest.  Any demonstration may be saved for future use, most are customizable to varying degrees.
In my first effort, I used colors and left the black outlines. The second, simpler method of editing follows below it.  The swatch png, 58X150, includes 2 stitch vertical borders in the dark color. The machine was set to the built-in KRC color separation for DBJ. Some of the circular shapes have been already edited, but if I were to reuse the repeat, I would clean up more of the design shape edges
160 design rows were knit, measuring 7.5 inches by 20.5.
The dark color is a chenille from an unmarked cone with uncertain yardage. The space-dyed is an 8/2 rayon slub.
Tension was set at 5/5, the knit carriage on KCI, and the ribber using lili buttons for birdseye backing. KCII may be used as well if preferred, the side vertical edges will have a slightly different appearance. Developing an added repeat:
the working file in the cdf is a default 600 by 600 pixels. If the goal is to save a black-and-white downloadable png, the present plan is to fill in portions of the design with black while leaving others in white.
Checking tiling insures continuous designs at any point in the process.
It is possible to directly scale size in the cdf, but the shape outlines become broken in the automatic % reduction, so the filling-in process I suggest fails to be contained. In this exercise, none of the other available parameters were changed. When the player is launched, click on the tile, it will be surrounded by an orange line,  copy the image, and it can then be pasted directly into Gimp.  Change the Image Mode to BW Indexed before proceeding further.
Using the fuzzy select tool click on any area in the design, it will be surrounded by dotted lines select bucket fill, to fill the selected area with black.
Edit, undo will revert to the previous steps in sequence at any point.
If satisfied, select the rectangle tool.
Clicking on the selected area will allow its use for copying and pasting the outlined segment on a new canvas or cropping the area to the selection for saving while clicking anywhere in the Gimp work window fixes the results. The dotted lines disappear. Repeat the process on the remaining image.  The processed file will measure 600X600 pixels.
Anyone working with large-scale images and reducing file size to make them available for knitting as single panels on a standard machine is familiar with the loss of detail and the need for cleanup of edges as incremental decreases in file size are attempted.
Magnifying any of these will help evaluate forms and scaling decisions for final repeats to be used in knit test swatches.
Downloading or copying and pasting them from here for personal use may change the image mode to RGB in the process, check mode and convert them to indexed BW if needed before any further use.
300X300200X200 pixels  150X150 pixels  The proof of concept was knit using the 100X200 repeat without any pixel cleanup.  The blue yarn is a 2/20 wool, and the white is a 2/28 Italian yarn of unspecified fiber content from my stash. Both beds were set at 2/2. The KRC setting separated the colors so each color in each row knits only once, but it takes 2 passes to complete one row, so 100 design rows translate to 200 rows of knitting. In this instance, img2track used on the 930 broke up the design into 2 tracks, a 66-row first track, followed by a 134-row one.
Each track needed to be programmed sequentially.
The ribber was set for birdseye backing, which in this case results in an interesting shadowing of the pattern Comparing the two swatches: Variations in tiles made by changing variable view options will still align when combined, easily producing a range of new designs at merging points. Use guides to help narrow down segments of interest, here they are placed at even 100-pixel intervals on two adjoining 600-pixel images. To remove a single guide after placing it, go to Edit, Undo Add the Horizontal or Vertical Guide. To remove all guides, go to View, and uncheck Show Guides.
And for those not averse to developing any larger motifs from scratch, the limitations of any geometric shape, when reduced to low-resolution knitting, mean the search must begin for what one determines to be a pleasing circular form.     My original circle was placed on a 40X40 grid with outlines every 10 cells, the central circular 20X20 repeat was isolated and split into quarters, in turn generating these 2 tiles out of the 8 total required, also 20X20, with the second the color-reversed image of the first. A similar approach can be used in color to visualize the initial 8 tile repeats and their rotations in order to form new shapes. This technique may be useful in planning floor tile patterns but is cumbersome for developing knit designs. Facilitating and speeding up the process: in my post on using ArahPaint and Gimp in knit design, I briefly touched on the Drawing-in-repeat feature in Arah to produce random tiling.

Thanks to the developer there now is a video, viewable on Instagram and Facebook, on how to use the feature for this type of tile, which allows for very quick DIY versions that can be trimmed as needed for knitting. This is my very first try, a how-to will follow in the next post.   And the second, composed of triangular formsFor spreadsheet users, this one generates the various tiles in Google Sheets and a related article.

 

 

Figurative designs in mosaic knitting

Designs may be developed to incorporate lines and grids by outlining motifs, filling in the results with grids or lines, and even color inverting the results.
From an early 2013 post:
Each number on the grids below represents 2 consecutive rows of knitting. The design may be elongated in the drawing of the final repeat itself prior to punching holes, marking mylar or pixels, or elongated using the built-in setting in the KM used, whether electronic or punchcard.
Color changes are required every 2 rows.
The grids: After a motif has been separated, usually color 1 is represented in row 1, and all odd-numbered rows
color 2 is represented by row 2 and all even-numbered rows
long horizontal lines in mazes usually occur on odd-numbered rows
even-numbered rows typically have no more than 2 black squares marked side by side
on odd-numbered rows, the white cells slip
on even-numbered rows, the black cells slip
odd-numbered rows are knitted in the primary color (black cells)
even rows are knitted in the contrasting color (white squares)
Forming shapes and or text on the vertically symmetrical grid: 
2023
These single-bed knits are ideal when float control is an issue, or when one wishes to reduce the bulk of fair isle techniques. There are, however,  geometric design restrictions and the resulting patterns may be too “busy” for some.
Separated designs interrupted by black or white lines rather than single-cell dots are knit using slip stitch on the single bed, or in every needle rib with the knit carriage set to slip or even tuck in both directions on the top bed, and the ribber set to knit in both directions, a very different fabric.
The basic procedures for drawing figurative repeats may be worked out using graph paper or image processing programs, depending on what tools are available.
Working in Gimp, generate a file in a basic grid, which in turn may be tiled to any dimensions needed. Using the bottom grid is problematic in creating figurative mosaics using the connect-the-dots technique. Attempted vertical lines do not connect cleanly.   Cautious planning is required in executing figurative designs.
Clean-up will often result in solid color surrounding shapes or the addition of some short solid lines.
Doodling with blocks on both grids in a spreadsheet.  Text becomes more complicated if one seeks to emulate favorite fonts or to work on a small scale.
A spreadsheet using multiple colors may make the drawing easier to start with. By necessity, repeats will once more need to be large.
With practice, one develops favorite ways of reaching the chosen goal. Large shapes may be superimposed on either dotted grid for final editing depending on what sort of border one wishes to add in designs for end-use in large pieces such as blankets.   Figurative drawing occurs on rows marked with black pixels on the grid where black dots line up vertically.
White rows remain blank except where the black dots in the shape’s outline need to connect vertically.
After the outline for the motif is created, the filling-in of the shape is executed connecting dots once again.
By necessity, these shapes need to be large.
My first design is 68 stitches wide by 40 high. Processing the image is done on the same design. When color-separating Mosaics the design is not elongated.
Using the steps described in previous posts on a copy of the initial file: color invert, It is interesting to observe that the knitted result matches this image.
The file may begin as black and white indexed, but prior to adding colors the mode needs to be changed to RGB.
Add a third color beginning on every other row beginning on row 1,    using layer, transparency, and color to alpha, the third is removed, leaving black and white.  The alpha file is copied and pasted on the original resulting in a knittable mosaic repeat that requires elongation X2.
Check that the file is in indexed BW mode prior to saving it for knitting, it will need to be elongated X2 if used as is.  The above doubled in height, now 68 stitches wide by 140 high, may be knit as is.  Those solid black areas are OK. On the corresponding design rows, needle selections on nearly every needle will take place, those needles will knit the color in use at the time.
The tuck setting is possible, the final appearance will be quite different. For my swatch, I used the slip setting.
Slip-stitch pieces tend to have vertically straight side edges, while tuck ones tend to have wavy ones.
The floats on the purl side are still only 2 stitches wide.
The all-knit areas are not reduced in height, so they ripple initially and became flattened with blocking in this case, but caused the top and bottom of the horizontally striped segment to curve.
Starting knitting using the light color as opposed to dark will color invert the design.
The blue yarn used here is wool and the yellow is acrylic.
The swatch was steamed and pressed.
The dark color is dominant.  Visualizing the color inverted image using the photograph of the swatch rather than actually knitting it:  A 48X46 heart to play with for DIY Beginning in a spreadsheet followed by transitioning to Gimp can use a similar dot-to-dot design concept. It offers the opportunity to make adjustments before fixing on placement for the final black pixels over other colors. Moving away from dot to dot to “visually pleasant” does not necessarily work.
The flower design chosen and committed to for the moment is 37X32, visualized on possible backgrounds, and placed on a final one drawn with straight diagonal lines in pattern, for the test knitting  Aside from whether accurate tiling is possible for that final repeat, it has far too many white rows uninterrupted by black squares. As in any slip-stitch fabric, a stitch is held in every white cell or unpunched area location until a black cell or punched hole follows it, the result is very elongated single stitches on the knit side: There is a limit as to how big a part of any final mosaic repeat can truly be freeform.
It helps to develop a library of personal grid variations, to be willing to observe some basic rules, and to have an affinity for the overall look of the results.
In terms of the basic grids, the horizontal stripes have already been shown in the fish to produce 2-row all-knit stripes in alternating colors where they are placed in the design.
The vertical stripes create this result when proofed, and it can be recognized in the png for the body of the fish  Developing a DIY background: I find it easier to work on such designs on a large table in Numbers, which allows for placing a variety of colors and in the same document more easily, and then converting the outcome to a BW indexed png in Gimp. The smallest isolated repeat, in this case, is a square, 20X20 Make certain it tiles correctly before proceeding:
The final file doubled in length shows no areas where extended slip stitch rows might be an issue. This step is not necessary as one begins to trust the process. Returning to that flower, on the white-to-alpha ground, a 37X32 saved file, open it in Gimp.
Open a second file, using the background-repeat, and tile it X2 in both height and width to a matching 40X40 size.
Copy and paste the flower onto it in what appears to be a visually pleasing location, clean up the surrounds, and save the png.  Proceed with the now familiar steps: The final repeat must be elongated X2, color inverting may provide a better sense of what cells knit or slip, and it may be used to knit the design.     The working 40X80 repeat: Once again, the completed swatch visually matches the original file, color inverted.
The latter provides a sense for guessing if the knit results are pleasing and it offers a way to explore different colorways or matching yarn colors.
Pursuing the dot-by-dot concept can lead to endless DIY designs. Playing with motif scale in Numbers: Isolating part of the design in Gimp: 42X44  A variation using multiples on an 80X80 canvas.  Loving that DIY background? To create a frame
1. choose a finished canvas size, ie 120X120, and fill it by tiling the DIY background
2. open a second file to, in this case, 80X80, in any color including white. I chose yellow as a way to place black border lines more easily
3. copy and paste the second file onto the first
4. add a solid color border at the inner and outer edges of the frame, outlining the shape at its center.  At this point, any image also 80X80 may be simply opened in Gimp, copied, and pasted over the yellow. Files to play with: the frame with a transparent center to be pasted in place on other graphic files,  Here with a dot-to-dot center to draw on, and the file with central flower motifs to use or edit further.  The final choice then needs to be made as to how to use the final image.
One option is to separate the motif for use as a single bed 2 color slip stitch, and the second is to simply use the built-in KRC color separation in electronic machines to knit it as DBJ.
Motif definition requires large-scale designs limited by patience and imagination.
Autofill, command key and other shortcuts can help execute them more easily and quickly in spreadsheets as a first step.
This start of a hummingbird, inspired by a small segment of a Pinterest find, is already 54X101 pixels, ending my exploration of these knits for the moment.  

When editing or developing large images a series of guides may be useful. To configure them, see pos:t Gimp update for Mac 2

Color separations for larger scale mosaics and mazes

There are generators online for many generators to aid with knitting design. In 2015 I published a post on working with generated mazes: Gimp charting 1
The mosaic and maze graphics prior to their color separations are not suitable for fantasy fair isle double bed knitting as a shortcut. There are simply too many vertical white pixel rows begging for carriage jams no matter the machine used. The same long lines of black or white cells make them unsuitable for traditional fair isle knitting as well.
Visual clues are helpful as steps get navigated. In small-scale repeats, a different option from the method that follows is to begin with a file previously used and separated, magnified to 1800X.
1. using the rectangle select tool, begin on row 1, extending handle outside the image, I work from left to right
2. hold down the shift key, and continue selecting every other row. As each row is selected, it is outlined with dots. The handles to the right and left of that row serve as guides as to the last row worked, moving up as separation progresses. Clicking on the rectangle select tool at any point fixes the layer, and the dotted lines will disappear. The process could be performed in steps, with guides placed prior to color inverting the previous steps in the sequence and moving onto the next. The guides remain until they are removed by clicking on the check mark beside show guides, or with the Image / Guides/ Remove all Guides command.
In large designs, I would guess this may be more easily error-prone than when using layers.
3. after each pertinent row has been selected, choose the color invert option, and save the resulting file. The first step is completed in the separation.
The file then needs in turn to be color-inverted and lengthened X2 prior to knitting. The result matches the separation in the previous post.   Holding down the shift key when using the pencil tool on any image produces very different results.  My samples continue to be knit on the 930 using img2track, a download program I find reliable and easy to use. The only errors in programming I have encountered were due to operator errors, not software ones.

Since 2015 working with larger images has become far less daunting as my methods for color separations of mazes and mosaics have evolved.
Laura Kroegler’s online Mosaic Pattern Generator is still available. Returning to it, and using these parameters the pngs were downloaded both in red and then again in black and white. A 38X38 stitch repeat was isolated, and using Layer/Transparency/Color to Alpha a knittable mosaic design was obtained which, when knit, would require elongation X2 for color changing every 2 rows The last file, doubled in length to 76 rows in height, requires no further processing The separations are achieved now in just minutes.
The proof of concept swatch: when using repeats that are so much wider, one must commit to far larger swatches to test them. In addition, the placement in the final piece may matter with shifting the pattern to highlight a preferred center, here the machine was allowed to place the design as a simple overall one on 78 stitches by 116 rows. There are droves of inspiring large-scale mosaic crochet images published nowadays, which led me to wonder about DIY similar large graphic mosaics in machine knitting.
I performed the first color separation with shortcuts, used mirroring the cleaned-up repeat, did not verify each step with tiling, and committed to knitting a test swatch. A 68X136 repeat X2 in width and at least with 40 more rows in height, produced a 16X24 inch test swatch, wherein a couple of missing pixels became noticeable.
The swatch was also knit using slip in both directions on the main bed, which produces a narrow, short fabric as opposed to wide and also short when using the tuck setting. Back to the drawing board.
The initial approach is similar to that used in creating mock filet crochet shapes on the machine.
With present tools the results process is easy and quick: to begin with, choose any symmetrical design where the shaping of the motif occurs in single rows, this one measures 23X23  scale the file X3 in both directions to 69X69 save this brush to use later for bucket-fill in the design.     Choose fuzzy select by color/black, each shape will be surrounded by a dotted line bucket fill the selections with the saved pattern click on rectangle select to fix the layer, work on and clean up the repeat, and check a magnified version for any missing or misplaced pixels.  Save the png. for reference before continuing to work. Make one of 2 choices. If the goal is to place a motif, and to add borders or horizontal additional design stripes, create a new canvas, larger in size than the above, fill it with the same pattern, and then Colors/Invert.  Click on the rectangle tool to fix the layer.    Change the white color to alpha in the previously processed snowflake, click on the rectangle tool again copy and paste the file onto the color-reversed grid, and click on the rectangle tool.  Check the pasted image visually, and continue adding any other designs.  If the goal is to produce an all-over design, crop the shape on the dotted ground, and save it as a 69X69 repeat. Pasting the original on an equal size color reversed dotted ground does not work.  Tiling the result of the cropped repeat will show the need for cropping it by one row at the top and one column to the right.   The resulting repeat, 68X68 tiled X3 in each direction for a visual check.  Using the process previously described
1. open the 68-stitch file in Gimp, and magnify it to at least 800X for a visible grid
2. open file/new, equal size and magnification
3. copy and paste 1 on 2, click on the rectangle select tool
Colors/invert, click again on the rectangle tool or anywhere in the work window 4: magnify further if needed. Using the pencil tool fill in every other row beginning with row 2 in a contrasting palette color, and click on the rectangle tool 5. Layer, transparency, color to alpha, as described in the last post, click on rectangle tool 6. Copy and paste this result onto the 68-stitch file in the first window, there will be lots of dotted lines onscreen  Click on the rectangle select tool to paste the image in place. Since those large areas of white will be knitted in a tuck or slip fabric, the above result needs to be color inverted. If used as is, set the machine’s built-in double-length function.  Doubling the length of the file prior to the download to km Part of the view on the img2track screen for the 68X136 file ready for download. Committing to proving the concept:  Using the same approach of tripling the original, here the repeat was used in an attempt to render a larger-scale mosaic. The process becomes fiddly because using the fuzzy select tool and then the bucket-fill-in pattern does not work cleanly on areas that are only 3 pixels wide.
That said, it is possible obstinately, in stages, to get from this, 36X54 To a 36 by 56 mosaic
A last edit Perhaps falling in the category of “don’t have to simply because I can”.

Images at this stage of the process may be knit double-bed as a “fantasy fair isle” with no further separation.
On an electronic machine, download the repeat, program it for the number of needles in use on the top bed, and select the KRC separation button.
The first preselection row will need to be from left to right.
The main bed is set to tuck in both directions, the ribber to N in both directions.
There will be lots of non-selected needles tucking on rows with large numbers of side-by-side white cells. Because the fabric is being knit using every needle on both beds, each main bed tuck loop will have a knit stitch on the opposite bed anchoring it down. Those rows will appear more compressed, producing narrower horizontal lines The yarns used were very thin single strands of  2/28 at tension 4/3. The result is a very lightweight and loose knit with lots of drape. The 72 stitches by 140 rows swatch measured 16 inches in width by 10 rows in height. Perhaps a good method for summer shawls, worth exploring in thicker yarns for blankets. A closer look at the structure:  A larger BW design was processed using no modification of the original 75X71 motif. When using Gimp/File/Save, the result is a .xcf document similar to PSD files in Photoshop. It will store layers, transparency settings, and more information associated with and parts of the same project. Note to self: before deleting the .xcf make certain that at least the final png has been saved.

If one is familiar with image processing and fond of the maze appearance in designs, there is a font to try: Mazeletter
The downloadable associated documentation and source for inspiration: http://mazeletter.xyz/Mazeletter.pdf.
A very quick random type sample rendered with no advance planning: 

Another, mosaic4way, is potentially usable for single bed fair isle or dbj.  The drawback has been that my sample pngs for both were created in RGB mode, and conversion to BW or scaling loses details.
It is possible to begin on an all-white canvas, set the mode to indexed to start with, type text, merge layer down, crop to content, and have workable indexed black and white knittable results, but the degree of success appears to depend on the font size used.
Another thing to investigate 😉

ArahPaint and Gimp in knit design 3

Previously published:
ArahPaint and Gimp in knit design 2
ArahPaint meets Gimp in knit design 1

Subsequent posts on using Gimp Layers to process images:
Using Layers in Gimp for color separations
Layer/Transparency/Color to Alpha Gimp Update for Mac 3_more on color separations

Gimp allows one to work on multiple images with only a single window open, left mouse clicking on any one of the images will bring it into view for editing. In the dark theme, it is hard to see the difference, but a lighter border actually surrounds the active image distinguishing it from the others, outlined here in yellow In Arah, multiple windows may be opened at any one time, and left-clicking on any one of them will bring it to the front for editing.   When working using the same file in more than one window, the degree of magnification needs to match in each.
Spreadsheets and paint programs may be used to achieve color separations for designs intended for specialty fabrics, many worked on the double bed.
Two places to begin exploring them here are for knitting single-bed mosaics and double-bed jacquard in its form where each color in each design row knits twice.
It is unlikely to happen often in knitting that more than 6 colors are used in any one fabric except perhaps in an elaborate color-changing fair isle.
The palette that appears in Arah when opening a new file is random, as seen here when two new files of the same size are loaded  If one’s preference is to reduce the number of colors, the specific number may be set by choosing from the colors menu, editing the number identified as that for the working palette, changing it to the new value, in this case, 6, and the palette reduction occurs as seen in A. For most knit repeats a black color is handy, any one of the 6 colors or more may be adjusted as described in the previous post, seen in B, where black has been added, replacing the color in position 1. More Gimp information: https://docs.gimp.org/2.10/en/gimp-palette-dialog.html
Some of the related content in brief: the former versions of GIMP had a “Save palette” command. Palettes were stored in a specific folder via the preferences pane. Easy to do and manage. It no longer exists.
To save the palette of an image, indexed or not, you must now import it from the image.
The “Palettes” dialog is dockable: from the Image menu, select Window, Dockable Dialogues, Palettes.
A few dozen more or less randomly chosen palettes are supplied with GIMP.“Import Palette” allows you to create a new palette from the colors in a gradient, image, or palette file.
Right-click in the space to the right of the illustrated palettes to call up the import option, or for palette editing. It is not necessary to index the image, this image was used in RGB mode. A palette name can be assigned, and if previously used, a number will be appended by the program.
The number of colors: the default is 256, you can set the number to any you choose. Gimp will try to create a palette by spacing the number of colors evenly across the range of the gradient or image. Each screengrab in the top row shows the initial selections for gradient or image, and the second row of screengrabs notes other changes made when choices were available and the results. White dots mark selections as seen while using the program.   Using the same image, indexed to 5 colors, the custom palette is rendered in a one-step process. The gradient seen in the first position on the top left was randomly assigned by the program and does not influence the results. The Columns selection number settings only influence the way the palette is displayed and have no effect on the way the palette is used. The lower the number, the larger the display size of each color unit.
Double-clicking on any palette color will magnify the palette view on the theme color background. Left-clicking on any color makes it available for drawing, the selection will have a dotted bounding line and the selected color will be assigned to the foreground position,  Right-clicking on a color results in these options.  The imported palette will be added to the Palettes dialog and is automatically saved in your personal palettes folder when you quit GIMP so that it will be available in future sessions.
In Arah, the color palette will always display the colors of the active layer. The working image contains colors intended for use in my designs.  In addition, please see the note from the developer in the comment at the end of the post.  The palette tools: A: if you press this icon the program will underline the colors actually used in the image, since all colors are used in this case, each color is underlined in either white or black in this instance  D: adds color(s) to the palette  B: removes unused colors in the above palette, it would restore the original colors
C: removes duplicate colors, not applicable in this instance
E: removes the last unused color, will not work if all colors are used.
Changing color positions in the palette: to switch the position of two colors in the palette, click the chosen color in the palette, move the cursor to the color you want to switch the position with, and press the left mouse button while holding the Ctrl key on the keyboard. In this instance, the color was duplicated in the new position.  Knitters designing for dbj are likely to work with a limited range of colors, often 3 or 4 max, in specific palette ranges to ready images for download.
If color separations for 3 or more colors are done in shades of grey in terms of technical details, you need a pattern image that is 8-bit greyscale, with each color in a range of the 8bit values. So for 4 colors, it would be 0-63 color 1; 64-127 color 2; 128-195 color 3; 196-255 color 4.
Binary images have only 2 possible intensity values, normally displayed as black and white with values of either 1 or 255 for white, and often 0 for black.
That convention may have led to the selection of white as color 1 in automatic separations such as the KRC Japanese one, where white is selected first. In a greyscale or color image, a pixel can take on any value between 0 and 255. Designing for fair isle, or when attempting to visualize and illustrate slip and tuck fabrics with frequent color changes, more colors may be required even though the final download will be in black and white. There is a quick way to add random colors assigned by the program and based on the initial palette: The magic wand tool allows you to work on consistently colored areas without having to select and outline each.
To alter a single color using the bucket tool, click on the wand, then on the color single color area you wish to change, it will become outlined by bounding lines.
Click on one of the colors in the expanded palette, and it will automatically appear in the foreground color position, and it may then be used to bucket fill the chosen area. Flatten the image using the merge down tool.
If the foreground color, in this case, white/0, needs to be changed, in order to choose all pixels in the foreground color, click on the wand, and use Tools > Select by color or Shift+W. This function works only on 8-bits per pixel images. Click on the color you wish to use to replace the ground, and bucket fill with the newly selected color. Flatten the image using the merge down tool.
Changing multiple color blocks in the same color could be selected by the tool, but filling each of them one at a time was required.  In Gimp a similar tool is the fuzzy select, which also allows for changing the color in a selected area or for selecting and changing all pixels in that color. Selected areas will also be outlined in dashed bounding lines. Bucket fill may then be used to replace color(s). The option is offered to choose either foreground or background for the fill.  Click on the rectangle select tool and then on any spot in the work area or on the image to set the image. The dashed lines will disappear.
In terms of saving the palette in Arah for future use, I saw no specific directions in the manual.
The color palette displayed is always the one used in the active layer. As a workaround: open the image, and the associated palette will be displayed. The repeat begins drawn 24 pixels in width, by 24 in height.
Select clear from the edit menu, or bucket fill area with white
If the size of your intended drawing area is different, choose the option Resize Image from the Image menu. With the chain link intact, the new canvases are created keeping the aspect ratio. Enter a new value for width/height, hit return, or move the cursor to the alternate value, and its number will automatically change to a matching one. Click OK to use the new canvas, or reset if you wish to return to the original 24 by 24 pixel one for a different edit.
With a broken chain link as one of the two values is altered, a preview is available. If both values are to be changed, break the chain link, enter the two values in turn, and a preview appears for each step. Ok is used again prior to saving, or choose reset to return to the previously used setting. Color separations can make specialty fabrics possible to knit which are outside the possibility of doing so simply by changing cam settings. Two instances are mosaics and DBJ where each color in each design row knits twice. Separating each may be done in two ways. The first method, convenient for longer repeats, requires that the result be elongated X 2, whether in the repeat design software or after download to the machine or using the elongation X2 function in the punchcard models. For illustration purposes here I will be working to create files that do not require elongation.
Mosaics and Mazes are constructed in similar ways and are sometimes referred to as floatless fair-isle even though technically speaking usually 2 stitch floats do appear on the purl side in the alternate color used with each color change.
Many such repeats may be knit using both the slip and tuck settings, the latter is the more interesting of the two on the purl side.
When learning structures it may be worth beginning with a published design.
Kathleen Kinder decades ago published two books, one with 24 stitch repeats, the other with 40 stitch repeats, with the separations included as well This, by Barbra Walker and intended for hand knitting, offers a huge library of designs for inspiration and conversion Following specific rules it is also possible to develop DIY repeats from scratch. That said, the repeat used in this blog post happens to have a known value of 12 pixels by 12Magnification in Gimp is achieved by selecting or typing in new percentages at the bottom of the window.
Entering and exiting the full screen may be controlled via the view menu To exit, it right-click at the very top of the window to expose menu options and select deselect full screen.  In Arah, if you press any number from 0-9 on the keyboard, you will change the zoom directly to that level (1 means 100%, 6 means 600%, 0 means 1000%). The plus + and minus keys- as well as the magnifying lens icons, will zoom in and out To use the entire space available in the window, choose Fit to Window from the view menu or select Ctrl+zero.
If working in more than one window this option makes repeats the most visible, scaling back can be done by counting the number of selections, helping to match the new picture magnification to the first.
Press the escape key on the keyboard to return to the original 100% view.
To work using the full screen, select the option from the view menu. To exit, right-click at the very top of the window to expose menu options, and select exit full screen Separating the design: ultimately the planned final graphic repeat would be a BW png used for electronic download, programmed as a fair isle one, but knit using tuck or slip settings, it may be drawn initially using only in those 2 colors. Black may need to be added to the palette selections.
One may always draw on a large canvas and then crop as needed, but as a starting point, it may be easier to simply match canvas size to the published repeat being used.
It is handy to have an extra column to help track image processing during the separation, the repeat above is identified as being composed of 12X12 pixels, one could begin with a 13X12 canvas.
A second way to provide the 13th column is to work using 2 windows, matching magnification,  and the second with a different, larger pixel measurement than the first. Copy the contents of the original work area and paste them into the larger canvas in the other window. Crop to new size if necessary.
To illustrate the two-window process, here the original BW repeat has already been drawn and elongated X2
A. Use the rectangle-select tool to capture the whole image in the first window, bounding lines in the colors of the palette in use will outline the selected area
B. Use the edit menu or command C to copy the selection, edit paste, or command V in the new window to place it.
When pasting on a different size ground, the bounding lines will also appear in the new image, the contents remain moveable,
C. Place the selection where desired on the new canvas,  when satisfied use the X, merge down tool to flatten it.
The quicker method begins with a canvas one pixel wider than the repeat, 13X12.
Adjust magnification, for comfortable viewing in the editing process.
View: show grid 2
Colors: set the number of colors to 6, and adjust the #1 color to black, white is in position 0 in the palette by default
Activate the pencil tool, and draw a vertical line on the far right in an easy-to-see color choice other than white or black
Using black, fill in pixels for your first draft of the pattern repeat
Image multiply YX2, resulting in 13X24
Using the pencil tool fill in the first 2 design rows followed by every other pair with white. Magnify image A to a comfortable work viewing size.
B and C: using the rectangle select tool, with the left mouse button, place the pointer on the purple pixel, drag the mouse across each pair of marked rows, release the mouse, and use Command I to color invert, and merge down to eliminate the bounding box.
The purple pixels will change color as well, making it easier to track what rows have been altered already.
D: crop the image, removing the row with colored cells for the final repeat
If for some reason you are processing an image that is color reversed, the steps are identical, but tuck or slip stitch fabrics, black pixels or punched holes knit, white pixels or unpunched squares tuck or slip. For this reason, the cropped final result would need to be color inverted prior to knitting or punching holes. This separation for 2-color DBJ results in its potential use in many fabrics other than DBJ and may be performed by some programs used to download multiple color patterns to the machines prior to knitting the fabric. One such fabric is drop-stitch lace.
Punchcard machine users would need to separate the colors manually, or if Dak is available, the separation may be done using the program and a corresponding template may be printed as a guide to punching holes.
This method is the automatic default one for any 2-color DBJ knit on the Passap.
Each color in each design row will be knit with each pair of consecutive color passes. Completing one design row containing 3 colors will require 6 carriage passes, 4 colors 8, and so on.
The built-in color separation in electronic machines wherein each of only 2 colors in each design row knits only once does not apply when using more than two colors,  though it is possible using Dak or by downloading a special card reader technique to program separately from the design when using the Passap E6000 in addition to the pattern repeat.
This separation of a 2 color pattern results in an elongated version of the design regardless of any dbj backing used.
Begin with a 2 color image,  an extra column of pixels is added here as well:
A: multiply YX4 to 13X48
B: mark alternating pairs of rows in the extra column with a contrasting color
C: following the color cues on the far right column, on rows with no added color use the pencil tool to replace black pixels with white, leaving only the orange cells
D: on rows marked with the third color replace the orange pixels with white, leaving only the black pixels
E: crop the image eliminating the extra column
adjust the remaining orange color to black
index the result to B/W, and the image is ready to save and use The difference between single repeats for each type of fabric, no further elongation is required. A: mosaic, B: DBJUsing layers in Gimp opens up the possibility of several color separations for fabrics using only 2 colors.

Both img2track and Ayab are capable of opening 2 color images.
In img2track this is what would appear, after the download the KRC function needs to be activated in the knitting machine.  Ayab: the repeat should be programmed in width equal to the number of needles planned to be in use. The color change happens as the file is loaded into the program, the ribber classic option is used to render results that would match the KRC knitting machine selection after an img2track download. Here the repeat is also tiled in height.  My personal preference is to work with images designed in black and white. With the 910 presently stored, my blog swatches are knit on a 930 using img2track.

A note for Mac users like myself using desktops with the M1 chip and Mac OS Monterey. Img2 track requires an FTDI driver for its download cable, on June 6 finally released a beta version of a more recent driver, I do not plan to install it at this moment, function in the upcoming Ventura OS would be unknown.   Ayab does not launch automatically. These are the steps necessary to run the program, following suggestions by Adrienne Hunter via the Ayab FB group:
open a Terminal window (Applications/Utilities/Terminal) and type these two lines:
cd /Applications/AYAB.app
./Contents/MacOS/AYAB
The app may also be found and then opened via using Spotlight search if you prefer  Once the program is quit unless you choose to keep the terminal icon
in your dock, it will disappear and the above process will need to be repeated. Once the text has been entered, and Ayab has been launched, a message similar to this will appear, showing your last log in. To launch Ayab again, simply use the up arrow key and hit return to repeat the command  Creating an AYAB desktop shortcut for Mac that will work without opening the terminal each time
Using Finder, open Applications and find AYAB. Right-click on AYAB and select “Show Package Contents”.

Locate “AYAB” under MacOS. While holding down the command and option buttons, click and drag that icon to the desktop. This will create an ayab shortcut that does the terminal stuff for you you can change the icon by copying and pasting the icon image in “get info” but it works fine without it. These icons will appear in your dock after double clicking on the icon   The ayab window opens with only the load image option highlighted Click on the load image file to open an image, and the remaining features of the program will now be available If you quit ayab, the terminal window remains active Quitting terminal called up this window for me only the first time I did so.

DBJ: more than 2 colors per row 3

Previously published related posts:
Img2track_multiple colors per row dbj, each color knitting only once 1/21
DBJ: more than 2 colors per row 2 12/19
DBJ: more than 2 colors per row 1 12/19 
Revisiting Ayab_multiple colors per row DBJ 2 1/20
Revisiting Ayab_multiple colors per row DBJ 1 1/20

Reducing the number of rows on the front of DBJ fabrics and the associated elongation of the planned design matters so some designers far more than others, at times only in specific projects.
It may remain something in one’s wheelhouse that is not worth doing because one can.
When I was knitting garments and art-to-wear pieces I found I preferred to work in 2 color dbj, plying thin, sometimes space-dyed yarns and dropping threads, replacing them with the next shade in the chosen color wheel spaces to add more colors per row.
Long before computer interfaces that made downloads or even color separations easy, most knit artists used punchcard machines, often the Passap Duomatic, lining up long individual panels to create large, non-repetitive images, Nicki Hitz Edson among them. That said, the topic has remained   interesting to me.
In the post written on 12/19, an option was presented for having each color in each design row knit only once rather than twice. Tables in a Numbers spreadsheet were used to produce the necessary color separation.
The present goal is to repeat the separation process using other possible DIY methods.
To review: the dbj automated separations for more than 2 colors per row with the exception of the Heart of Pluto one when using the Ayab interface generally result in each color, in each design row knitting twice. This is also true of default console separations in the E6000.
The yarn for this fabric needs to be thinner, colors easily become muddied if not chosen with care, there are 6 carriage passes for each design row of knitting, and charts and downloadable repeats including all knit rows become considerably longer.
When experimenting with colors keep careful notes about your own color placement in each yarn changer location, they may not match those assigned by the download program or in the original chart.
DAK offers the option of printing templates for its DBJ separation methods.  They may be used as guides for using the designs outside the program, whether for download to electronic knitting machines or to be followed in punching cards.
Files may be opened in the DAK Graphic Studio Module with the intent to convert them to stps for use in its universe or to adapt the design for other uses outside it.
My experience with several trials of small images in 3 colors is that the resulting design conversion is faulty.  The file size morphed into a 40X40 repeat as opposed to the original 12X14, leaving no option but to draw the design from scratch in the stitch design module.  
My third attempt finally got my 3 colors represented properly, but still in the 40X40 pixel size, not worth troubleshooting, redrawing the motif is far easier and more straightforward.
Img2 track will perform the separation but does not offer a charted view or template for it. It has the added interesting function of immediately reducing the file by half because upon download the image will be lengthened automatically by a default setting to double length on the Brother machine. The issue may be addressed by doubling the file in length prior to selecting it with img2track or the stretch factor in the program may be changed to 2, also before selecting the file for separation.
I prefer to manipulate files as needed prior to opening them in any program for download, believe it makes patterning errors easier to correct, and avoids forgetting to change settings when returning to knitting the particular repeat again. In the January 2021 post, I suggested manually pushing back to B position all needles in work prior to the carriages returning to the left on every other row as one way to reduce the resulting elongation in the designs. Here the plan is to achieve it by amending the color separation and its needle selections.
One of the advantages of DIY is that the color order in the separation may easily be matched by that in the color changer.
Repeats should contain an even number of rows and may also contain rows where not all colors are in use. The first starting repeat:  The often published convention in performing dbj color separations is to begin ordering the colors based on the number of cells they occupy in the first row, here the yellow would be followed by black and then red. Other programs start with the first pixel color on the left by default.
After drawing the repeat in Stitch Designer, working with Dak choosing color separation C, and exploring print options, one may obtain a template. Its screengrab serves as a guide to tracing pixels, the results match the Gimp separation which follows.
DAK automatically mirrors the motifs horizontally prior to working with them in any way. The mirrored DAK template compared to the in-progress Gimp separation: My goal is to produce the fabric with each color in each design row knitting only once by changing the separation, the function performed automatically by Ayab’s HOP code.
This technique applies to double bed work only, is not suitable for single bed 3 colors per row slip stitch.
The backing used is bird’s eye on the ribber, with slip stitch set in both directions and using both lili buttons. The result is that every other stitch knits on the pass to the right in any color used, the alternate needles knit on the return to the left completing one full row of knitting in that single color on the purl side.
The main bed needles are preselected on the way to the left, create stitches on the way to the right, as they flatline. Since there is no needle selection, as the carriages return to the left, no main bed needles will knit, resulting in only one row in the color being carried knitting on the top bed as well. Needle preselection continues to be made for the next row to be knit after the color change.
This makes for a more balanced fabric unless colors begin being skipped for multiple rows, in which case the ribber stitches may even form small ridges and the main bed stitches will become more elongated until the skipped color is repeated.
Working using Gimp alone
It is possible to color separate using only Gimp. One of the tricks is to use significant magnification, along with the view grid and snap-to-grid options when working with developing or editing designs.
In the latest version of Gimp for Mac, using the fuzzy select tool, selecting pixel color segments allows for color substitutions when converting charts to BW prior to the final png save.
It may be achieved by clicking on a single color, followed by holding the shift key, clicking on more colored pixels for multiple selections regardless of color, and then selecting bucket fill with the replacement color. Using select by color, followed by using the bucket fill tool, changes that particular color globally throughout the repeat.
As selections are made, dotted lines outline selections until after the color change and the image has been fixed.  Colors are fixed by choosing the rectangle tool and clicking in the work window outside the image, those dotted lines will then disappear.
This separation begins with black, the first color pixel on the left.
The original image is scaled X3 in height to 11X30, the file resulting from the separation will be scaled again X2 prior to knitting the repeat after it has been completed.
Copy and paste the scaled X3 results on a larger new file so that color markers for each row may be added, horizontal guides every three rows help define each expanded, now 3-row color sequence.
Following the color rotation markings for each row, erase colors unlike it and not represented in each design row to its right, so where the black marker pixel is on the left yellow and red are erased, where the yellow marker pixel is black and red are, and where the red marker is black and yellow are. That single row with no color red is left blank.
Those extra columns on the left are cropped prior to converting the file to BW. The results on the far right would need to be used double length, whether scaled before the final file save or after download, prior to knitting. Depending on the machine and the program used for download, if the direction of the design matters, the result may need to be mirrored as well.  Developing the test png on the elongated repeat My test png, mirrored for download to the 930.
I had color changer issues with yarns being picked up 2 at a time fairly frequently, which were likely static related and improved following a rare use of yarn spray and a humidifier.
Having end needle selection, KCI on the main bed helped avoid issues with edge stitches not forming properly.
I tend to grab yarns randomly when swatching. The resulting colorways are not planned for use in finished items, they are explorations that help illuminate subsequent choices.
The yarns used in the swatch are of three different weights, so tension needed to be adjusted to accommodate the thickest yarn, resulting in more elongation of some of the stitches on the front of the fabric. The latter might be far less noticeable when knitting with thin, equal weight yarn selections. The design can be easily identified and it is also seen that colors are indeed knitting a single time for each design row. There is an exception on a single row toward the bottom of the swatch, where blue and white have knit together during tension adjustments on both beds.
One drawback to this method is that since it is downloaded as a fair isle, the capacity of the machine to offer prompts and reminders as to which color is in use and which selection should follow in knitting 3 color dbj is lost.
Testing the concept on a design where more rows have less than 3 colors represented. The repeat is slightly modified, from the one used in the second 12/19 post Here it is shown modified, with rows containing fewer than 3 colors marked. Separating the repeat using only Gimp:
the file on the right rendered double length
and in turn with the second of every pair of black pixel rows erased the comparison between the two I left the color changer set up in the same sequence and yarns used in the previous swatch, so colors do not match their placement in the charted design. I stopped knitting when the color changer carried 2 colors across a whole row, and I did not notice the error until I had reached the other side. A repair can be made easily, but I chose to stop since the repeat was previously untested. There is a dropped stitch also missed on the purl side, an easy repair when a piece is finished.
The fabric is narrow as a result of the slip settings, the cast on and beginning and ending rows of knitting need to be adjusted or they will stretch out quite a bit compared to the remaining knit.
The proof of concept with each color in each design row knitting only once: The 12/19  post also compares its repeat knit using the initial double-length file to the one resulting from the amended repeat with each row knitting only once for each color in each design row

Multiple color drop stitch lace using img2track and more

WORK IN PROGRESS

There are many fabrics where samples may be knit using the proper color separation and released just prior to binding off. Samples and designs may be found in several of my previous posts.
End release is a possibility depending on how the repeat is programmed but does not always produce good results. As can happen in any fabric, what works in swatch size may not when knitting far larger pieces. Fuzzy yarn is problematic in many knitting techniques, it is best avoided in these fabrics. No matter the yarn, after knitting longer pieces, I have found sections that simply refuse to unravel. In addition, if long stitch shapes are distributed on knit striped grounds, the release needs to happen at a minimum when the top of each shape is reached. A sample with drop-stitch interrupted by all knit rows with only one color released. 500_986The repeats for designs may be self-separated to suit.
For more than 2 colors per row the built-in separation in img2track may be used, where any number of colors are selected for each design row and repeated twice. Passap separates for 2 colors with each pixel knitting twice on every row by default, but in Japanese machines, the pattern needs to be separated and programmed using other means.
The knitting method suggested here should work with more than 2 colors per row are separated by the software.
The post on Using Layers in Gimp for color separations illustrated a method for obtaining the necessary file to match those built-in variations when working in only two colors. The repeat is one that was separated and used in a previous post Here the file is separated quickly using Layer menus in Gimp alone Three variations of the final png files are shared The last appeared the most interesting visually to me when tiled This is the appearance when a different design was entered in img2track. The separated file 3 color file in BW is not shared. The method for knitting the pattern: the long stitches are formed by loops that are created on the top bed and dropped on the following row.
This is the method I used in my early dropped stitch samples: to begin with, cast on for every other needle rib, knit 2 circular rows followed by one-row all knit rib, transfer all main bed stitches to the ribber. For an open stitch cast on directions and photos see the post.
The pitch for every other needle Set up needles on both beds for every needle rib with an extra needle in work at each end on the main bed, cancel end needle selection (KC II). With the main bed needles in the B position, set the knit carriage to slip in both directions so as not to pick up loops across the whole row on its way to the left. Change the pitch for when working on every needle on both beds.  Make the first pass toward the color changer, needles will be preselected for the first pattern row
COL: the ribber remains set to knit every needle, the main bed to slip in both directions. A piece of tape in front of needle butts of needles in A position aside the edge of needles with stitches on them on each side helps keep from accidentally moving extra needles into work when dropping whole rows of stitches
COL: change color, as carriage moves to the right, selected needles will pick up loops on the main bed that will form the long stitches when dropped, while the next row of pattern is preselected, so by the time the carriage has reached the right side of the machine, the repeated needles selection is still present
COR: using any convenient tool (I use the edge of a piece of garter bar or ribber cast on comb), bring all needles in work out to E, and use the same tool to return all stitches back to B position. The loops formed on the main bed will be released forming the long stitches: check that all needles are indeed empty and that loops are free and between the beds
As the carriage moves to the left again toward the color changer, the ribber only will knit all stitches, needles on the main bed will be preselected for the next row of long stitches, selected needles do not knit until the next carriage pass from left to right.
COR: colors are changed every 2 rows
Ayab users have a different alternative for knitting this fabric as described in the post, using the circular ribber option. Instructions are given for dropping a single color or both. I cannot imagine manually dropping stitches after every row of loop formation on the top bed for any large piece in this manner. As time passed, I developed a hack for using a second knit carriage with a modified sinker plate.  Anyone with a compatible second knit carriage may use it with the resulting modification to knit a variety of fabrics much more easily, including any that would require the ribber settings changed in both directions, more convenient if the action is required every even number of rows.
Back to drop stitch in 2 colors (or more) using img2track, changing the base design to a small geometric shape. The 8 stitch repeat scaled X 4 in length as separated in the previous post to 8 stitches by 32 rows is used in the following samples.  Rather than relying on manipulating it in width or height and programming each repeat the changes in my swatches were made using variation key selections on my 930.
This type of fabric is best knit using a yarn with no memory, that will allow for retaining the blocked shape. The elongated stitches can have a peek-through quality that will allow for solid knit in a different color, an undergarment, or even bare skin to show through.
Working with a small geometric design to start with helps to develop a sense of the change in its aspect ratio as the original is scaled and knit in different widths and lengths.
Use any separation that allows for knitting each color pixel in each design row twice.
Begin with carriages on the right / COR
After EON cast on and knitting the first full row from left to right, transfer the top bed stitches to the ribber. Place needles in work on the top bed in the B position with first and last outside those in work on the opposite bed. This will allow for edge stitches to be dropped in pattern as well. With the transition planned to every needle rib, the pitch needs to be adjusted accordingly The second carriage, C2 is set to KCII as well. It will be advancing the design with each pass as well and will drop loops on the first pass, preselect for the subsequent pattern row on the next
COR: using the paired carriages set the knit carriage to slip in both directions so as to avoid picking up loops on every needle in work on the top bed, the first row is knit on the ribber only toward the color changer.
Download the repeat.
Program it for the width of the needle bed.
Cancel end needle selection on the top bed, KCII
The separation is technically entered as a fair isle design, variation keys for altering the repeat in the individual machine brand ie double width or double height may still be used.
While moving to the left the first pattern row is preselected.
COL: When the left is reached, change color, the top bed remains set to slip in both directions, the ribber to knit in both throughout.
Before moving to the right for a single time push selected needles back to B so as not to pick up loops on the way back to the opposite side. The second pattern row is preselected during the move to the right, the ribber knits every stitch
COR: knit to left on creating loops, concurrently the next pattern row is preselected, I prefer to change color at this point leaving the carriages to the far left
C2OR: use the second knit carriage with the hacked sinker plate set for plain knitting, make 2 passes with no yarn in its yarn feeder. The first pass drops the stitches. The second pass returns it to the right leaving all needles in the B position. Because no cam buttons are selected in this version, the carriage does not engage the belt as it would if it was also used for advancing patterning.
COL: with the new color no loops are picked up on the way to the right, needles preselect for the next loop row created when moving from left to right
COR: knit back to left creating loops
C2OR: use the second carriage set for plain knitting to drop loops on as it moves to the left, needles are flatlined in B on its return to the right
It is easy to identify the last color used by looking at the ribber. At the completion of each stitch drop, with COL, ribber stitches will clearly be in the last color used.
COL: with the new color no loops are picked on the way to the right, they will be formed on the second pass returning carriages back to the left.
C2OR: use the second carriage for 2 passes
Repeat the last 2 steps until the desired length is reached
Transfer all stitches to the top bed, create a loose bind off tested on the test swatch.
The sampled repeats altered using variation keys in the 930
8X32

16X32

16X64 The transition in aspect ratio as the original repeat used on the right is changed to double its width Here the comparison is made to the double-wide repeat also doubled in length
The elongated stitches allow objects behind them to peek through Another 2 color variation  Previous posts include samples isolated on striped grounds, using 2 colors.
Adding a third color can make the overall appearance muddy and small designs can appear lost. One sample in the post Here the goal is to use the img2 track separation, maintaining the same color change rotation in each piece.
Reviewing points to consider: in more than 2 colors dbj separations, the double-length variation key is set automatically except in the 950i, where it needs to be set manually.
In knitting drop stitch, the repeat chosen must have each color present in each design row unless the shapes are deliberately altered with solid color stripes in each color. The software is smart enough to recognize any design rows in which a color is not represented.
In conventional dbj, this keeps the design continuous, but in drop stitch, those extra rows will produce an all knit stripe interrupting the overall design.
The software scales the height of the motif to half the original, due to the fact that the double-length variation key is automatically turned on, restoring the original aspect ratio, the png loaded needs to be the original repeat scaled to double its height.
In DIY a small design will likely be less recognizable than larger ones, but working with one can help one understand how stitches can be formed.
The initial design is 6 stitches by 7 rows. It was stretched in width since the fabric elongates the design, and in height because to software will, in turn, reduce that by half to 14X12. The tiled potential appearance as a dbj fabric:In the first sample three carriages are used:
after the basic cast on, transfer and set up needles as described for all variations.
To use the second knit carriage to drop stitches, the first preselection row is made from left to right with the color 1. As the pass is made to the right, no needles on the top bed pick up loops, the ribber knits in that color, preselection for the next row of knitting is made.
As the carriage returns to the left the first row of loops for the long stitches is formed, the ribber knits the second row in that same color.
With both carriages to the far left push the button selection for the next color selection. The number prompts for color changes by the machine will be off by a row during this process.
With the second knit carriage and its altered sinker plate on the right set only to knit make two passes, returning it to the far right. The first pass drops the loops, the second pass returns empty needles to the B position, creating the long stitches.
The paired carriages will knit only on the ribber as they move from the left to the right again, preselecting for the next row of loops. They will place loops in the pattern on the top bed needles as they return to the left, and knit a second row on the ribber.
With carriages to the far left push the button selection for the next color selection.
Use the knit carriage for two passes from right to left, repeating the two steps for the length of the piece.
When the top of the piece is reached, drop any loops on the top bed before knitting a row on the ribber and preparing for transferring stitches to the top bed and binding off.
Only one set of loops is created in each color.
What of end release? because all 3 colors are present in every row, the design is suitable. The first preselection row is from right to left.
I found the combined carriages harder to push, and the knitting wanting to ride up toward the ribber bed needles.
The bottom of the swatch has loops released before a transition to plain knit simply exchanging colors every 2 rows until the end of the test was reached. The top duplicates the effect achieved above by pushing preselected needles back to B position with a tool prior to moving with the new color from left to right. Side by side comparisons: If the end release fabric is preferred but the stitches riding up are a nuisance, the carriages are hard to push, not all stitches release on a larger swatch, or a slightly fuzzy yarn is used the same result is it possible once again using the modified knit carriage to drop stitches making passes from the right?
The problem with that concept: if the knit carriage or any other tool is used
periodically to drop stitches in a long piece when it moves across the row, it drops on the first pass, leaves needles in B position on the second pass when
returning to the right. As knitting resumes with both carriages, no loops are picked up on the first pass to the right, so the pattern with colors dropping for 2 consecutive rows is interrupted, resulting in a patterning error. Selectively dropping stitches while maintaining proper needle preselection is impractical.
Also, if the intent is to use the knit carriage also to select and drop stitches for 2 rows out of every 4, the motif would need to be lengthened several times. I found when programming the far longer repeat the software refused to make the proper needle selection, switching every 2 rows rather than repeating the same multiple times. That aside, the number of passes required becomes daunting.
Changing color selection and order may make the individual shapes more noticeable: Any published or self-drawn separation for 3 colors per row patterning including every color in every row of the original design may be used, programmed as a single bed design, and knit for end release.
This swatch is only 24 stitches wide, it was a start in an attempt to place a better-defined geometric shape on a striped ground, with spaces where not every color is represented in every row between repeats. Its dbj version has some interesting surface texture on the reverse It is only part of the finished piece. The same yarns and tensions as in the previous samples. Two of the problems with end release reared their heads: the color changer side formed too short floats producing a side edge a different length than the other, and several stitches were difficult to drop from the top to the bottom of the knit, with the yarn even breaking in some spots. 

Working with only 2 colors makes the process for me far more predictable and manageable.

Previously published related posts:
Revisiting drop/release stitch lace 1  11/17
Drop stitch lace using Ayab software 2/ HOP 2/20
Drop stitch lace using Ayab software 1/18
Geometric shapes in drop stitch lace 3, end release  6/15
Geometric shapes in drop stitch lace 2, Brother KM  6/15
Geometric shapes in drop stitch lace 1, Brother KM  6/15
Drop stitch lace, 2 colors per row, Passap KM 10/13
Drop stitch lace, 2 colors per row, Japanese machines  10/13
Revisiting knit “bubbles” brother KM 10/17
A bubbles cousin 9/13
More knit bubbles  9/13
Knit bubbles and “stitch ditchers/dumpers”  9/12
Working out the kinks in my drop stitch lace saga  9/12

More shapes on ribber fabrics with tuck patterning, fantasy fair isle

Fantasy fair isle is the term often used to refer to dbj fabrics created using tuck settings on either or both beds. Typically in the required color separation used each design row in the repeat is expanded into 4 rows, with the same selection occurring for each color pair of consecutive rows. A tuck/plain combination is used here, with the backing essentially being a striper one, where each color knits every stitch on the ribber on every row.
In this illustration, the blue symbols represent knit stitches on either bed, the red, the tucked stitches on the top bed. The chart represents a single design row expanded into 4, the results would, in turn, be rendered double length in knitting the final fabric.  The last post related to this topic: 2021/09/07/geometric-shapes-on-ribber-fabrics-with-tuck-stitches-3/
Recently a friend shared images of a punchcard skull pattern she was using in a hat and followed with a query as to the possibility of using the pattern on a mesh grid. The inspiration for the conversation began with this image, the work of Claudia Scarpa. The possibility of adding images on a true mesh transfer lace or mesh-like thread lace images may be found in 2021/12/14/to-mesh-or-not-to-mesh-9-more-on-mock-filet-design/
My DIY skull image in a potential thread lace pattern, in a 100X92 pixel png.  Concurrently the topic of illusion knits on the machine has also resurfaced in FB with some spectacular panels executed using the Garter carriage and changing colors every 2 rows. Some small geometric shapes begin to have a somewhat “similar” appearance using this technique, but as with beauty, the success in the imitation is in the eye of the beholder.
The techniques involved: my proof of concept was knit using img2track on a 930. Traditionally two-color designs may be opened and then downloaded, using the standard dbj built-in KRC function for the color separation, not suitable for this dbj version, while for designs in 3 or more colors the program will separate the repeat in a way that each color for each design row is knit twice, the separation required here.
At this point, the color separation is executed by filling in pixels and observing a variety of rules. DAK produces templates of jacquard separations of varied types that may be printed for use outside its universe. The same file may be screengrabbed, traced, and redrawn pixel by pixel for use in a Brother download using other download software.
Passap by default separates knits for 2 color DBJ with each color for each design row knitting twice mode. Tucking on either or both beds is made easier because of the way stitches are formed on the Passap beds, along with the use of strippers which push down on tuck loops with each pass, ensuring that they will knit off properly. The fabric widens considerably when off the machine, requiring loose cast-ons and bind-offs. The dbj variant, dubbed fantasy fair isle, is often used to create lap or quilt blankets.
The Passap built-in reader techniques that are often recommended for large knit pieces ie blankets using the same design are 186 for throw size, 187 for lap blankets, and 183 for crib quilts. All three share the fact that the front bed pushers are selected in pattern in the up/knitting position alternating with the down/slip/tuck position alternating every 2 rows, producing the jacquard discussed here.
Slip settings produce narrow, short results, tuck short and wide ones. For non-Passap knitters, N is Passapese for plain knit, KX is tuck with patterning on the front/ knit bed, and AX for tuck patterning on the back/ribber bed.
Back in 2018, I began another post I meant to return to on traveling between the two brands.
My Passap E6000 manual is filled with scribbled notes from decades ago, expanding on how each technique may be used for a variety of fabrics.  In Fantasy Fairisle knitting using 187 with alternating up and down pushers on the back bed and AX with 2 arrow keys would match Brother ribber knitting with lili buttons used on an even number of needles set to tuck.
Working with the large skull image the setting of knit every row on the ribber and tuck in both directions on the knit bed is used as in technique 186, with a critical difference. Passap knitters may download the original black and white image while for Brother knitting a color separation is required.
The original skull image is 100 pixels wide by 92 high.
Converting the white ground layer behind the skull to alpha produces an image on a clear ground that can be placed exactly where desired on a new file with a white ground using the grid and guides
The alpha double long skull, now 100 by 184 pixels For the 1-pixel grid in Gimp to be visible on an editable image, a magnification of at least 800 is required. The options offered by default
can be changed to suit by simply typing in a new number.
As described in other posts including in Gimp update for Mac2, I chose to mark every other row with a red pixel, making it easier to track color-inverting every other row.  This is achieved by selecting the rows with red dots using the rectangle tool one row at a time and choosing Invert from the colors menu. The red dot will also change color, making it easy to locate converted rows in more complex patterns. The dotted blue line is a guide for placement. in progress   the processed image the trimmed 98X182 png doubled in length once more to 98X364 Knitting process on a 930 using img2track:
the 930 has a tiny brain, so the image is broken down by the software into multiple tracks of 96, 134, and 134 respectively. One of the critical differences when using this type of DBJ color separation is that the first preselection row is made from right to left toward the color changer rather than from left to right as in KRC separated 2 colors DBJ.
The first and last needles are in work on the ribber to ensure the edge stitch on that bed will knit every row.
The knit carriage is set to KCII, canceling the end needle selection.
Once the first row has been preselected and the planned color is chosen, with COL, set the main bed to tuck in both directions, leave the ribber set to knit, and continue knitting changing color every 2 rows.
In my swatch, the dark contrast color was used for the initial black pixel all-knit rows.
The work on the machine: A reminder: in my experience, the Brother cast-on combs are usually chrome-colored, Studio grey, and Passap, and I believe Superba ones were traditionally green. The first 2 were designed for 4.5 mm machines, the latter for 5mm. The different mm spacing does not make the 5 mm combs suitable for casting on on Brother, but they can be poked through the knit in progress. I like to leave the first comb and weights on, insert the new comb closer to the beds, and then move the weight up, and then remove the lower position comb.
There are lots of side-by-side stitches tucking on the main bed, made possible by the fact that each is anchored in place by a knit stitch on the opposite bed.
The tension needs to be set so that the stitches will knit off properly while having tuck loops not so loose as to get hung up on gate pegs. It can take a bit of trial and error to find proper settings and they, in turn, may need to be adjusted again when moving from small swatches to knitting on a far larger number of needles.
The finished piece measures 25 inches in width by 24 in height.
The appearance on the bed set to N, in this case, the ribber: Those white lines on the right are spots where the color changer picked up both color threads, a problem that does not occur in Passap knitting, where each color is picked up in its own yarn holder. In the Brother model, sometimes the yarn is left in the wrong place below eye level rather than its own individual one corresponding to its button, and both yarns are picked up with the next color change. The more textured knit side of the piece,  a close-up of the texture at an angle  Claudia Scarpa developed a skull variation using only layers in Gimp and has been kind enough to create a Youtube video illustrating the process. The separation is easy and quick as opposed to my more prolonged hack, and I will return to attempt to use it for various fabrics in a follow-up post.
This skull is more compact and better defined than mine. With the double-long original image superimposed on alternating pairs of black and white rows, the resulting png can not be lengthened again as tucking would then occur for 4 rows, not likely possible in a Brother machine. The variant is a very interesting cousin to mine.

In DAK using Method C color separation each color row separates into 2 rows of knitting and when using the result rows do not have to be repeated in pairs but the double-length switch will need to be used in Japanese knitting machines if working within the program. For those intending to use the separation outside the DAK universe, the color separation may be printed, traced/redrawn to create a png or bmp, scaled double length, and used as in the skull swatch. The template for the double long triangle in the post and the associated 24 stitches by 32 rows png, followed by the associated drawn png The png doubled in length, 24 stitches by 64 rows. This is a small repeat, suitable for punch card machines. The test swatch is knit with the main bed tucking both ways and the ribber knitting every row. It is possible to work some repeats on some machines with the ribber also set to tuck both ways with EON needle selection.
In Brother that is achieved by using lili buttons with an even number of needles in work on the ribber. The first and the last needle would be in work on the top bed, the KCI setting is used for end needle selection to ensure that the first and last needles on each side of the piece will knit. I did not find this method workable and soon had to stop because of a loopy mess. When using the Dak stitch design module, the color separation is automated. Choose any design repeat. This happens to be a 20X20 one, chosen from the thumbnail assortment, so not suitable for punchcard models. “Printing” the template using choosing the option of using dots rather than squares to represent knit stitches makes the resulting print screengrab easier to trace. the 20X20 repeat as a BW png The template was overlayed with a grid in numbers, filling in cells over the dotted areas.
A portion of the work in progress using the generated dbj option C template and tracing it transitioning from template to Numbers, to Gimp:  The result is screengrabbed, opened in Gimp, converted to BW mode, and scaled to the 20X40 expanded design size. Unless the double-length function in the machine is also used, it will need scaling again to double length prior to download.
Illustrations for the generated dbj option C template, tracing it in Numbers, processed in Gimp, The final image double length, showing the difference between the separation using the template, and that using layers as in Claudia’s video, which appears different but is actually the same repeat, color reversed.  Using bucket fill for the ground in the second layer, as described in the video, the captured clipboard image can be very small or stripes any width may be captured, even up to that of the full repeat widthRemember to click on the screen outside the area chosen with the rectangle tool before using the bucket fill in pattern tool.
The result is the same using either brush.
Alternately, the initial design may be scaled X4 to 20 X 80 pixels and it is superimposed on a ground flood-filled with 2 black rows alternating with 2 white rows the steps resulting in a match to the previous elongated version the 20X80 png In the related swatch patterning is used on  40 stitches by 100 rows. The relaxed fabric when off the machine measures 7 inches by 7 inches and the knit side view reflects the elongation of the design one might observe when using the same color separation in standard striper-backed DBJ. On the bottom, the swatch is stretched and the stitches are set with some casual steaming and pressing to 10.5 to 6.75 inches, gaining the familiar texture appearance seen in so many Passap blankets.
The color differences are due to lighting, with the photos being taken at different times of day.  For a loose cast-on row, I used a racked version at the same tension as the body of the knit.
For a loose bind-off to accommodate the stretch, I used this method, one of many taught in Passap seminars.
To perform the same on Brother machines: knit the piece, ending with the carriages on the right.
Transfer all the stitches up to the top bed, bring the ribber needles up into work between them set the ribber to a looser tension number, here it was increased from 4 to 7. Knit one row from right to left, picking up loops on the empty ribber needles drop the ribber slightly by using this bracket lever position to elongate the main bed stitches.  Using a latch tool, beginning with the first stitch on the right, insert the open latch tool into the first stitch on the right, then insert it into the second stitch moving down until the first stitch is behind the hook. Do not allow the second stitch to go behind the latch, keep it in the hook. Pull the latch hook up moving the second stitch through the one behind it, forming the first chain. Repeat across the row, going through the center of each stitch, continuing the chained bind-off. A yarn end is pulled through the last stitch and the now completed chained row is secured The beds are returned to the up position, and loops and stitches are dropped off all the needles.
An attempt at a more detailed look at the bound-off edge

DAK DBJ color separations, templates, other software

Over the years I have written on an assortment of methods for color separation in knits including DBJ, a summary post with links to previous shares: 2017/10/26/dbj-and-color-separations-some-previous-posts-links/
and in the-start-of-a-blog-index/

A variety of textures and patterns may be used to achieve fabrics that are very different in appearance, using a very simple pattern along with cam button or lock setting changes. The first chart was generated at that time using Intwined Pattern Studio, a program that for a time appeared to be very promising and then moved on to lack of updates for Mac making it useless in 2013, followed by none for Windows as well, with no successful use of it reported in forums in years, but apparently one may still purchase it The manual color separation method for punchcard machines.
The elongated X2 repeat version of the triangle drawn in Gimp As for more than 2 colors per row, performing the color separations may be achieved manually, various software is now available for performing the work in instants. Ayab offers an elegant color separation solution, heart-of-Pluto, that will knit single passes for each color per row on the front of the knit, resulting in 3 color patterns with limited design stretch, and no worries about the placement of one color over any stitches preceding it in the same color on the previous pass. The difference in the same design being knit with the standard, elongated version, allowing for two passes with the same color prior to each color change and the Pluto version.   knit using img2track, the vertical stretch is manually set to X2, A “hack” 2021/01/24/img2track_multiple-colors-per-row-dbj-each-color-knitting-only-once/

There is a Russian punchcard site that will allow entering personal repeats or selecting one from their extensive library, where it is possible to obtain related 2 color dbj separations as well. The punchcard color separation may be created manually, a slow process, while the punchcard templates in Dak are achieved with a few, quick clicks of a mouse. The repeat may be created as a graphic file, in my case a png created with Gimp, the elongation in Arah because Gimp fails to scale small repeats cleanly. The image may then be opened as a graphic file, stitch and row counts should match, and save the stp 

if experimenting with changing selections and this window appears it is OK to click on No The separation methods in DAK:
Method C separates each color row into separate rows of knitting, rows do not have to be repeated in pairs, the double-length switch will need to be used in Japanese knitting machines The elongated triangles repeat template is different from what would be produced with the above set at double length, may be used as is to produce a variety of fabrics including quiltingYarn choice and design make a big difference. Here the yarn is really far too thin, and the repeat too narrow in width, but the possible result is illustrated. The main bed is set to slip in both directions throughout. The ribber setting needs to be set to slip in both directions for every other pair of rows. When the ribber slips, the main bed will knit the color that will create the pockets, where there are many single stitches selected here, the KC was set to KC1. When the color is changed and the ribber is set to knit again, stitches in that color will knit on both beds, sealing the fabric in those areas and forming a solid color background on the reverse side. Here the white forms the pockets, the floats after a pair of passes are seen in this photo. Because the yarn is so thin there is a considerable grin through on both sides, the areas marked with arrows indicate where the white pockets were lightly stuffed with yarn ends     For a review of quilting on machines including Passap see 2018/02/15/revisiting-machine-knit-quilting/, and using a second knit carriage with a modified sinker plate for knitting stitches on main bed only, making ribber settings fixed throughout, and allowing for tension adjustments for each color yarn.

Method A works on pairs of rows. If the pattern does not consist of identical pairs of rows there are likely to be yarn error messages. The original triangle elongated to 8X16 If pngs are created outside the program, they may be doubled in length unless the repeat is designed that way. The associated menu options in Dak when the plan is to work in double jacquard How the different jacquard setups process the specific repeats:
Method B creates the same separation as the default built-in KRC one in Japanese electronics. If knitting DBJ it may be used with dak if the pattern is downloaded as fair isle but the machine will then needs to be set for dbj. If additional colors are used, pairs of rows will follow a single pass for color1. The print preview templates, if generated within the stitch count restriction for use on punchcards, may be used as guides for punching the required holes, this would be the card for that 8X8 triangle repeat, a tad shy of the recommended 36 rows, Passap card reader techniques saved from long ago experiments.  Method C see top of post
Method D separates each color into a separate reader card and is used to download to the PEI or Passap, appears to use superimposing of layers, and to match method 4 in my post.
Method E is suitable for machines with a color changer on each side, like the Brother CK 35
Method F is a Half Milano separation. Each pattern row is separated into a pair of passes for each color, but the second row for each color has no patterning, so the rubber stitches only knit as the carriage returns to the left side, a possible way of creating repeats for drop stitch lace on Brother machines. The elongated triangle template was split into 2 pages for viewing, they are combined in this image This may be the associate Passap Reader technique, I have no way to test it Processing the template using numbers: a table is created twice the length of the 8X16 triangle repeat, followed by hiding the 32 odd-numbered rows, positioned in front of the scaled punchcard template, stitch markings are traced the rows are then unhidden, the repeat is checked, matched here to the F jacquard separation in DakThe numbers table is processed in Gimp to obtain the png for knitting the now 24X64 pattern  Proof of concept swatches: the long stitch in 2 colors,  and the pattern executed as a tubular FI knit: I had yarn issues, hence the dropped stitches. Both swatches were knit to approximately the same point in the pattern repeats, there are obvious quality differences in width and length. In tubular knits, there are differences in the width and height of the knit on each side. The front is actually a slip stitch with floats, drawing the fabric in, while the ribber knits every stitch every other row. With a good choice of yarn and pattern, loosening the tension on the top bed may ease this problem. As often happens, casting on and binding off need special considerations ie to allow for any fabric stretch when off the machine or in order to leave a tubular knit open at either or both ends if that is the goal. More info on tubular knits including on Passap