Geometric shapes on ribber fabrics with tuck stitches 3

Previous related posts:
2 color ribbed brioche stitch on Brother knitting machine 1
Geometric shapes on ribber fabrics with tuck stitches 1
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
The last post on using Gimp:  2021/07/18/gimp-update-for-mac-2/
The method for color separation used for mosaics

The sources of inspiration from hand knitting or industrial knitting machine designs are endless. There are many features that simply cannot be duplicated, sometimes compromises can be reached that can achieve only imitations of the original. To my mind when knitting garments or long pieces the greater the degree of automation, the less likely one is to have patterning errors occur, in ribber fabrics, they are also more complicated to correct than single bed knitting.
I recently came across a pin of a Ravelry hand knit pattern which led to my return to this topic once more, including perhaps the addition of more colors. The plan is to create a repeat which may be knit using color changes every 2 rows. Each design row knits each color twice, so the standard built-in KRC separation is not a consideration, though the same cam settings may be used in those fabrics as well.
The required color separation has been discussed in several posts on the various forms of DBJ, a review:
The initial test repeat is 18 stitches by 44 rows, designed using 2 X 2 blocks, to begin with. How it might appear knit in fair isle:  Transitions in charting visualizations:
A: FI repeat with pattern progression in two-row increments
B: every even-numbered row beginning with row 2 is color reversed
C: B repeat is doubled in length to 18X88 for initial samples
D: repeat adjustment for a first try at introducing 2 additional colors End needle selection is canceled, the first and last needles are in work on each side on the ribber knitting every row, the first preselection row is from right to left, cam buttons are set after the left side is reached. Knitting in these samples began with the blue yarn in the number 2 position in the color changer. The ribber remains set for knitting in both directions throughout, the images on the right do not reflect the amount of surface 3D textures.
with the main bed set to tuck in both directionsLock settings are easier to achieve on the Passap than switching out cam buttons in Brother machines. This was knit using 4 carriages. Color one knits with the main bed set to tuck both ways, color two knits with the main bed set to slip both ways. The slip stitch reduces the width of the fabric considerably Here each color alternately tucks and slips. The choice of cam buttons matters, tucking first from left to right, slipping from right to left, with cam buttons set COL after the first preselection row This last cam setting appears to my eye to produce a texture “close enough” to the inspiration fabric. Attempting to add more colors: the repeat, D, is still 18 X 88 but is now shifted slightly.  Somehow the slip cam button was not set, so the knit carriage tucked in one direction while knitting in the other. I am vaguely reminded of illusion knits. Considering altering both the color choices and placements again. A way to imagine exact color change placements beginning with solid colors repeats once more, which can be followed by new color separations. The existing repeat may be reduced further to 18 X 64, eliminating some of those extra rows in the center of the chevron shape  The new BW image, tiled: Whether or not the design is intended to retain chevron shapes in alternating textures, actions may be plotted pre knitting in any way that visually makes sense to the person designing the pattern and tools available to them. Reversing the png so that the more textured stitches will begin with the color in yarn position 1Using either repeat, color changes now occur after every 32 rows knit. Another color change location clue is in the needle selection change above and immediately following the red border in the chart on the left.  Adding colors can be planned cautiously or allowed to happen randomly depending on the preferences of the designer and end-use. Ribber fabric designs are not visible until several inches have been knit, too late to catch color sequence errors. Some machines allow for memo placements or sounds to help track color changes, but only within the initially programmed repeats. A quick spreadsheet can provide customizable checkboxes or added information. For an attempt to retain chevron shapes in different textures: When using 3 colors, rather than 4, the texture of the zigzags on any specific color, will vary in placement. It is easy to change colors in any chart to approximate those that will actually be used in the knitting.  Proof of concept: each of my yarns is slightly different in both thickness or fiber content from the others, which can be a drawback in resulting textures. As in any 2 color dbj, if 4 consequent rows are knit in one of two colors the positive and negative portions of the image reverse, as seen at the top of the swatch. The green was not intended to be used originally, the white yarn simply ran out. Such accidents at times may provide pleasant improvements. There is bleed-through of each color behind the other in the tighter knit areas as well which contributes to visual color blending, noticeable even in the areas with fewer tucked stitches. Splitting zig-zags into triangles, working color 1 with color 2, followed by color 3 with color 4 pairings A PDF including row numbers and space for notations zig zag
An editable Excel spreadsheet created as an export from numbers zig zag
For Mac owners a Numbers doc. zig zag
A simpler repeat suitable punchcard owners as well using only 2 colors The test swatch and observations: patterning was begun with color 2, yellow.
The yellow yarn is 12/16, the maroon is 2/15 in thickness.
The triangle, because slip and tuck stitch settings are used, is compressed in height, while there is enough tuck happening to still make the knit wider.
The pattern is 24 stitches wide, the swatch was knit on 40 needles. Smaller swatches are fine for testing tension and colors. If committing to larger pieces, tests on at least 100 stitches by 100 rows are needed for gauge calculations in any double bed work or very textured patterns on the single bed.  On some occasions when a far larger number of needles are in use, problems may turn up that require going back to the drawing board in terms of items ie tension settings, weight used, etc.
A: patterning was begun with thicker yarn, the yellow, in color changer position 2, both yarns are 100% wool
B: KCI, end needle selection on, a 2 color “beaded” edge is created
C: KCII, end needle selection canceled, patterning occurs on end needles
D: transferring to the top bed and using the standard latch tool bind off for these fabrics is far too tight  The tiled repeat, 24X48, does keep the stitch quality constant for both colors, Assumptions based on optics of tiling are not always accurate clues to potential patterning errors, here those darker lines are part of the actual design Continuing on a 24 stitch repeat, the original design may be rendered at double height and separated once more, doubling the separation height to 96 rows There are days when either or both machine and knitter need a break. At the start of the first swatch, the cam buttons were not set, resulting in plain knit stripes. At its top, the purple did not get picked up properly from the color changer, and the knitting of course fell off the machine. On a second try, the same issue happened again with the purple yarn. Multiple incidences of such events were fondly nicknamed “dropitis” by my students. The test is on 24 stitches, the width of a single repeat, the triangles are much more balanced in size, this knitter is putting this pattern to rest.  Another try at the diamond shapes that began this topic. The first .png when tiled appeared to not have enough space between the shapes, was amended to this the differences when tiled the color separation can happen completely within Gimp using color invert the white yarn is an acrylic, slightly thicker than the purple toned one. Sometimes simply exchanging yarn positions can change the qualities of the overall fabric. The repeat begins with 2 blank rows. To achieve the tighter white shape as opposed to the honeycomb purple one, at the start of the repeat that color needs to be in use on rows where knit stitches happen as the KC, set on slip to the right, knits needles brought forward to D position. Red in this chart segment marks pertinent rowsBoth with hand knits and commercial knits because of the hand actions possible on both sides in the first, and as many as 4 beds selecting and knitting on the other may be in use at the same time with more complex needles as well, there are fabrics that are difficult or even impossible to duplicate. There often are obvious differences in the results, but the journey may still yield results that are pleasing and worth pursuing. Another even more complex inspiration from a sweater attributed to Falke, Spring 20 collection, using similar stitch structures, but in addition, also transferring stitches between beds exposing a purl striped ground.

Numbers and GIMP: online punchcard patterns to electronics 2

There is a Russian online site offering a huge range of punchcard designs. The question on how to convert the site files for use in electronic machines surfaces periodically and did so again recently in FB groups.
My posts with information related to this topic:
Brother KMs: punchcards and their use 
Numbers and GIMP: online punchcard patterns to electronics
color exchange Gimp update for Mac 2

A Russian language tutorial on converting the punchcard images using DAK
A recent offering on navigating the site in English, begin viewing on minute 5
The site link http://perfo.12rus.ru/index.php?
The translated site link 
The options in English for working with published cardsThe help menu is available after the card is chosen Designs are presented in pages that list them from longest to shortest row counts for the complete repeats. Punchcard users can reproduce holes as given. There is also an option for entering a new design and it appears, in turn, one may be able to generate a separation for its use in DBJ.
Beginning with a smaller design intended for machines with 12 stitch repeat restrictions simplifies the view and processing of it for newbies. The published patterns are offered Silver Reed ready. The option for converting the cards for use on Brother 260 renumbers it with the appropriate location for the number 1 row marks required by the operation of the different brand’s card reader. Toyota versions are also available. Making the holes larger is a boon to reproducing the drawing correctly regardless of end-use. Splitting the card into segments is helpful when using factory blanks with a 60-row maximum repeat, and often also when processing the image for use on electronic machines, which is affected by screen size views available to the software user. For some reason, I found the commands erratic when working on the translated version of the site, fared much better in the original language publication.
The chosen card image may be dragged onto one’s desktop. I use Numbers to create my tables. The 2 all-punched rows, marked with blue arrows, and any standard vertical rows of holes on each side of the provided designs need to be isolated and eliminated. This is a 12 stitch repeat required for use on some machine models or useful when using a thicker yarn on every other needle to achieve the same design, every other vertical row is blank. A: the table with cells 20X20 sized to match the number of rows and stitches in the original. The card image is arranged in the back of the table with the constrain properties option unchecked in its image-arrange menu. B: cells corresponding to marked holes are filled in with black since the final goal is to create an indexed BMP. Using and holding down the command key during cell selection helps perform the coloring cells in action on groups, clicking on any cell again while still holding the key down will deselect the fill. Release the key, choose the fill-in color, repeat, and continue until the holes in the full design are filled in. C: click and hold command key, select every other blank vertical column marked with letters at the top of the table, the blank vertical rows are selected, release the command key, right-click on any of the same letter selections again, and choose to delete selected columns from the pull-down menu or after marking the rows directly from the table menu at the top of the screen. Eliminate all cell borders. C: the result showing how the pattern will appear when used to program fair isle.  Screengrab the final image surrounded by extra white cells, open it in GIMP. Change the mode to indexed BW, crop the file to content thus excluding any extra white cells, scale to the original design’s 24 by 74 dimensions. Punched holes are now pixels; export the knit-ready BMP.
Using the filter, map, tile option allows one to check on horizontal and vertical repeat alignments for any errors, and begin to imagine how the repeat might appear on a finished piece. Color exchange used on the BW BMPs converted to RGB mode helps visualize the knit using specific colors. On the far left below the final BMP is shown magnified X 800 with a superimposed grid, then filter-map-tiled to 48X148 size. It is followed by a color reversed version of the same. The remaining images illustrate the result of using the color exchange option, beginning with the BW BMP repeat converted to RGB mode.  Getting a preview of how a finished garment might appear, here the tiled version is 192 pixels in width and one may glean some idea as to whether that repeat should ever really be used in a sweater or even a blanket. Further image scaling or cropping can happen based on the knit gauge. A very quick rendering imagining pattern and color placements using a simple sweater outline Collections of every other needle repeats for processing with a similar approach may be found in these volumes, available for free download
Chunky punchcard patterns  12 stitch Patterns of Knitting With Creative Punch Cards Juki 12 StitchBoth volumes include accompanying swatch illustrations.

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

For punchcard users or enlarged views: printing the PDF breaks the repeat into segments required if one is using individual 60-row maximum length factory cards and not a punchcard roll. On the far right, the difference in relative size between a factory punchcard and the PDF image printed without any adjustments.  Filling in the dots with a black marker renders the to be punched holes more visible through the card, making marking prior to punching easier and faster.  For a better, printed match size, after capturing the image from the PDF for a single page outside image edges, opening it in Gimp, cropping it to content, it is then possible to scale the results to measurements of a factory punchcard equal in width and adjusted for the number of rows in the image. My card required print measurements were 14.1cm by 26.1. Scaling executed with aspect ratio is too long.  breaking the chain-link, removing size constraints The result with printing to match the card stock measurements was extremely close to the desired size, useful, but hard to photograph  Entering patterns: the translation Working with the Russian menu The saved pattern will be assigned a number, in this case, 9831In the 24 stitch repeat FI area of the site, enter the assigned number into the search field on the upper right changing the view to larger holes if preferred, the option also becomes available to separate for 2 colors DBJ  translated to “recalculating for 2 fountains”  Screen grab or save pdf, depending on needs.

Visualizing maze or mosaic potential from tuck or slip stitch repeats

I have written extensively on mosaics and mazes, color separations required for drawing their motifs, and visualizing the resulting patterns while planning slip stitch or tuck repeats. A recent exchange with a knitting friend, Tanya Cunningham, brought up her idea of using Gimp to investigate the potential of self-drawn tuck patterns becoming pleasing mazes or mosaic designs in color. Tanya has worked extensively with img2track, can be found in the FB group and Ravelry. It had not occurred to me to reverse engineer designs for this purpose. Tanya uses Gimp in a different way than I do, I am hoping she will share her process for this purpose when documented.
I have grown comfortable and fast with the combined use of Numbers and Gimp to achieve what I desire in terms of color separations. At the moment, on the assumption that estimating the overall shape is the goal, a black and white processed rendering may be a sufficient representation of the result.

Punchcard books are a great source of “safe” tuck designs. The best are those that have columns one stitch wide by 2 rows high. They are also more interesting if there are areas of solid black. Patterns from publications intended for use on electronics are often color reversed to start with in order to minimize drawing pixels or to make the design easier to read and will have lots of blank areas. Punchcard users would need to punch the ground as opposed to the design, electronic users can achieve the goal by the flick of a switch or a quick software command. For my first series of steps and methods, I am using the repeat that appeared as a knit using different settings in the post on mazes and mosaics from universal patterns.
Presented on the left, the repeat would be suitable only for thread lace or FI with very long floats. Color reverse allows one to use it for tuck and slip stitch, whether in one color or with color changes every 2 rows. The color separation to approximate the result with color changes begins with the same process as that used for designing mosaics. Once the image is rendered as a correct B/W png with no apparent errors, it is copied and pasted on a larger canvas, the mode converted back to RGB. The red cells make it easier to keep track of rows that need to be color inverted. Using the shift key and rectangle tool, multiple pairs of rows can be selected sequentially and color inverted. Beginning the selection with the very edge of the black squares on the left does not interfere with changing the color of the extra columns on the left side of the design. If pixels are added accidentally drawn in any of the 4 extra columns on the left, they can easily be removed when the completed conversion is cropped to selection for the final repeat. The completed color separation can then be bucket filled to match imagined colorsTiling the repeats to imagine the final knit presents the problem that results from working on a square grid and comparing the results to a knit, which usually produces a rectangular one. The representation for the linear patterns produced on the knit side of the piece cannot factor in some of the added distortions created by the stitch type used. I process my images in Pages or Numbers, depending on which document contains my most recent work and happens to be open. It is also possible to perform the final rescale in Gimp. Most knits approach a 4:3 ratio, with gauge variants in highly textured fabrics.  To preserve a clean design, tile and save the original, screengrab the resulting image, load it in Gimp, and rescale.   Repeat the motif for the same number in both height and width when tiling it. The colored versions before and after scaling, compared with the slip stitch swatch. It is possible to produce a rectangular grid to start with on which to draw in Gimp, but the larger canvas size occupies a significantly larger space on the screen, complicating the process. For small designs, however, that may be an option to give one the sense of aspect ratio for the design in the final knit ie in representational FI. To resize the grid in uneven proportions, the chain-link below the spacing values needs to be broken This repeat is designed for an electronic, requires color-reverse. Since it is 24 stitches wide and it may also be modified and used on a card. In this instance, the original marks for rows and stitches are single height. The image is processed, matching the original, rendered double-height, color reversed, and then alternate pairs of rows were color inverted to render the repeat used in the test swatch Once again, the possible change in scale is estimated. The repeat though only 24 stitches wide, is 92 rows high. On the left the repeat is shown as it appears on a square grid, to its right is the scaled 4:3 version, in a pixel count approximating the size of the swatch. It takes a bit of squinting to see the pattern more recognizable in the longer repeat in the larger tile The swatch was pressed, becoming wider than when first off the machine. It was knit using the slip stitch setting, could also be executed in tuck stitch, which would both widen and shorten the fabric and make the purl side more interesting.  The software can provide a preview of the result far more quickly than knitting samples, but again, the previews are only approximations of the scale, and cannot show distortions to lines as one adds more texture.
Repeating the process starting with a diamond shape that as given is only suitable for thread lace or FI with problematic floats,  and with a check tuck pattern that may change in aspect ratio considerably when knitted The proof of concept swatch, knit in tuck stitch, begins to show the distortion by the stitch formations, textures vs plain knit, easily seen at the top edge. The bind-off is around 2 gate pegs in order to allow enough stretch.  Anyone familiar with either or both programs may find this a very quick way to visualize the scaling and moving of motifs within DIY designs and their possible outcomes prior to test knitting

Brother shadow lace, rib transfer carriage

I have probably owned this accessory since the early 90s. After making a faint-hearted attempt at using it at the time and failing, it has been stored in the original box in the interim and just came out of retirement. The multiple languages operating manual for its use may be downloaded from http://machineknittingetc.com/brother-ka7100-ka8300-transfer-carriage-user-guide.html. There are several video tutorials available on Youtube. As a group, they generally illustrate simple transfers across an entire row in structures such as ribs used for bands and cuffs. This one is offered by Knitology 1×1, Elena Berenghean, a young knitter publishing very good machine knitting video instruction on a huge range of techniques.
The tool is designed for the standard gauge, transfers only from the ribber up to the main bed. It is best to use yarn that has some stretch. The recommendation in the manual and in youtube videos is to perform the transfers with the pitch set to H. My own ribber is balanced, I found I had problems with transfers in that position, several carriage jams, and to get things to work properly in half-pitch I had to use the racking handle to move the ribber needles slightly more to the left for the transfers. The needles containing stitches to be moved, need to be slightly to the right of the needles with which they will share yarn, that spot may turn out to also be just wide enough to allow for the pattern to be worked without changing the ribber pitch.  The yarn used is a 2/18 Merino, knit at tensions 3/5. In terms of positioning the carriage, a wire that is akin to that found on Passap strippers is on its underneath. In positioning the carriage on the beds, check visually that it is indeed lying between the gate pegs of both beds prior to attempting to travel with it to the opposite side If any carriage jam occurs, it takes cautious wriggling to release the wire and carriage. Upon completion of the transfers, simply lift up to remove it from the beds.
Generally, the ribber tension used needs to be set on 4 at the minimum. The last row just prior to transfers will likely need to be knit at a looser tension than the remaining rib. If the stitches are too small they will not be picked up for the transfer. Folks familiar with lace knitting are aware that just the right amount of weight can make a difference in forming proper transfers. With these fabrics, too little weight may result in loops forming on gate pegs, too much weight, and stitches may remain over closed latches on the ribber needles and not share their yarn for transfers.  Again, the transfer carriage operates only from right to left.
Studio instructions for their version of the accessory actually offer some different and more specific recommendations. When knitting full needle rib all the needles or pattern segments the machine generally will be in Half Pitch. Though there are needles in work on both beds, the ribber should be set to full pitch, aka P position, “point to point” prior to transfers, bringing them in close alignment in order to facilitate the process. Passap machines accomplish the same by changing the angle of the racking handle to other than the full, up placement in order to achieve the necessary alignment.
The Brother accessory and its parts, has clear imprinted illustrations for use

The change lever has only 2 positions, up and down respectively Its position is determined by the number of needles on the ribber one wishes to transfer.
The carriage manual recommends its use after knitting a last ribbed row to the left, but it is possible to use it with both knitting carriages on either side, as long as there is generous space to clear all stitches when the accessory is placed on the bed, moved to the opposite side, and removed. An extension rail may be needed to achieve that amount of clearance.
Operating slowly, one can watch the process of transfers while moving from right to left. Though skeptical, I found the transfers happened easily, with occasional skips. I worked with hand-selection of needles on the ribber to create a pattern, first with hand-selection, then with racking the ribber position to change the relationship of needles on one bed to the other, initially transferred after every 2 rows knit. The knit carriage was set to knit both ways, the ribber to knit in one direction, creating loops on the selected needles, and securing them in the other, allowing for the loops on the ribber needles to be transferred up to the main bed, before working 2 more rows. The “errors” in patterning were operator errors in needle selection as stitches were dropped, and not all the required needles were then returned to work position. Not a technique I would use for all-over fabric, but good practice. When the transfer occurs properly, the ribber needles will have yarn placed over closed latches, ready to be dropped, the yarn is shared and looped over stitches on the main bed, akin to tuck loops, outlined in the photo with the black oval. The first image is from the manual for the accessory, while in the photo, one improperly transferred stitch is outlined in red. To prevent dropped stitches from happening, any such locations will require a hand transfer to the opposite bed before dropping the remaining ribber bed shared stitches For my test I used EON needles on the ribber, planned alternating selection for each new transfer. This could be done by selecting dashes and blank spots on needle tape ie. dash in the above photo, blank spaces below  It was faster to achieve the effect by changing the ribber relationship to the main bed using racking by one position ie 10, 9, 10, 9, etc. prior to picking up the subsequent set of loops. The errors in the test swatch were from failing to bring all the needles back up to work after dropping their stitches. Using a tool ie. a ribber comb placed over the out-of-work needles prior to dropping stitches made the racking process far less error-prone,  will keep the appropriate needles from being accidentally taken out of work. My first attempt at creating shapes includes a band at the bottom where the EON transfers as above were made, but every row. Simply bringing needles into work on the opposite bed creates an eyelet. They can be eliminated by sharing stitch “bumps” on the opposite bed, but for the moment they are a design feature. The texture created appears in the areas involved on both sides of the knit It is possible to transfer single needles at sides of shapes ie or whole rows, but the change lever needs to be set to position accordingly.

Many knitters have one of these tools in their stash,  they are sometimes referred to as “jaws”,  intended to facilitate transferring between both beds, and patterning was intended for Studio punchcard machines. The enclosed punchcards: Shadow lace tools are marked side 1 and side 2. Some are blue on one side, cream or white on the other, the blue side is side 1. The process always begins with side 1, or blue. When the stitches have been removed, the jaws are closed, allowing the stitches to slide over to side 2. The jaws are once again opened, and the stitches are transferred to the opposite bed. Studio machines select and knit in single pass rows. Brother preselects for the next row of knitting while knitting any one row in pattern as well, so transferring in pattern from the top bed down with such a tool would be problematic to maintain proper pattern needle selection.
To transfer from the ribber up on any machine, place the teeth of the jaws on the needles on the ribber, holding it with both hands. Pull needles up until all stitches are behind the latches, then push down with another tool or one of your hands until all stitches are on the jaws.
Release the tool from the ribber needles, rotate it away from you, toward the main bed. Close its teeth so the stitches are transferred onto side 2.
Open teeth, place eyelets over main bed needles and stitches are transferred onto the main bed by rotating the tool away from you just a little and tugging down a bit.
On Brother, the possibility of having patterning on the top bed to help track patterning on the ribber in some way comes to mind. This was my start, with the first draft of electronic repeats. I stopped when I began to have some tension issues, loops on gate pegs, and a distracted brain.
Transfers of stitch groups, whether by hand or using the accessories are made on rows where no needle preselection occurs on the main bed This series is a proof of concept for my approach to developing electronic cuesThe original repeats were modified to include 2 blank rows between segments that allow for transfers between beds not hampered by needle preselection on the top bed. The motifs are color reversed, but not the blank rows between themThe knit carriage is set to select needles KC I or II, end needle selection does not matter. All needles on the top bed knit every stitch, every row, whether or not those design rows contain black pixels. No cam buttons are pushed in. Blank areas between black ones indicate the number of needles that actually need to pick up loops on the ribber to create shapes, filling in spaces between selected needles until an all-blank row is reached for making transfers. The chart on the far right illustrates a shape where the easiest method becomes one where stitches on the ribber are manually transferred to the top bed in order to reverse the shape and maintain every row preselection. The selected needle corresponding to the black square marked with the top of the red arrows is pushed back, the ribber stitch below is transferred onto it, the needle with the couples stitches is brought to E position, moving across the bed in proper locations prior to knitting the next row.  In this repeat, the side vertical panels of ribbed stitches are added. The knit stitches on each side of them roll nicely to the purl side, creating what in some fabrics can actually be planned as an edging. My takeaway is to test the accessory with some patience, sort out the sweet spot for the ribber needles in relation to main bed ones in terms of handling transfers and yarn thickness, use colors that allow for easy recognition of proper stitch formation, keep good notes, and “go for it”.

One way to add color to the mix is to use the plating feeder.

In the first sample, equal thickness yarns were used, the colored yarn was a rayon slub with no stretch and slippery nature. The bottom of this test used a wool yarn of equal weight to the light color, which proved hard to knit. The red is a 2/48 cash-wooll A very narrow test for a possible pleated pattern  

It is possible to construct the same type of fabrics on a striped background. It can be achieved low tech with graph paper and pencils if needed, using a simple paint program, Gimp alone, this is my process using Numbers and Gimp:
1. determine the desired shape, its width, and height, checking that it also tiles properly
2. create a table with square cells the same width as the number of stitches in your design, twice its height; use an even cell size ie 20X20 pt
3. hide all odd-numbered rows from the top of the table down, the table will shrink from 20 rows to 10
4. draw your repeat
5. unhide all rows
6. copy and paste the table; double the cell pt height only to 40, making the repeat twice as long
7. mark corners or part of the edges with another color to make it easier for Gimp to identify them, select all and remove borders, grab the image with an added surrounding colorless border
8. open the screengrab in Gimp, use crop to content, fill colored squares with white, change the mode to indexed BW, scale the result to the appropriate size, in this case, 18X40, export png Cast on for EN or EON rib. Transfer all the main bed stitches down to the ribber. Extra stitches can be cast on and transferred in addition to the planned width of the repeats to create a border on either side of the designs. During patterning there will be stitches in work on both beds at intervals, so the pitch needs to be set to H while knitting. When the top of the piece is reached, transfer all ribber stitches to the main bed and bind off.
The first preselection row is knit from right to left in the contrast ground color.
With COR bring all the needles to be worked in the pattern color to B position on the top bed.
The knit carriage is set to slip in both directions. End needle selection is canceled. The ribber remains set to N/N for the duration. Knit to the left and begin changing colors every 2 rows.
The shape increases are created automatically, with eyelets at the edges where each stitch is picked up for the first time on the top bed. COL when the first needle is preselected in this case for the start of the next shape, transfer all previously formed design stitches on the main bed down to the ribber, continue knitting If any stitches are pushed all the way back or in mixed alignment during transfers,  be sure to return them all to B position, not disturbing the needles already preselected for the next pattern row,  repeat as needed. Because one color knits with every carriage pass while the other slips behind it not knitting for those 2 rows, the striped background fabric will become distorted depending on yarn and stitch size used, most likely particularly noticeable at the top and bottom edges of the piece.

Mosaics and mazes charting meet Numbers, GIMP 3

If working in Numbers, the solution to doubling the height of the final repeat for mazes or mosaics may be achieved by simply doubling the height of each cell prior to screen grabbing the table and processing the resulting image in Gimp. Here the cells for a single repeat in the table on the left are copied, pasted, and altered from 20X20 pixels to 20X40Working in 1800 magnification, using rectangle select, every other pair of rows is chosen and then color inverted. B: the process continues for the height of the repeat. Until each new pair of rows is selected fully, the last color inverted pair is bordered in a dotted outline C, useful in tracking the last worked location. As the subsequent pair of rows is selected fully, the dotted border will disappear. The processed repeat  Its tiled visual check  Proof of concept: the bottom half is knit using the slip stitch setting, the top half in the tuck setting. The added texture on the tuck stitch purl side makes the fabric a more interesting, reversible one, and wider than its companion.  For a different way of working with two-color initial images using only Gimp, see tips in Gimp update for Mac2.The process used on the beginning repeat, redrawn in 2 colors and then, in turn, elongated X2 or drawn double long to start with, tiled to check alignment. There are 2 options for altering colors in 2-row segments to achieve the separation, the first is color invert, the second is value invert, found in the colors menu. Both require color filling in of cells so as to obtain the final BW image, the value invert option, in this case, would require only filling in the green to white, but in managing larger images I believe having the additional colors make the process easier to track accurately. The color invert option will substitute a third color and white on every other pair of rows. Flood fill the original color 2 on rows containing black pixels with white, then fill color 3 pixels with black on rows containing white pixels: The mazes that are often seen in game-playing, puzzles, historical sources ie in Chinese design references, may not work out for knitting with this method, the result can be quite muddied.  I recently found a new to me online maze generator http://www.ludiculus.com/maker/mazes.html.  Changing the pixel width by default also doubles the image in height, making smaller designs for knitting problematic  This was a quickly drawn maze using it, shown with its cropped repeat on the right, then tiled. Numbers processing to ready the repeat for final gimp editing: The repeat when tiled predicts muddied results which are noticeable in the knit swatch. Because of the side-by-side areas with multiple white cells, the slip setting is used, not tuck. The single slipped lengthened stitches do not produce an easily recognized secondary design on the knit side Getting back to clearer pattern results: when using electronics, it is possible to create far wider and taller repeats for download. The technique to achieve them uses the same process. A new working repeat: its tiled appearance  My starting table in numbers with hidden rows, beginning to isolate a smaller repeat the isolated repeat, double-length the color separation in progress
When knit, that white cell pair of rows break up the overall shapes and shifts the pattern in the top and bottom half When I tiled my next draft, I decided I preferred a cleaner join at the center The final adjusted repeat knit using the tuck stitch setting in both directions, KCI, first row left to right, leading with the dark color and here with the lighter color In progress, on the km  the relaxed, 3D-ish view on the reverse why projects can take longer than planned The finished, relaxed scarf with pressed edges only, retaining the conical striped formsThe repeat knit double length, changing colors every 2 rows, becomes something quite different, with a sharp curl to the purl side

Numbers and GIMP: online punchcard patterns to electronics

There is a Russian website with a treasure trove of machine knitting patterns, some for 12 stitch models, and extensive collections for 24 stitch models including for fair isle, lace, and single motifs. For a follower up post on this topic see Numbers and GIMP: online punchcard patterns to electronics 2. There are pull-down options to show the full repeats charted for Silver Reed (default), Brother, and Toyota brands. The numbering system on the right of the cards will be shifted to the appropriate starting line, but the images themselves do not seem to adjust the placement of the punched holes themselves when that is necessary for correct knitting when switching km brands. The collections begin with the longest repeats. One such repeat  I have never had an interest in owning DAK. That said, their Graphics studio seems to offer an interesting range of design possibilities. The machine knitting groups in FB have recently had questions submitted on how to convert the site’s charts for use to create downloadable .pngs.  In response, a member, post has been sharing videos in Russian explaining some of the pertinent processes (my editor is refusing the Russian characters for her name). Those of us who are Mac and Gimp users need not be left out of the process, the conversions are achievable with the investment of a bit more time and patience. The charts as given cannot be successfully converted to the indexed mode and scaled in Gimp to produce readable patterns. One solution is to combine the use of a spreadsheet table, in my case created in Numbers, combined with Gimp design options. I assume similar steps could be used with Excel tables. Prior knowledge of the basics for both programs is required.
It is easier to test how-tos beginning with a source diagram that has larger, more readable dots representing the punched holes. This was found on Pinterest The units in many such illustrations are not square, and the goal is to end up with a .bmp where each square unit represents one stitch, one row. The cell size I prefer in Numbers tables has come to be 20X20. This particular design is 24 stitches wide, 60 rows high. To make it workable in that cell size, the repeat is opened in Gimp, cropped to its margins, scaled to 240 X 600 pixels, and the new image is exported.
Drag and drop the image onto a new sheet if working on a previously created Numbers document. Click on the image, and then on format/ arrange to resize it to the desired proportions,  A table is then created, 24 cells wide, 60 high Resize the image if needed to match the pt table size, in this case, to 480X1200. Adjusting the size by using the arrows to the right of the size option gives more accurate control than simply dragging on points on the original image. Turning off constrain proportions will allow for tweaking the size as well if needed. On the left is the first table image, to its right, the resized punchcard pattern Select the whole table, by clicking on the circular symbol at the upper left,  Alter the cell borders to a bright, contrasting color. I chose red, 3 points thickness Move the table over the punchcard image or the reverse. The arrange option may be used to place either in front or back of the other as needed Using the command key select individual cells or cell groups, release the key, fill with color The repeat in progress Copy and paste the completed table. Make certain there is a different color cell in any white squares at far corners of the image, in this case, upper right and upper left (yellow), remove cell borders .screen grab a larger area than the repeat on the right, open in Gimp
.choose crop to content, that will eliminate any extra surrounding cells
.fill the contrast color squares with white
.choose image/mode/indexed/BW convert
.proceed to scale the image. In some instances, this needs to happen in 2 steps: the first may be scaling up to make certain both values are divisible by 20, the second to scale down to the desired repeat size of 24X60
.prior to saving the .bmp for download, magnify to at least 800, with the grid in view as the first visual check, also tile to make certain the design lines up properly in repeat, in a way that is found pleasant or at times, to be avoided. One needs to have a basic understanding of punchcard illustration markings, and often the repeat required for use of the design in electronics may only be a very small portion of the total one offered in the publication. The extra rows representing perforations that are not part of the design and may be cropped off in Gimp. This repeat is what began the FB discussion Making the marks more visible is possible by changing number values as well as by moving the slider immediately below the input levels Proceed as for the first image, being mindful of an unnecessary row at the bottom. The saved image can be tweaked in size by turning off constrain proportions and adjusting values for width and height for proper placement under the table grid it soon becomes evident that the card is composed of smaller repeat segments, which in turn can be copied and pasted making for quicker work the isolated repeat tiled The far longer repeats might best be managed broken up into sections. This is part of #6717, shown in the process of trimming unwanted info in Gimp and after adjusting color levels to create a sharper image. The converted, partial punchcard repeat What of the lace punchcard repeats? There seems to be no differentiation between the different types of lace on the website: thread lace, simple lace where stitches are knit and transferred in a single pass (a Silver Reed/Studio special), and lace requiring the use of 2 separate carriages and passes, one to knit, one to transfer are all grouped together. In addition, the pull-down menu if used will change the numbering on the side of the card, but not the design content  The conversion process intended for the final use on the Brother machine: the image on the far right shows a review of the proper placement of pairs of empty rows between lace segment sequences, highlighted in grey In the past I have found lace repeats, in particular, to be particularly cranky when scaled down in Gimp due to the paucity of black cells. After the above steps, I decided to try color invert, resize, and color invert again, which in this instance, produced what appears to be an accurate repeat. Of course, the final .bmp is likely to need mirroring for use in some electronic models The process did not work for me in using Gimp alone to edit test repeats from the website directly. The white dots, in that case, disappear with scaling to the desired size.
Using resize X 2 with color invert and back with a Stitchworld pattern image got me closer to an editable lace repeat using Gimp alone, worth considering in the future. Practice with using both programs in sync can make the progress a very quick one.

Weaving drafts as inspiration for other textile techniques

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

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

120High Seas120

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

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

99 Hi seas99easier to see and/ or count units, clear tiling: 60hig seas 60enough to easily sort out repeats: 30hi seas30

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

hi seas30 repeatimagining possible related borders screenshot_51a more complicated draft kiss me you fool 99isolating the much larger repeat kiss me you fool REPEAT

kiss me REPEAT

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

got a draft from an online pub? always good to start with a recognizable,  simple design screenshot_01isolate the repeat (GIMP):  crop tool and size control154crop

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

200_11_11gridtiling test: looks like a match!tiled_04

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

an additional draft, the same process

3ae712f7a512a61537a3983aff9d98b2

second sample

screenshot_07

screenshot_08

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

windowscrop croppencil brushpencil

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