Software – Page 11 – alessandrina.com

Illusion DIY patterns in crochet

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

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

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

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

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

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

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

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

Return to circles, knit and crochet “pies” 1

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

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

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

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

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

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

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

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

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

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

spirals produce a rounder shape double crochet echoes the forms

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

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

if donuts are the goal: find your round

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

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

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

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

MK ladders, and a bit of crochet

I have recently been thinking about collars and edgings again, this time adding crochet detailing to help cut the edge curl and add interest. In a previous post, I showed an edging done in drop stitch (double bed lace). Here to simplify things, I decided to work with ladder spaces to create the fabric. If a large width of this fabric is required, multiple bands would need to be joined to achieve it, crochet is then applied in turn to the finished knit piece. Seam as you knit can make the joining nearly invisible. Using Excel, I tried to also create crochet symbols using its shapes menu. The number of rows knit in open pattern or all knit prior to binding off is at your discretion, depending on your needs and planned final product. For my sample I began knitting with COR, and to end with COR for bind off row, I chose to work with even numbered groups of rows. Consider fiber content if the intent is to permanently block as flat as possible, or not.

my chart symbols

needle set up, waste yarn cast on, knit for the desired length bring one empty needle into work knit one row, bring remaining empty needle into work knit one row knit rows desired for top band transfer eon from L to the right latch tool bind off around gate pegs for all needles/stitches

do not cut yarn, lift work off the machine; turn work over (knit side facing)
chain 5, slip stitch into eyelet created by transfers, repeat across the knit, end with a slip stitch into last eyelet space detail_4121 turn work over (purl side facing once again), chain 3, 2 double crochet, slip stitch into the center of chain 5 space, repeat across the knit, end with a slip stitch into last chain 5 space unblocked trim, 2/15 acrylic yarn

detail after steaming, the trim is side leaning

To use: rehang open stitches on every needle (or other arrangements) eliminating ladder spaces and bind off, join to another piece of knitting, etc.

A bit of holding 5: intarsia and more 2

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

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

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

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

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

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

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

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

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

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

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

Revisiting miters, spirals, going square, round, and more

There are times in knitting when math becomes a necessity. With online libraries, tools, and fairly intuitive software, drafting angles and shapes is now much easier. I will be teaching a class that includes miters and spirals at a seminar next month, leading me to revisit the topic. Most published pattern instructions will give starting carriage locations, but shapes may be constructed counterclockwise or clockwise depending on preference. With an understanding of how the shapes are formed and stacked, they may in turn be automated (depending on their size and the type of km) using the slip stitch setting. Stitches that are to be knit on each row are programmed as pixels, black squares, or punched holes.

Miter shaping may occur on the side or in the center of each triangular shape; a minimum of 2 knit rows usually occur at designated spots. Adding more knit rows and playing with angles of triangles will create ruffling effects, other angular shapes, pleats, and more. I have returned to using Mac Numbers, their shapes, and charts to generate most of the images below. Here the colored areas represent knit stitches, white negative (white) spaces stitches in hold. Red lines represent all knit row(s)/ spots for seaming at the top and bottom of sequences. Seaming is easiest when done by joining all knit rows. Stitches are always brought into hold opposite the carriage side and returned to work on the carriage side. In the shaping guide, COL= carriage on the left, COR= carriage on right.

knitting each segment

COR COL

Yellow triangle segment: bring all needles out to hold, and push them back into work on the carriage side at the determined rate until all needles are back in work. Green triangle segment: with all the needles in work, begin to bring stitches into hold opposite the carriage at the determined rate until all the needles are in hold.

If seaming is desired in miter shaping with resulting eyelets at the sides of the triangle, the full wedge is split between the top (yellow segment) and the bottom of the piece (green segment). Knitting always starts with at least one or 2 rows of knitting (depending on whether the finished shape is to have a grafted seam. For the full wedge: * yellow segment, bring all needles out to hold, and push them back into work on the carriage side at the determined rate until all needles are back in work. Reverse shaping with green segment: with all the needles in work, begin to bring stitches into hold opposite the carriage at the determined rate until all the needles are in hold. End with knit rows (red line) across all stitches*. Repeat from * to * for the desired number of full segments, end at the top with a yellow segment if needed, followed by a knit row(s) (red line) before binding off or seaming.

shaping with resulting eyelets at the sides of the triangle: the final shape CORthe knitting sequence with top/bottom 1/2 triangle segments shown

COR COL

For miter with shaping and resulting eyelets at the center of the triangle: begin with all knit row(s) (red line) at the start. To shape a full wedge: *green segment is worked bringing stitches into hold opposite the carriage at the determined rate until all the needles are in hold. Shaping is next reversed with the yellow segment, pushing needles back at the determined rate until all needles are returned to work. End with all knit rows (red line) *. The sides of this miter are all knit rows, an easier place to seam/ graft joins if needed.

shaping with resulting eyelets at the center of the triangle: the final shape CORthe knitting sequence

COR COLa tiny test shaping at side shaping at center

In the following images, the red or blue lines indicate seams or joins

segments composing a square shape
adding squares or rectangles to alter the square
adding triangular segments: hexagon expanding it with rectangles, shaping at sides
shaping at the center hexagon extra_seams going 3D: triangular pocket with the point at the center

combining shapes: this one is often seen in tams (hats); bottom shaping is on only one side, and at the top, it occurs on both sides

tam1 tam2 adding rectangles or squares to alter the shape
tam3

bringing needles out to hold opposite the carriage

Spiral stack 1/ green full triangle: knit row (s), *with all the needles in work begin to bring stitches into hold opposite the carriage at the determined rate until all the needles are in the hold position, end with all knit row(s) (red line).

COR COL

Spiral stack 2/ yellow full triangle: knit row (s), *bring all needles out to hold, push them back into work on the carriage side at the determined rate until all needles are back in work, end with all knit row(s) (red line).

COR COL

3D spiral

If the object is to construct a circular shape, the greater the number of panels, the smoother the outer edge of the piece. Some of the pie-bilities:

In all instances above the radius and therefore 2 sides of each wedge remain equal in size, and therefore are composed of the same number of stitches. The triangle knit to achieve these shapes are isosceles triangles, where 2 of 3 sides are equal in length and in this case, the number of stitches. The 2 equal sides are usually referred to as legs, the remaining one as the base. The 2 base angles are equal as well. The remaining angle is the vertex one. In knitting, this will be the pivot point for the wedges, the center point of the “pie” shape. In the illustrations below the vertex, angles are marked by blue dots. Its angle value is the first represented in the numbers immediately below each shape, with the other 2 numbers indicating the remaining, equal 2 angles. The sum of all 3 should equal 180 degrees. Taking it to a shape: octagon (half the total # of wedges shown). In colored shapes spiral, stacking equal triangles is shown on left; full triangle, divided into 2 segment shaping for miter on right.

Oh, yes, the math! The desired shape may be drawn to scale using any number of tools. Wedges may in turn be shaped following the scale drawing on any charting device such as knit-leaders, or stitches and rows required may be calculated on actual full drawing measurements. In knitting, the equal sides (AC, AB) of the triangles are formed by stitches and the height of the triangle (CB) by rows. If the finished size matters, an accurate gauge is required. One approach to calculating the base (CB) is to think of the whole shape as a complete circle, in this case, divided into 8 “pie” wedges, with congruent sides (radius) measuring 10 inches each. To find the circumference of the circle, multiply the diameter (20) inches by pi 3.14 = the total in this case, of 62.8, rounded off to 63. Divide that number by the number of sections (8) = 7.85, rounded off to 8 inches (rows). If the stitch gauge is 6 stitches and 8 rows per inch, each triangle would be 60 stitches wide, and 64 rows high. Holding happens every other row, opposite the carriage, so the total number of rows is divided by 2 = 32 for knitting a spiral. The stitches are distributed along one edge over a total of 64 rows in height. The goal is to reduce the shape down to the next to the last group, followed by two rows knit over all the stitches at the end of each section. This will cause a small hole at the center of each completed pie due to extra rows knit. For a miter 2 triangular shapes are required for each wedge, so holding sequences are recalculated with shaping now occurring over 16 rows for knitting a miter.

An online calculator is available to help calculate the number of stitches brought into hold opposite the carriage or into work on the carriage side, sequence preference should be tested on swatches where the gauge is significant

spiral miter

Magic formula (X represents times)

In the photo below I chose to start with all the needles out to hold, pushing them back into work across the knit for the spiral. For the miter again, I began with all needles in the hold position, pushing back the required needles into work; for the top half of each wedge needles were returned to hold opposite the carriage at the same rate, forming the upper half of the “pie slice”. The swatch is not worked at the same rate as the shapes calculated above. It is shown on its purl side with color changes to highlight the intersections where wedges begin to repeat. The yarns used are random acrylics, in different weights.

A previous post on short-row knitting with links to other online sources 2013/12/18/holding-stitches-short-rows/.
A category search in my blog roll for miters and spirals will link to blog posts including pies:
2011/06/18/knitting-math-and-pies1/
2011/06/22/back-to-that-pie-a-bit-of-holding/ breaking and mixing up pie wedges:
2014/07/21/miters-and-spirals-visualizing-charting-and-more-3/ .
A garter bar short row trim:
2013/02/28/garter-bar-short-row-trim/.
Charting shapes: using Gimp and Mac Numbers:
2014/07/14/miters-and-spirals-visualizing-charting-and-more-1/
Executable charts and shapes, automating them with slip stitch:
2014/02/24/holding/ short-rows-hand-tech-to-chart-to-automating-with-slip-stitch-1/
2014/02/20/wisteria-cousin-revisited-holding-using-slip-stitch/
2013/01/21/automating-pleating/ 2013/12/28/short-rows_-balls-tams-3d-rounds/ 2015/09/07/a-tale-of-2-donuts/
2011/03/29/lace-meets-hold-and-goes-round/
2011/03/29/the-doilies/

Cellular automata charts for knitting, etc.

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

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

then there is this

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

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

A visual guide to automata “rules”

Weaving drafts as inspiration for other textile techniques

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

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

120

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

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

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

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

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

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

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

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

tiling test: looks like a match!

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

an additional draft, the same process

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

crop pencil brush

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

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

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

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

Working with generated mazes: GIMP charting 2

My previous posts on using gimp to generate charts and images suitable for knitting: 1, 2, 3, 4. I am working in Mac OS 10.10 now, so there may be some variations in results from earlier OS or for Windows versions users.

the edited repeat from the previous post

It is possible to knit this design in DBJ with the same separation as for knitting it as a maze, both are 2 color slip stitch patterns, the maze separation is less laborious. To process for use in DBJ, the image needs initially to be doubled in length. The easiest way to achieve this is to create a new gimp document, several times the size of the repeat, select and copy the corrected repeat, in turn pasting it in the new, larger canvas. I used 40 by 60; color 1 is red, color 2, white, most of my charting is done at 1,000 times magnification

drawing a vertical line in nonpertinent color to border areas having several rows with no second color present, as seen below, may help define end or start of selections when attempting to invert colors. Color invert may be achieved in RGB mode, not indexed. Below the inversion occurs on “even-numbered” every other row. The program in my OS now showed the previously red squares in blue, the alternate squares in black.

After using color invert, nonpertinent color (blue) may be erased (using the pencil tool, each square on the grid is a single-pixel) as well as those yellow “border” squares. In the image below the black squares on the left represent all holes that will be punched out in the card. One drawback of this program, because of the scale using single pixels, is that no text to include row numbers etc. is possible. The final repeat is 10S X 44 R.

If one wants to avoid using double length in the automated machine settings, the image of holes to be punched may be doubled in length. To do so color mode needs to be changed to indexed (4 colors) to retain image clarity. screenshot_19

fabric knit in DBJ, long stitch on left, bird’s eye backing on right

Maze and mosaic knitting, my previous posts: drawing motifs, from design to pattern (Excel), from pre-punched cards, and references and pubs. The repeat worked out for slip stitch and edited down to 2 colors. Again, the black squares on the left represent all holes that will be punched out in the card.

To further mark the repeats in blocks, making charts easier to follow in absence of numbers, the subject of drawing straight lines comes up. Most of the online tutorials for using gimp are for its Windows version. The pencil tool may be used. Normally, tool options are displayed in a window attached under the Toolbox as soon as you activate a tool. If they are not (Mac), you can access them from the image menu bar through Windows â†’ Dockable Windows â†’ Tool Options, which opens the option window of the selected tool. In theory “Ctrl: this key changes the pencil to a Color Picker. Shift: This key places the pencil tool into straight line mode. Holding Shift while clicking Button 1 will generate a straight line. Consecutive clicks will continue drawing straight lines that originate from the end of the last line.” On my Mac, I worked out this method: 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.

windows: dockable items

separation for maze knitting 10S X 22R, elongate X2
knit as a single bed slip stitch, changing colors every 2 rows as dbj

The dropped stitches were a problem when using the ribber on one of my two 910s, that adventure can be the topic for another post.

Working with generated mazes: GIMP charting 1

Laura Kroegler shares an online generator for “mosaics”, unikatissima offers them for mazes and cellular automata. Representations of such patterns have cropped up in relation to hacked knitting machines and electronic downloads such as those seen in the Claire Williams blog, and in published information by Fabienne, who of late also has a Kickstarter project. Such patterns may be charted for hand knitting or for use on punch card machines once the size of the repeat is taken into consideration. Mirroring either vertically or horizontally can make the image far more interesting, but that has to be a consideration in planning if the stitch repeat has a constraint of a 24 stitch limit. A beginning unit 6 stitches wide will allow for the horizontal mirror to be repeated twice on the punchcard. The minimum punchcard length is 36 rows. The maximum scroll down to height in the Kroegler generator is 20, so for the least punching, an 18-row max would “fit”. The caveat here is that if the generated pattern is to be knit as DBJ or as a single bed slip stitch, those 18 rows need to be color separated accordingly. For the design to be charted out easily, it may be saved, and then in turn gridded in Photoshop or Gimp with the grid matching stitch size in the generated pattern preview (ie below note X and Y values are 5 X 5, so grid used would be 5 X 5 pixels as well).
After reviewing the tiled generated pattern, the image may be carefully captured from the screen and saved. I worked with an 8-stitch repeat for my tests. Below are screen grabs of the resulting patterns after some of the various options offered were tried. Mirroring this repeat horizontally makes it too wide for a punch card (16 X 2=32).

using a 5X5 grid after capturing a portion of another generated image, using a simple 8X8 repeat, outlining single repeats, thinking punchcard machine

checking the result tiled to predict possible knit “look”

If working with a 6 stitch repeat, horizontal mirroring becomes possible for punchcard machines, perhaps making things more interesting; the program can generate a single repeat as a png, and punching holes is a drag so maybe length remains on the short side in anticipation of the punching holes and color separating for knitting the motif as either DBJ or single bed slip stitch, so here goes: having the generated image produced so each stitch and row is represented by a single pixel allows one to work within any program preset to superimpose a 1X1 grid:

my saved png, supposedly for an 8X12 repeat gridded in gimp, revealed as 11W X 23 H

testing tiling: oops!

the trimmed repeat, eliminating double lines, 10 St W X 22 Rows H

tiled, looking closer to original, and then there is the knitting of it if one chooses to do so as single bed “floatless fair isle” as opposed to double bed dbj

For the latest version of gimp for Mac OS, version history may be found at the gimp website, for Mac Yosemite and Mavericks’ latest information on version 2.8.14.

2020: latest Gimp update for Mac, my Mac OS: Mojave 10.14.6, now swatch testing on a 930 with image2track cable and software, which allows for easy use of larger repeats. Newer thoughts and observations: the maze can be generated using only black and white. If all boxes for options are checked as seen below, there will be shifts in the overall design. A small, working BMP may be saved for download, but only part of the overall repeat will be selected by the generator. Quitting the generator, and opening it once more entering the same options will generate a new image, so saving and naming each is a good habit to form the BMP in Gimp, explored in two renditions, eliminating double lines The proof of concept swatch for the version on the right and knit in tuck stitch the double-length BMP ready for knitting, 14X68

One more, using different option selections the BMP in Gimp, explored in two renditions, eliminating double lines My latest process for the required color separation