Reducing figurative designs to repeats for knitting on a low needle counts results in loss of definition.
Filet crochet charts can serve as a starting point for repeats, but usually are planned on more than equivalent 24 stitch counts, so results of adapting them are often usable on electronic machine models only.
The knitting technique used to execute the design determines whether the lengthwise aspect ratio is affected or not.
1: the source image
2: processed using Mac Numbers
3: opened in Gimp
4: the grid color can be altered to view and match stitch counts
5: the color reversed image to visualize the possible appearance of doing so in the knit
6: a small border frame is added, bringing the figure color to the edges of the knit piece, and the figure is mirrored, helping to make a choice about its orientation on the the knit side 
Depending on the model machine used, the motif may appear as drawn on the purl or on the knit side, mirroring it when direction matters may be done using machine settings or mirroring before download.
On my 930 mirroring was not necessary, the swatch was knit on 40 stitches, with the added frame.
The figure alone, 35X72 pixels 
shown on 6X6 grid blocks
A DBJ swatch with birdseye backing 
A sitting companion, inspired by random Pinterest find, processed using ArahPaint, not knit tested, 49X65 pixels 
shown on a 5X5 pixel grid 
Graduating to pillow or blanket size, a bit of romance in advance of February, from a Priscilla Filet Crochet book, the original was in a nearly oval format.
A border was added to complete the original to full oval shape,
black pixels were added to complete the inner shape, and the BW image was extracted and saved.
Working in RGB mode, the border needs to be adjusted for symmetry, not fully complete here, and bucket pattern fill may be used to customize it or any frame 
the 117X154 modified oval chart and png 
color inverted 107X154 for DIY modifications to other shapes 
A 137X184 RGB version with editable border 
Mythological inspiration from a Priscilla source
A: the original
B: processed with GIMP
C: processed with Arah 
the final png chart, with some pixels removed 
and the 118X54 png 
A 142X81 pixel version that includes a border 
From previous posts:
74X54 Celtic design 
43X53 squirrel 
This image is not from a filet crochet chart but from one of my Studio 560 mylar sheets dating back decades. It is used to illustrate the possibility of mirroring in different directions to produce far larger designs ie wall hanging or blankets.
Alone it could serve as a scarf, with the image rotated and perhaps even mirrored at the opposite end of the scarf to match directions when draped around the neck 
The 60X50 cell repeat 
It takes a few clicks of a mouse and a couple of program windows nowadays to make the addition of single cells at the top, bottom, or sides of such large designs that avoid tiling intersections with double cells if that is the goal.
It is also easy to manipulate the chosen designs to visualize the appearance of a final piece. Printing the pixelated results in a larger format can aid informed choices before any actual knitting.
Adding a single cell blank column on the right, and one with a few pixels on the bottom a blank row on the top, 61X52 
in a 122X104 repeat that with coordinated borders could approach the use of most of the needle bed 
with the initial shape mirrored horizontally and then drawn in repeat a column with double pixels appears again at the center of the design 
staying with that, but making shapes go around 
Category: Software
Seasonal knits inspired by published repeats 1
In previous posts, ie Numbers and GIMP: online punchcard patterns to electronics 2, I shared some ways of converting online images from varied published sources.
This series was edited using primarily ArahPaint and some Gimp, both are available for free.
DAK users have the ability to achieve similar results in that universe, producing stp proprietary files. There is no export (or import) available to other formats ie png or bmp possible.
Fair isle is not in my preferred wheelhouse, especially in season specific designs, but that said, I have been sharing these repeats in the FB machine knitting forum and thought I might make them available to others here as well.
The pngs are editable for further DIY modifications.
24X189
24X94 
24X85 
cropping given repeats for desired tiling, # 1068 
the original 24X119 png 
cropped to 24X105 
My first encounter with “naughty reindeer” was during a Brother dealer-sponsored small machine knitting club meeting. A present update, using a Pinterest find as the source 
the original 24X60 
with 2 rows added to 24X62
in brick repeat, 24X124 
A 40 stitch Madag design 
40X68_1 
40X68_2 
A 24 stitch version, with the moose, and without 
the original, 24X152 
cropped to 24X118 
with the moose edited out, 24X84 
Snowmen and trees
24X120
24X50_1 
24X50_2 
testing tiling before knitting, editing out unwanted symbols 
the original 24X99 
the edited 24X74 
As a 24 stitch repeat, this is suitable only for single motifs, since repeating them horizontally would join the darker ball shapes. Adding a blank pixel column on the far right changes the horizontal alignment. A few pixels added at the top of the motif form an unbroken join vertically, the final 25X146 shown on the right 
This Santa was identified as being attributable to Knittery, a company long defunct that offered pre-punched cards for purchase. Images where the background is punched out make it possible to introduce striping it with the color changer or using the chart for duplicate stitch embroidery on a knit ground. 
the original, 24X38 
in half drop, 48X38 
and in brick repeat, 24X76
the original, 24X185 
with the elimination of some rows, first at the very top 
and then just above the snowman’s hat 
the final 24X182 png 
The question as to how to adjust repeats for use on 12 stitch knitting machines often comes up in forums.
Continuing in the seasonal vein, the easiest method is to begin with a 12-stitch repeat that occupies only half of the card vertically and twice in width. Here the original “half” is 12 stitches wide, 46 rows tall.
One method for the conversion is to work on a spreadsheet:
Begin with a table 24 cells wide, adding enough rows to the expected planned height to repeat the snowflake border, 46 cells in total
configure the cell borders for easy viewing, ie with a 3 pt red lines
hide 12 columns beginning with the second from the left
fill in black cells matching the original design or the DIY version
unhide all 12 columns for the final repeat 
When converting the screen grab from a spreadsheet to png in Gimp, before scaling to final size, a first scaling may be required to make certain the result is divisible by the expected number of stitches and rows using the broken chain link, and then scaled again with closed chain link, the first png 
Working in Gimp or any paint program
draw the “original” and save it, mine now has 2 added rows, one above and one below the deer, making it 12X48 pixels 
scale it to twice the original width 
configure the grid properties for contrast/easy viewing
fill in every other column with white using a straight line white pencil. To do so, select a pixel with the mouse, hold the shift and command keys down to draw the lines, and release the mouse to stop. The first white pixel may be placed within an easy-to-follow section of black ones and then the mouse may be held and moved up and down to complete each column. Save the result.
Proof that it is always a good idea to draw the initial image in repeat before committing to color separations or any downloads and actual knitting: 
Two possible alternatives in adjusting the design to one’s preference are marked in 6X6 grids in ArahPaint to match markings on blank Brother factory blank cards:
the first removes a snowflake border and is reduced to 12X39 pixels, 
the second adds 4 rows at the top of the second snowflake border, 12X52 
the number of rows between motif segments can be varied for planning the introduction of stripes in added colors 
If only Gimp is available, I have not found a way to vary colors in grid borders in blocks other than to use guides, appearing as dotted blue lines. 
A break from reindeer, teddy bears and hearts follows, perhaps for a baby gift or to save for Valentine’s Day. When clear horizontal borders are added to motifs, the half-drop repeats will produce mixed results. 
the pngs:
24X39
24X78 
48X40 
24X60
24X30
48X30 
24X26
24X52 
48X26 
Bell motif variations 
24X30
24X48 
48X24 
The last in this series, a nutcracker motif inspired by a larger scale cross stitch design, reduced by me to a workable 24 stitch MK design with varied borders and collaged small motifs in the background 
24X101 
24X87 
24X87 with added background designs 
Considerations in choosing a design are guided by its end use, tiling the repeats leaves fewer surprises in any actual knitting.
This might appear in casual observation to be a “snowflake”.
The full 25X25 pixel version can be isolated, with matching fragments around the whole. Magenta lines indicate cropping points depending on end use if double stitches not immediately obvious or planned are to be eliminated. 
A: the full design as a potential knit border
B: trimmed a one-pixel width column on the right to 24X25 while retaining matching top and bottom rows 
C: trimmed the single top row as well to 24X24 for an all-over execution, drawn in repeat for an opportunity to evaluate whether the design as it now appears produces the initial imagined shapes and effect 
Then there is the optical effect change that happens with color invert, for which an easy test may be made during knitting by simply switching yarn color positions in the knit carriage sinker plate
24X24
12/2024 additions beginning with punchcard suitable repeats
24X44 from unknown web source 
24X68 
StitchWorld 3 #75, 32X34
StitchWorld 2, 40X64 
inspired by a weaving chart: diamond diagonals with interior flakes, 40X41
#5383, 24X255
gone skiing #6669, 24X149 
#5697, 24X120
Swatches based on adapting random online published repeats
I still surf Pinterest daily and often encounter published punchcard repeats that catch my eye.
Many need some interpretation and editing for use in specific machine models.
The first inspiration: 
is knit using 4 colors, alternating 2 rows of a base color, then rotating color changes for 4 rows for each of 3 contrasting ones.
Counting up from the bottom of the illustration after the marks for the typical two all-punched rows, it would appear this is a Studio punchcard, but starting row 1 as visible outside the card reader can simply be changed for any other brand knitting machine.
The every other stitch configuration is for an every other needle repeat used in early machines such as the Juki.
A full reference volume 
An illustration of the card use 
If using thicker yarns on a standard machine that grinds at the loosest tension, this configuration can retain the full design while knitting every other needle/EON.
The adaptation began using Mac Numbers, the repeat was isolated and traced, and the 12 blank columns were then hidden 
producing a result scaled in indexed B/W mode to 12X36 pixels. The tiled design, checking alignments. 
The proof of concept 
Periodically tuck stitch designs that appear to break the usual rules for the stitch are discussed.
This design is intended for a push-button machine capable of 24 stitch repeats, uses symbols in the associated chart interpreted to mean tuck loops form for 2 rows and knit along with all other stitches every third row. 
The working repeat is made up of 8 pixels in width, and 36 pixels in height. 
This next design is likely published for use with the Studio color changer, which is marked with letters for each color, 
rather than with numbers as in Brother models. 
It is intended as a slip-stitch. The bottom swatch relies on color changes every 3 rows, which would need to be performed manually.
In the elongated version, colors are changed using the color changer, every 6 rows. 
The design was first tested in thin yarns using the electronic 24X84 elongated PNG 
tested for alignment 
and displays interesting 3D variations, the purl side is remindful of shadow pleating 
Changing colors every odd number of rows is a tad fiddly.
The use of the color changer is not an option.
With the three yarns fed through the yarn masts, it became hard to keep them from twisting around each other. Ultimately, that problem was solved by hand-feeding one of the three colors with the cone on the floor, in front of the machine, as one would place yarns for weaving.
Brother knitters are familiar with yarn placements in the sinker plate.
Position A is for knitting when using only one color or for the ground color in fair isle patterning. There is a “gate”, which is closed, and the B color/contrast motif color is placed in that front position, knitting the yarn in needles preselected to needle position D on the next carriage pass.
It is tempting to leave the gate open when switching colors by hand frequently, and that may work for a while, providing tension is placed on the yarn manually to keep the yarn back. If at any point the yarn shifts forward (green arrow), with no needles in position D, stitches will be dropped.
Textured stitches can make for more complicated correction of errors or dropped stitches.
Taking the extra seconds to close the gate (red markings) after each color change avoids what became fondly known as “dropitis” in my classes. 
The proof of concept: two of the yarns used were acrylic, so steaming to reduce the curling of the swatch flattened the texture. 
At one point Studio published a newsletter with cover art composed of simple drawings, such as this, for #143, which spiked my curiosity, 
and led to these explorations:
the pattern and symbols refer to tuck stitch, but technically the design is executed using short rows and transfer techniques.
The programmed repeat selects needles, making tracking actions easier.
End needle selection is canceled.
No cam buttons are in use.
The knit carriage is set to hold.
Stitches on the single needles selected on rows, 2, 12, 22, etc, are transferred onto the needle on their left. The empty needle is then pushed back to A position, out of work, creating a ladder.
The groups of 3 preselected needles are pushed out to hold, the D position, before continuing.
After every 2 rows knit, a stitch on the left is pushed back into work, until lastly, the empty needle is returned to the B position.
All needles will then knit for one row filling in the empty needle with a loop and a full knit stitch on the next pass where transfers begin again. 
A brief summary of stitch manipulations 
Images of the work in progress, a small claw weight single claw hung on edge stitch helps keep side edges equal in length:
preselected needles initially manually brought to hold position after the first carriage pass to the right
after the second carriage pass to the left, with the first needle on the left in each group pushed back into work 
the second needle on the left in each group is returned to work
one needle in each group remaining in hold pushed back into work 
at this point the empty needles have been brought to the B position, 
single preselected needles have been transferred to the left, and a pass is made forming loops on the empty needles/ eyelets 
The original 18X30 repeat, some machine models and download software may require that it be mirrored horizontally, 
repeated to 44X30 with a planned distribution of plain stitches at sides, knit in 2/18 wool blends: 
Converting random transfer lace designs poses different challenges, and since the time at which the reference post was published, there have been several Gimp updates.
Lace designs contain few black and white pixels and, at times are brand-specific. Multiple transfer lace in Studio models begins with 2 blank rows, while Brother begins with a design row, and ends with 2 blank rows. As given, the inspiration repeat is designed for Studio/Silver Reed.
When using any program, ie Gimp, ArahPaint, or even Dak, the original scanned or screengrabbed design needs to be aligned horizontally and vertically to window borders for accurate conversions.
Gimp:
Before any scaling of images, establish stitch and row counts. In this case, they are published as being 16 stitches X 96 rows.
The process for converting the same lace design using Gimp 2.10.34 on the Mac, beginning work in RGB mode:
1. drawing a straight line to the side of the cropped image reveals a slight lean to the right
2. using Image, Transform, and Arbitrary Rotation -0.30 improves the alignment 
3. using the rectangle tool, crop to the borders of the published image.
In this instance, the cropped image measuring 199X938 pixels is at first scaled to multiples of 10 for both width and height, note the broken chain link
4. 160X960 pixels. 
5. Image mode is changed to B/W indexed, and the image is scaled once more to 16X96, the size of the expected repeat, note the intact chain link 
6. the final repeat, when studied, matches that from the results in the previous post 
1: the result using ArahPaints tools, including its guess weave from grid, compared to
2: the Gimp final image and
3. borrowed from the previous post illustrating other considerations before actual knitting, 
which include:
if using the repeat on Brother machines, the first 2 blank rows of the design are shifted to the top.
The 16-stitch design width makes it suitable only for electronic models.
The final PNG is actually downloaded as a fair isle pattern while maintaining the required needle selection for lace, and the knit carriage remains set to knit throughout while the lace carriage selects and transfers.
The machine, depending on the model, may by default mirror the result vertically, so the final PNG can be mirrored and saved as here, prior to knitting on the 930, 
or the mirror function in the machine may be used after programming.
I prefer to save my files in the orientation required for the actual knitting as a means to avoid confusion or errors.
Working in Arahpaint, rotating an image turns it on its center point. To rotate a layer, selection, or image, from the Image menu, choose Rotate. 
Selections can be made at offered angles, or specified degrees can be entered in the degree field, or select an area, move the pointer outside the bounding border, and then drag on any one of the small boxes at each corner while pressing the left mouse button. 
To align the image,
1. load the lace inspiration
2. choose Image, select Rotate Image, and draw a line that follows the orientation of the image. The color will be based automatically on the palette being used, and altering the pencil pixel size or color has no effect.
The program then rotates the image and will inform you of the rotation angle, and the drawn line becomes straight.
To confirm alignment, click the OK or Close button in the Rotate Image window.
3. use the rectangle tool to select the content for the full design repeat, and crop the aligned image to the selection. 
4.-9. continue with the steps using the tool Guess Weave from Grid, producing the same final PNG. In summary, they are:
4. crop the selected image to size
5. change the color palette to 8-bit, adjust background and foreground colors
6. reduce the number of colors to B/W, adjust the threshold, and set the number of colors to 2
7. the resulting image
8. use the guess weave from the grid tool, crop the bounded image to the selection, magnify the results to visually check the repeat, and save the PNG if satisfied
9. the final 16X96 pattern design repeat, matching the Gimp result. 
The associated swatch 
This Pinterest find is credited to Tatiana Demina, and is intended for use on Studio punchcard machine models. 
Studio machines are capable of transferring and knitting in single carriage passes. Studying the image of the card, it can be seen that there are no blank rows anywhere, and punched holes on alternate rows indicate transfers alternating first to the left, and then to the right.
The swatch was knit using the same technique described recently in the post Unconventional uses for punchcards 2: thread lace cards for “filet” mesh
The original 24X56 design 
was lengthened X2 to, shown here also doubled in width to 48X112 
to match the direction of the transfers, the hint offered in the inspiration source can be followed down to indicate the first row of transfers need to be made to the right, 
hence the knitting begins with the knit carriage on the left, the lace carriage on the right. As the LC moves to the left it preselects needles, and as it returns to the right it transfers them to the right.
The LC is removed from the knit bed.
The KC knits a single pass to the right and remains there.
The LC is returned to the knit bed on the left, preselects needles on its pass to the right, and transfers them to the left as it returns to that side, and is removed from the bed.
The KC knits one row to the left and stays there.
The LC is returned to the bed on the right and the process is repeated.
Preselection of needles is made by the LC toward the knit carriage, transfers are made away from it.
Whether the repeat needs to be mirrored again may depend on the machine model or the software used to download the file to it.
The direction of the first row of transfers provides the necessary clue, they need to be to the right. If to the left, mirror the pattern horizontally and begin again.
The swatch was knit in a wool-rayon blend, the results point to the difference in appearance and gauge with a change in color and type of yarn used when compared to the inspiration image 
The context for this can be found in To mesh or not to mesh 8: more Numbers meet Gimp
the 60X74 png 
and the proof of concept 
Gimp 4, pattern fill, dithered portraits, and more.
The latest version of Gimp for Mac includes many small changes which come with no announcements and take a bit of sorting out to recognize or problem-solve.
There are good collections of Youtube videos intended for use on much larger files, with fewer color restrictions than images used for knitting.
A dock is a container that holds a collection of dialogs.
I work in single-window mode and had an issue a few times recently with the tool dock and dialogue disappearing from the left.
The method that worked for me:
on a Mac, select the link to the Preferences/Settings window found in the GIMP application menu, next to the Apple menu. 
Scroll down in the left pane until you see the Windows Management entry. Click on it to open the relevant settings pane. Look for the giant button labeled Reset Saved Window Positions to Default Values, seen on the bottom right. 
Click on it, and GIMP will pop up a small notification box letting you know that the save will go into effect the next time GIMP loads.
Click OK there, and click OK again in the main Settings window.
Close GIMP and reload it, and familiar settings should be back.
To prevent a reoccurrence of the issue, it is possible to lock the associated tab, permanently fixing the dialogue. To do so, click on the small shape next to the Tool Options Menu text on the top right, then select Lock Tab to Dock. 
Tool icons are also changed at times, leading to puzzlement when steps used in the past do not work. An example, 
The layers menu no longer offers the difference mode used previously in custom color separations.
From the manual: “If you need to stay compatible with older GIMP versions or you need to use the legacy layer modes for other reasons, look for the icon to the right of the layer modes selection.
This drop-down menu will let you choose between Default and Legacy. If you choose the latter, the layer modes list will only show the legacy layer modes and all modes will have “(legacy)” behind their name (the selected mode will use the short version (l). ”
To make the dialog available: 
click on Legacy to switch mode selections. 
My posts are at times generated in response to questions I have received through forums or direct contact via my blog, but most often by my exploring whatever rabbit hole attracts my attention for a period of time before leaping into the next.
A quick way to fill with a design/ drawing in repeat is to choose and open an image, ie this rose, indexed B/W 28X30 pixels 
Magnify ie to 800X, go to Edit, and Copy Visible to save it to the clipboard as long as the program is open
Choose File, New, in size that is a multiple of the original ie 84X90.
Select the brush tool 
In the Windows menu choose Dockable Dialogues and select Symmetry Painting, then Tiling.
After entering the desired values, as you move onto the canvas, a brush icon and crosshair will appear, along with a square bordered with a dotted edge representing the clipboard brush in full size, 
place it touching the left upper corner for a straightforward tiled repeat, an alternative to the familiar method using Filter, Map, Tile. Undo and repeat if needed.
For a brick repeat 
For easy and quick drawing in any repeat configuration including random, I recommend using ArahPaint.
For other tiling repeats, I have found Gimp offset limiting, offering this as an alternative method for, in this case, a half-drop design.
Work in matching magnifications as steps are advanced.
Begin with the rose, use filter, map, and tile it to twice its height, 28X60 
Open a new file, twice its height and width, 56X60 pixels.
Using rulers as guides for the half drop, place a center vertical guide at 28, horizontal guides at 15, and 45 
click on the 28X60 selection at the top of the work window, copy and paste it on the file marked with guides first on the left side, click on the rectangle tool to fix the layer
paste it again on the right, placing a full rose in the center square outlined in the column,
paste again and move the selection above or below to fill in the empty third of the column
select the rectangle tool again to fix the layer, save the 56X60 file, 
filter, map, and tile again to test the alignment ie here, 168X80 
the icons selections at the top of the work windows change as steps are completed 
A visual summary of the 28X60 image placements 
A pattern is a small image that fills areas by placing copies side by side, while a brush is used for painting.
In drafting A collection of geometric design blocks built with squares, rectangles, and lines and considering optical design development, Gimp fill with pattern gained my focus once more.
Pattern fill was discussed in Gimp update for Mac 2
In developing pattern-fill libraries, and saving them, using larger pixel group pngs rather than the smallest repeat needed makes identifying them easier.
These suggestions are for drafts on 8X8 pixel grids.
They may be used to pattern fill from the clipboard while the program is open, or exported as .pat files, adding them to a “my pattern” folder through program settings, where they will be available after Gimp is quit and reopened.
Always tile/draw-in-repeats to check alignment prior to saving.
Color-reversed versions are also useful.
Once the basics are tested, one may begin to move towards shapes and more complex repeats, particularly if using electronic machines. 
A library of circles, some in dimension used in developing truchet tiles, drawn using the built-in Gimp circle brush, from 5 to 24 and 28 pixels in size. 
Developing dot designs merit a separate thread as well as more on symmetry painting.
The patterns may be saved as color or black-and-white files.
Passap users should know even though they may see this icon from some old company-shared files along with their own .cut ones, 
they are not compatible with Gimp software or any other outside the DAK universe that I know of, where they were an earlier format later replaced by the stp format.
There are always many ways to approach DIY, staggered lines of equal size with alternate color starting points can fill in spaces between each other.
Gimp has offset and symmetry drawing functions.
As a long-time repeat builder, if working in Gimp alone, I prefer working with multiple images open to using layers, and visually making the drops or shifts in the repeats manually by copying and pasting on progressive-size canvases.
Starting out with colored squares in RGB mode allows for filling in each color with multiple different BW patterns, for these samples I am using only 2 linear pattern fills, beginning with a 40X40 design 
tiled X5
in brick repeat 
and in half drop 
Introducing other shapes, 16X16 
brick configuration, 32X32
half drop, 32X16 
Keeping that black outline, but still rendered in B/W 
Eliminating the outline, retaining a quarter circle, 16X16
Using mirroring, and cropping the repeat using several canvases, eliminating double lines in the process, 30X30. 
The maximum size in width for large items in a single piece is generally between 180 and 200 stitches on 5 mm and 4.5 mm respectively.
Gimp comes with many built-in assorted patterns which can serve as a starting point. Here a 160X160 canvas is filled with a Gimp pattern, planning a 20 stitch border on all sides. 
Convert image mode to greyscale, 
using Colors/Curves adjust values to an input of 47, and an output of 203, 
and if planning to knit the piece in only 2 colors, convert the result once more to indexed B/W mode 
To add any desired border, open a new file, in this case, 200 by 200, working in RGB mode, and fill it with any color other than black.
Copy and paste the image above onto it, it will be automatically centered 
Choosing another built-in pattern, the red border is pattern filled 
To eliminate the yellow, use fuzzy select by color, and check that the bucket fill tool is set to fill with the background or foreground color again.
Press the shift key, and replace the yellow with white.
Convert mode to indexed B/W once more, and export as png.
If desired, using a grid view and pencil tool, additional black borders can be added.
The shift command keys on the Mac used in conjunction with the pencil tool help render straight pencil lines. 
Any of the larger files developed as tiled designs can be cropped to different dimensions depending on preference and end-use.
Decades ago, before software design aids, there was a knitting challenge circling around to include hidden language or undesirable language in a not necessarily easy-to-read format in knitting, beginning with hand-scripted text, which was then mirrored in width and height.
This was my version of DBJ vertical design, with the photo rotated and repeated to visualize what the appearance might be on a larger piece.
There are some really interesting examples of hiding messages in textiles throughout history and even books written on the topic, it is referred to as steganography, which means hidden writing.
When I was teaching there were often as many as 15-20 students knitting in the studio at the same time, and I felt a need for an expletive outside the less civilized 4 letter word that came to mind when multiple emergency yell shouting my name for help occurred at a single time.
Hints on using text: Gimp to create text for knitting
This image, rendered in Gimp with superimposed text and filled with patterns in both the text and in the background illustrates my answer to that problem. 
I have often seen illustrations of artworks for sale online using portraits with superimposed all-over patterns.
This concept for a possible knit began with an AI-generated foursome using Midjourney 
My chosen image, originally 700X700, with image mode changed from RGB to greyscale, indexed to 3 colors, scaled and trimmed to 181X183
selecting a random brush for superimposed pattern, 30X40 
file, new, exact dimensions as portrait, white ground, 181X183, fill with pattern, 
layer, transparency, color white to alpha, 
copy and paste on portrait file, fix layer, save .png 
Image ready for download using img2track 
For use on a 930, the design is broken down into multiple tracks by the software, each to be downloaded in sequence as a new pattern. 
Placing the portrait with white color to alpha on top of the BW pattern filled ground produces a slightly different result 
The same repeat, with a few pixel changes 
Using a different punchcard pattern repeat 
with a different pattern fill, the portrait becomes more hidden 
A video on achieving a similar effect using Arahpaint 
If the goal is only to change the background, there are several options for that as well.
One way to remove a background containing varied shapes, and return to an often-used of my old friend Rocco,
the file, 150X154, 
add an Alpha Channel 
The Free Selection tool, or Lasso, allows for creating a selection by using a pointer.
Since GIMP-2.10.12, selection modes now, in 2.10.34, work differently.
Marching ants/dots come with a continuous line, meaning that the selection is not validated yet and that you can still change the selection shape (the mouse pointer comes with the Move icon) but keyboard commands may no longer work. When satisfied with the changes hit enter/ return key on Mac to validate the selection. 
Enlarge the image to make following and marking its outline easier.
Freehand selection can be made in small segments at a time connecting short lines, or long, continuous strokes.
First, create a starting point by clicking on your image.
A yellow dot will appear. As you move along the edge of the image, the colored dot reappears every time you stop, with the previous locations turning into empty circles.
When it is reached, if you click on the endpoint, it turns filled and is accompanied by a moving cross. 
Use the return key to pause if needed.
Pressing and releasing the mouse pointer allows you to mix free-hand segments and polygonal segments.
If you click on the endpoint, dragging alters the shape.
When the endpoint is on top of the starting point, click to close the selection.
Double-clicking on the endpoint closes the selection with a straight line.
You can go outside the edge of the image display and come back in if you want to.
Escape cancels all continuous selection segments.
When the lasso selection is completed there will be visible dotted lines around the selection 
Color invert the result 
Open a new, white canvas of the same size and magnification, and copy and paste the color inverted one on it 
Use color invert once more, Rocco is now on a black ground 
Using the result in online dithering programs provides a different result than when dithering the full greyscale image. This result is from using https://29a.ch/ditherlicious/ 
If the result is an instant favorite, and the goal is to fill the ground with a pattern, use the lasso tool again to eliminate the black more carefully than I did, repeat the steps to color invert, copy and paste on red, 
Color invert once more,
Fill the background with a chosen pattern, convert image mode to indexed B/W, and export the resulting file
If the image is to be knit using 3 (or more) colors per row, this is one of the myriad possible results using my favorite dithering option, https://app.dithermark.com. 
Returning to the greyscale image on the black ground, the latter can be bucket filled directly with any chosen pattern 
To superimpose a pattern on the whole image, fill a white canvas in the same dimensions with the pattern 
use Layer, transparency, color white to alpha 
Copy and paste the result on the original 
Full greyscale is not knittable.
What about using the AI portrait in B/W or 3-4 color knitting?
172X172
ditherlicious 2-color, 
and dithermark using the built-in pattern selector for 4-color. 
The image will be elongated in actual knitting, this window from img2track on the left is set for 4 colors. Changing selection to 2 colors and opening the same image, it is converted to B/W 
3-color with diagonal hatching 
2-color
Though visually some images may appear as though more than 2 colors are in use, here is the comparison using img2track between opening the above on the left, and, on the right, after changing the image mode to B/W indexed using Gimp 
with added cross-hatching followed by image mode to B/W in Gimp simply to note visual differences 
and a different cross-hatch, with a value balance change, in B/W mode
Using punchcards (3) or electronics to track small cables in pattern
Previous shares on aids to tracking cable transfers
Using punchcards to track small cables in pattern 1
Using punchcards to track cables and twists in pattern 2
Visualizing knit cables in color 2_ using Numbers and Gimp
Hand knitting patterns are usually depicted with the knit side facing.
If crossings are intended to match them exactly when working on knitting machines, they are made on the purl side, and their direction needs to be mirrored.
The blue dots illustrate hand-knit symbols, and the pink dots the machine-knit companions 
I was recently contacted about the possibility of reproducing the swatch on the far right. The image on the left is an actual knit, first tested with cable crossings mirroring each other along vertical columns.
The inspiration swatch was likely knit on the bulky, twisted every 4 rows, mine on a 4.5 mm machine, twisted every 5 rows.
It is possible to crop, copy, and paste initial photos, as in the center image, to visualize how the process may be altered prior to spending time creating new charts or any actual knitting. 
Building charts in a spreadsheet:
begin with creating and saving custom shapes, which can be made editable, and outlined if preferred (magenta) to further define the stitch brought forward, with the other moved behind it (blue).
Symbols used:
1. black cells/ knit stitches
2. white cells/ needles out of work, creating ladder spaces and non-selected needle areas where stitches are to be moved in the direction of superimposed arrows
3. red arrows/ stitches that are lifted off the needle bed, brought to the front on the purl side. The stitch on the adjacent black cell/selected needles is removed, travels behind it, and replaces it. The held stitch is then placed on the now-empty needle. Both stitches are brought out to hold/E position to knit properly on the next carriage pass.
The plan is to use the slip-stitch setting in both directions.
Since there are needles not in use, the end needle selection needs to be canceled.
Proper needle placement is required for patterning accuracy.
One option for achieving it is by air knitting the first row of the design, another is to program the width of the planned knit in electronic machines, establishing pairings, and using the single motif setting with no guesswork.
A chain cast-on can be performed, followed by dropping chains in ladder locations and taking those needles out of work to A position.
Even weight is useful if crossings are to begin after only 4 rows of knitting.
Each repeat is 8 stitches wide, punchcard users repeat it X3 in width, and in the charted height X3. 
Proofs of concept: 30X20 electronic repeat for vertically mirrored transfers, 
and the alternating twisted arrangement 
The work on the machine 
In the resulting swatches, patterning errors such as the marked one become difficult to repair after the fact as stitches grow in size and ladders nearly disappear 
Both swatches measure less than 2.5 inches in width, another reason to explore the results on bulky models if they are to be used in garments.
If planned as panels combined with stocking stitch, careful planning is due to overall gauge differences and those in row counts when seaming and joining.
Blistered dbj 3
Names referring to the same knit fabric can vary between machine manuals for specific models and brands or references in books, magazines, and articles depending on the dates they were published.
My earlier share on the topic:
Blistered stitches dbj 1
Blistered DBJ 2 and technique variations on a single repeat, introduced some of the concepts involved.
Beginning with any random published repeat can offer the start of exploring a range of fabrics. This was a Pinterest punchcard share, markings indicate it was intended for Brother machines 
Methods for obtaining color separations for specific knits have been discussed in other posts.
Brother models can use the cam buttons to perform a function in one direction only, ie by using only one tuck or slip button, the machine will knit when the carriage reverses movement to the opposite side.
Developing specific color separations makes the files usable on other machine brands and models, makes it easier to return to specific rows in error corrections, and is my personal preference in test swatching and complete pieces.
Drawing the initial design in repeat provides a visualization of the resulting secondary shapes and the number of needles required for tiled variations in finished pieces based on gauge.
The first design is intended for use in every needle rib, with the knit carriage knitting in one direction, and using slip or even tuck in the opposite direction.
The 24X32 design extracted from the inspiration punchcard 
A: the rendering scaling the design twice in length
B: making the choice to color invert it in planning slipped stitches on the larger number of white pixels
C: superimposing black lines on every other row beginning with row 2 
A quick review of the steps involved in working with Gimp:
begin with magnification for easy viewing, ie. 800X, view grid if preferred
the starting brush can be as small as this 2-pixel 
select it and save it to the clipboard by choosing copy visible, making it available to bucket fill images, or export the same design as a .pat file and save it in the appropriate settings folder for future use. 
A: the original design repeat rendered in black and white
B: layer, transparency, color white to alpha
C: file, new, white ground, matching size, filled with a pattern of pairs of horizontal all-white pixel rows beginning with white on row one, followed by all-black pixel rows on row 2
D: copy B and paste it on C, and export the file as png 
The chosen repeat may not be color reversed after programming it using the machine’s built-in electronic functions.
White pixels slip, stitches on the main bed in non-selected areas would not knit off for extended periods ie where red marks occur, and noticeable problems would develop quickly 
Beginning proofs of concept for this version, 24X64 
knit on 60 stitches using it drawn in repeat X3, 72X64, and programmed as a single motif 
The result is a very subtle contrast lacey knit 
The yarn thickness and color were changed. The pattern begins using the slip setting and transitions to tuck, also in only one direction. Because the ribber is knitting every stitch between stitches on the top bed holding side-by-side loops down, tucking on multiple side-by-side needles can be performed, producing a wider, stretchy knit that also lies flat. 
True blisters/pintucks generally knit rows on the top bed alone forming pockets that are eventually sealed by all knit rows.
Slip stitch settings are used.
The design is at first lengthened X5, then every 5th row is filled with black pixels or punched holes.
A begins in smaller groups of gathers, testing for any errors or problems, while B allows for deeper folds. 
A: 
the mark shows the stitches on the top bed begin to slip far too many rows
due to using the color reverse option in the 930 before continuing to knit. 
With a switch to the blue yarn, all-knit spaces between the pockets now begin to appear gathered. Slip stitch results in narrower knits, noticeable in the ruffled effects on every needle rib above the cast ons 
B: 
the extra row of slipped stitches result in a far more textured knit 
Developing other layouts for the same design, brick 24X128 
half drop 48X64 
Eliminating unwanted extra stitches from the original, modified to 24X28 pixels 
drawn in repeat to 144X168 
brick version 24X56 
half drop 48X28 
adding those all knit rows 
Viewing repeat alignments 
The 24X112 brick repeat suitable for punchcards, not tested, 
and the half drop, 48X56 
tested using a 10/2 cotton and lightly steamed and pressed. Knit on 80 stitches, it measures 17 inches in width and 11 in height.
an attempt at a more detailed look 
A collection of geometric design blocks built with squares, rectangles, and lines
I have grown fond of playing with ArahPaint’s functions: guess weave from grid, and drawing in repeat, and am constantly amused by the speed with which most design repeats and color separations can now be drafted when compared to the very first efforts in the days of anyone trying to use Excel spreadsheets to accomplish the same tasks.
Drafts designed for handweaving provide endless inspiration for knit design.
In conjunction with ArahPaint, Gimp remains a frequent go-to as well, along with Numbers for Mac for when spreadsheet tables meet charting or design needs.
The programs are free, there is no need to purchase expensive design programs in order to develop DIY motifs.
Developing tiled repeats suitable for multiple stitch types, including tuck , offered some repeats that began with geometric blocks built with squares, rectangles, and lines, some of which are suitable for punchcard knitting.
Many are included here again to serve as a cumulative collection of possible springboards for use as is or for developing more personal variations.
A reminder: the pngs below were saved as indexed, B/W files.
When downloaded, they may be converted automatically to RGB mode.
Prior to downloading any to machines, check their image mode, and if it is RGB, convert it back to B/W indexed. The pixel dimensions text for designs suitable for punchcard machines are highlighted in a different color.
More repeats are available in the post on Working with diagonal patterning in machine knitting
Larger pngs may be subdivided to change their appearance or alignment of specified numbers of cells.
To begin with, cells may be filled in any color, with mode and color changes to indexed BW if for electronic download
8X8 
punchcard full repeat 
its png
12X12
visualized drawn in repeat X12 
and modified using drawing X12 in random repeat for use in electronic machines 
introducing dotted squares, another 12X12 
19X19
18X18, shown tiled X 9 in both width and height 
and modified using random 
A Ravelry query prompted these designs
22×22
22X30
32X32
44X54 
66X60
The present series:
20X20
25X23
26X23
35X35 
68X68 
A visit to a quilting blog led to these explorations, beginning with a 20X20 repeat, rotated in 4 directions to be combined in new 40X40 repeats for different movements. 
A first simple 40X40 grouping 
tiled X5 in width and height, also color reversed to visualize the result with the potential exchange of the yarn positions in the color-changing sequences 
Dividing the repeat in half, color inverting the 20X20 segment on the right, 
combining it with the left half 
And with color inverted quarter segments 
In the following designs, the meeting points are slightly offset. 
and lastly, aiming for more of a diagonal 
Varying shapes
12X12 
drawn in repeat X13 
26X26 
drawn in repeat X6 
with color inverted quarters 
drawn in repeat X6 
16X16
drawn in repeat X10 
drawn in repeat selecting random 
24X24
24X20
24X24
Developing related series, stop or continue, choose a preferred design anywhere along the way
47X47 
94X94 with segment rotations 
drawn in repeat X2 
a few rows and columns removed, 43X43 
86X86
a series beginning with 68X64 pixels 
A purposeful effort to create outlines, 22X24 
55X59 
Alternating outline colors, 50X72
Using pixelated lines to break up blocks
8X28 
16X16 
drawn in repeat X10 
14X14
drawn in repeat X11
24X24
24X24 with quarter-turned segments
drawn in repeat X7
24X47 
cropped to 24X40, for different symmetry 
Developing repeats evocative of samplers
48X48 
64X64 
An electronic repeat with shifting angles, 32X32 
magnified 2X2 for a better view 
Color inverted quarter segments composing a slightly glitched pattern evocative of tartans, 128X128 
112X112
Tiny details, large repeat, 48X98 
34X140 
74X74 
The start of a different potential family, 93X32 
Introducing circles or parts of them to the library, 19X20 
tiledX10 
random variations 
36X40
trimmed and redrawn to 36X79 
ArahPaint in knit design 4
Reviewing Tools
Guess weave from Grid
ArahPaint continues to be user-friendly for multiple applications including knit design.
The developer shares how-to videos that are frequently updated
https://www.arahne.si/public/news/
https://www.youtube.com/@arahpaint4/videos
The same holds for their downloadable manual, and any questions are answered in a timely and informative manner.
I am often driven by knit technique curiosity first, then find myself circling back periodically to program explorations to shorten the process for drafting blog charts and repeats, sharing new information as I notice it in manuals or online.
A recently reviewed https://www.arahne.si/tutorials/how-to-import-old-pattern-drafts/ led to my first experiment.
When using the weave guessing function, it is good to know that the program looks at the center of the grid, and tries to ignore the grid itself. If the center is not a single color and is homogeneous, use averaging to smooth it out before color reduction. If it is not filled properly, use contour operations (thickening) to make it stronger.
When guessing the grid, make sure you use the “preview” function, so you see what the program sees.
The steps, relatively “winging it”:
as in resizing/scaling any design, accurate cell/ anticipated stitch and row counts are needed. They may not be given in the source, where grid properties, cell shapes, and colors may all vary.
For example, the grid in the original may be 6X6 for punchcard designs, 10X10, or even 5X5 for electronic models. Recognizing the blocks used aids in examining and adding up counts when they are not provided.
Load the selected picture, in this case, a random RGB one from a previous post, known to measure 24 stitches by 60 rows: 
Go to colors, and select convert to 8-bit palette, 
resulting in these changes in the palette window on bottom right corner 
Before reducing the number of colors to 2, adjust your background and foreground colors. Without disturbing the 0 value, 
use the shift key and with the mouse select a light color from the 8-bit values, it will replace the #1 value. 
Return to colors, set the number of colors to 2,
Magnify the image as needed, and use the rectangle select tool to eliminate the dark frame. There will be a dotted color dashed outline that can be adjusted, 
use Image/ Crop to the selection to eliminate the unwanted border.
Select Tools/Guess weave from grid, and a new window will open.
The program automatically defines the size of the original pattern. If the value is not the expected one, enter the desired pixel counts, and click OK. 
The “weave” will appear on top of the original pattern, surrounded by a bounding dashed line, 
choose Image, and Crop to the selection, and save the picture as PNG. The result matched that in the previous post, with the Gimp chart on the left, and the Arah on the right. Check that the final PNG is in indexed B/W before any electronic download. Select OK, Close, and save. 
The Threshold adjustment slider is found in the reduce the number of colors window and may be used to alter B/W images at any point in image processing.
In addition to using Image/draw in repeat to check alignments, the View Repeat option will tile the design an arbitrary number of times automatically, providing a large-scale view, illustrated only in part on the right in the image below. 
The process is repeated with pattern #42, 46X56, from a Brother electronic pattern book:
the original is on the left, the ArahPaint guess grid result is on the right, colored differently to make it easier to check for matches and any pixel placement differences, 
its B/W png. 
The steps again with #3604, 24X240, once again comparing Gimp results to those obtained with ArahPaint 
One of the challenges which can appear to varied degrees when converting files is the amount of pixel cleanup required on the resulting images.
One contributing factor that may be encountered is that the original to be processed may be askew, as only slightly in this image, #26 from the Brother 270 collection. 
Using the unskew tool is one manner to fix the geometry of a layer distorted by perspective. Rotation may also be used.
Make a rectangular selection around the object which you wish to unskew.
Click on the Unskew tool 
Drag the corners of the selection to the distorted part of the image, they are marked by hollow squares at each corner 
Click OK in the Unskew dialog box 
The selection becomes a normal rectangular layer. If uncomfortable working with layers, click on this tool to fix the image and remove the bounding box 
Repeat the process already described, reducing the number of colors to 2 
after cropping to the selection, the dark squares are not a true black. If the png is to be used for download to an electronic machine, change the grey to true black before saving.
The original, followed by the ArahPaint result and a tiled view of it 
The same approach may be used on large nonrepetitive images.
Hand-count the number of cells in width and height if they are not provided.
A scan from the Dover publication on Celtic charted designs, converting this 73X54 image proved easy. 
The scan of a 130X95 stitch/row count chart from Charted Peasant Designs from Saxon Transylvania posed some issues.
The problem, in this case, was not the use of the basic technique, but that multiple areas of the chart were not marked with the black contained within grid cell borders.
Cropping problem areas, processing them separately, and pasting them in place on the previous result where needed appear to greatly reduce final pixel cleanup. 
While weaving and many needlework drafts are often represented on square grids, some knit designs are published to reflect the fact that actual knit stitches with the exception of garter stitch are typically rectangular.
In the early days of electronics, knitting machine models began to have libraries of stitch designs stored in memory, cassettes, or floppies. Often manuals or booklets were printed as companions, visual guides to stored contents. Colors and counts did not matter, since the intent was not to provide reproducible designs.
This chart is from Studio, published as a tuck pattern.
My best results were obtained after cropping the original to 74X60 unit counts and scaling the scan’s A: 1733X992 to B:1320X960, a multiple X16 of both values.
C: the result of reducing colors to 2, followed by guess weave-from-grid for a successful match to the original, a final 60X48. The png would need to be color inverted for use with the tuck stitch setting. 
The png, after removal of a few wayward pixels, and color inverted for use with the tuck setting 
Returning to that griffin, after resizing/scaling the original to multiples of 11, 1430X1045 pixels, the left portion of the design produced a clean match to the original, while the right segment with the off-grid dark cells still did not. The previously separately reduced segment was added on the far right yielding a far closer match. 
Weaving and cross-stitch libraries offer a huge range of potential design repeats.
This is from a 1912 cross stitch pub, and measures 165X 230 pixels 
From a similar source: is that a kitty protecting his shawl, and what stitch is that?! 169X142 pixels 
And in this 80X100 PNG the bunny is in an interesting perspective relative to the landscape background
Some resources:
Weaving library: fressinet offers images in black and white
Patternbase: from Dictionary of Weaves
Archive.org: filet crochet
Beginning with a design selected from p.83 in the Dictionary of Weaves 
Color convert to 24 ->8, an expanded palette will appear. Press the Shift button and click inside the picture to manually select the colors, adding 63 in this case
Filters menu: choose Averaging, and follow with the second choice Repeat the last operation X10
Colors: set the number of colors directly to 2
Guess weave from grid to 18X18
Crop to selection, magnify and check results
Convert to black and white if needed
Check repeat alignment 
Other ways to handle the same task: another ArahPaint tutorial offers additional tips.
From the Cross stitch book, a 40X40 chart using a straightforward setting of the number of colors to 2. 
One way to convert the picture on the far right to black and white prior to saving it other than adjusting the palette colors is to use Threshold to reduce the number of colors.
1: select Black white, and Preview in the associated window
2: if an adjustment is required, the slider may be moved to the left or right, Undo if needed, and when satisfied stop
3: click OK and close the window, save the picture as bmp. 
An earlier design intervention for the final B/W png: after setting the palette to 2 colors, reduce the number of colors with the same 3 steps using Threshold for another successful result. 
Reducing the number of colors window instead of setting the number of colors to 2:
Color convert to ->8, an expanded palette will appear
Choose Averaging, and follow with the second choice, Repeat the last operation X10
Open the Reduced number of colors window 
Press the Shift button and click inside the picture to manually select the colors for foreground and background, this did not work for me on my Mac with the latest OS. Selecting colors manually from the expanded palette by clicking on them is an alternative. The higher contrast between the two the cleaner the results.
Select Preview, if satisfied Click on OK, and Close
Select the whole picture
Guess weave from grid
Crop to content
Magnify, evaluate the results, adjust the palette to BW if needed, and save 
Filet crochet pattern books also provide gridded sources that may be used in knit design. This 43X43 pixel file is adapted from Priscilla filet crochet book #1
The same process may be used on color separation templates produced in DAK
From a random Pinterest find with an original 330X474 RGB chart:
A: guess weave from grid, crop to selection
B: tools, find repeat, crop to selection
C: the final 47X46 PNG drawn in repeat 
Adding colors to black and white pngs following the tip by the developer in the post comments:
Choose a black-and-white repeat, in this case, a 36X9 pixel repeat 
Double-click on one of the two colors to protect/lock it 
Double-click on it again, and the lock disappears, the color is no longer protected.
In the palette, use + to add a new color, this may be repeated more than once to add more colors or go to colors, set the number of colors to a number, ie. 6, for a random palette group that may, in turn, be edited to other values. 
Double-click on the rectangle tool to draw filled rectangles 
In rectangle options, above the palette icon, there are toggle buttons for Horizontal and Vertical, remember to protect a color 
Once your selection is made, draw the filled rectangle across a selected width and height while keeping the protected color intact. Draw the result in repeat to check for alignment 
the protected color may be toggled to white 
If the designs are to be programmed for multiple color slip stitch or DBJ there are rules to be observed, and there may be restrictions on whether each palette color will be recognized as a third or fourth color by the download program ie. when using Ayab, where no two colors may occur in the same range of 8-bit values. For 4 colors, the ranges would be 0-63, 64-127, 128-195, and 196-255.
The img2track partial window with the associated color assignments for the first vertical variation. 
The horizontal choice allows one to play with selections possibly matching yarn colors in fair isle knitting, 
only 2 colors per row may be used, here the A feeder yarn remains fixed 
Remember to unlock the previous color choice if protecting new segment selections.
Visualizing possible FI striping results in progress 
Working with diagonal patterning in machine knitting introduced some approaches.
Following guidelines in Easily generate random weaves it is possible to quickly generate DIY designs for use in multiple techniques.
To begin with, load a new picture 12 pixels wide and one pixel high
Set the number of colors to 2, black and white if the goal is downloadable pngs.
Fill in a repeat, and multiply it by Y multiple times to achieve the final number, 
or fill in vertical bands using the pencil tool on the final planned starting canvas.
A single row repeat first multiplied Y X6, then X2 
Select the measurement tool: 
The tilt tool shifts every next line of pixels, the width of the line in the X field for the horizontal tilt, 
or in the Y field for the vertical tilt 
Default values are set to 0 
The selections for this design: 
The resulting file, also shown drawn in repeat: 
Two more, with a starting picture total height of 24 pixels 
One repeat, multiple width selections 
This repeat may be used for tuck or slip stitch, providing the final png is color reversed. The 12X24 initial result was multiplied X2 in height/Y to produce the 12X48 one. The image on the far right checks alignments 
Working in multiple colors using the same approach: 
These charts continue to use the selections with reverting back to the original after each variation, though steps may be made sequentially and reversed in a matter of seconds 
Any results may be modified by adding other program functions to produce drafts of expanded repeats ie. through using drawing in repeat/ random. The results may be suitable for large pieces ie blankets and likely best knit as DBJ. 
The ease of designing needs to be paired with good notes on charting cause and effect and an understanding of the relationship between pixels/ punched holes and stitch formation using varied cam button settings.
Using Filters is an additional way to develop images that play with the eyes, sometimes with only a few keystrokes.
A description of filters and their use may be found on pp 88-101 of the user manual (thumbnails # 96-108).
Filter options: 
This first series uses only the contour filter 
and random selection of arrows from this tool
beginning with a 12X12 pixel design 
and developing it into a 31X31 one, not all doubled pixels are eliminated 
Midjourney inspired knits 1: single bed diamond shaped strips
My son recently introduced me to Midjourney and generated many images capable of inspiring a range of machine knits. The interpretation and execution may not be as simple as would initially appear, particularly to non-knitters.
Commercial knitting machines are left out of this conversation. The fact that they have multiple beds, 
and compound needles 
that facilitate whole garment shaping makes complex structures possible that may only be partially reproduced on home models.
Japanese machines such as mine use two beds, with the ribber/ second bed added for knit and purl combinations, which may be lowered as seen below when not in use, or removed altogether. 
One accessory that would make things easier to reproduce more textured knit and purl variations would be a Brother G carriage, 
which operates on the top bed and slowly and loudly produces programmed patterns on both punchcard and electronic Brother models.
The initial Midjourney inspiration, 
and a “simpler” variation.
In hand-knitting concurrent shaping of both sides can be considered.
When working on 2 needles, because the work is turned over, knit and purl execution will change when ridges visible on both faces are planned.
Knit stitches are rectangular as opposed to square, often in a 4/3 ratio.
This chart begins to illustrate the actions involved. 
Machine knitters constantly look at the purl side when working on the top bed unless ladders are manually reworked into knit stitches or the work is turned over.
Turning the work over is executable using a garter bar accessory, available for use on multiple gauge machines. 
The standard and bulky garter bars offer sections that may be joined together for use on the whole needle bed, while the tool for holding, transferring, or turning over small stitches offers only 30 eyelets, the red lines on it were made with red nail polish, a handy way to mark KM tools or even linkers at fixed intervals to save constant counting.
The work is pushed off onto the garter bar with the curved ridges up and returned to the machine to create the purl ridges after turning the bar over.
At that time, the needle hooks will grab the stitches from back to front and the bar can be removed. 
If the yarn supply is to be kept continuous, the knit carriage and yarn need to be brought to the opposite side before resuming knitting.
Spreadsheets offer a way of visualizing steps ahead of any swatching. Not aiming for a direct copy of any of the Midjourney results, this is a start with 4-row sequences
and an illustration of how strips might be joined to produce slightly different side edges. 
The diamonds are formed by increasing and decreasing on both side edges.
The sample is knit in a 2/8 wool, which even when knitting at tension 9 yielded stitches far too tight to remove onto the standard gauge garter bar, the 30 stitch tool was used.
Stocking stitch tends to roll to the purl side. For a cleaner edge, fully fashioned shaping is used.
From the Brother knitting techniques book, to decrease a stitch: 
To increase one 
If both sides are shaped at the same time, the length may get affected by slight differences in stitch height formations on the carriage side as opposed to opposite the carriage.
In the test swatch increases and decreases were made consistently opposite the carriage, resulting in shaping on alternate sides every 2 rows.
Charting out the concept: the arrows represent the direction the carriage will be moving.
The blank row occurs where the knit is turned over.
A single row is knit across all stitches to the opposite side after the knit is turned before returning to shaping.
The last 2 rows in the chart would be the first 2 in the following shape.
The black cells represent what will become purl rows on the knit ground. 
The proof of concept: 
The machine-knit sample aside from a quick hand-knit on #8 needles, attempting garter ridges, offering a lesson in gauge and texture.
In a final piece, the shaping in the hand-knit would be carefully considered. 
A first draft plotting out arrangements for alternating knit/ purl ridges: the center column can be adjusted to any width, and cables or other manipulations could occur at the narrow pivot points.
Seaming or joining would occur in areas where rows are outlined in blue. Those areas could be lengthened as well.
The chart can be further marked for beginning with either a half or a full diamond. For hand knitters, the yellow cells would be purled with knit side facing, and knit with purl side facing. 
A Youtube video showing building the fabric using the short row technique: https://www.youtube.com/watch?v=H7WrYOV2A6w&t=1297s
For anyone with intarsia or multicolor fondness, some AI color renditions based on triangles as well 
On a very different note, large, nonrepetitive AI-generated portrait images may be superimposed with brushes in any chosen design repeat to render designs such as these:
Blistered DBJ 2 and technique variations on a single repeat
Blistered stitches DBJ began to explore some variations for the production of easy knits which resulted in pockets separated by areas of joined stitches, and depending on the design and whether one bed knits more stitches and rows than the other, can make the surface appear 3D to varying degrees.
There are several things to consider in DIY designs.
In my recent browsing and being inspired by “The curse of truchet tiles”, this png was one of the resulting repeats, developed using ArahPaint. It is larger than any previously tested with this technique.
Beginning with a 36X36 file 
drawn in test alignment to 108X108, 
expanding the design through a diagonal choice 
into a 72X36 repeat 
Large repeats require large swatches if gauge matters, but smaller tests serve well to evaluate tension and cam settings. It is a good idea to be consistent in yarn choice.
Thinking things through:
the white pixel areas will produce the pockets, separating from the ground, and the black pixel areas will compose the joined portions of knit.
To increase the effect, the height of those black pixel areas is reduced by changing their configuration in order to use the slip stitch setting to shorten them.
The first pattern fill requires doubling the height of the whole repeat in order to use the file in a tubular setting. 
Rather than doubling the file in height, this brush is used to fill the same black pixel areas. 
After a few pixel cleanups, this is the final repeat, 
The png was tiled to the number of stitches planned, with the addition of a knit stitch border along each vertical side 
and knit on 88 stitches for proof of concept.
End needle selection is on.
The carriages are set to slip in opposite directions, in either arrangement A or B. 
In one-color knitting starting preselection side does not matter.
The tension used, since so many stitches will be knitting on alternate beds, needs to approach that used for the same yarn when knitting stocking stitches.
The red yarn stitches mark the knit side of the fabric.
The cotton ball illustrates the formation of pockets.
The color change happened when the first cone of yarn ran out.
The yarns are 2/28 Italian imports of nonspecified fiber content.
The piece measures 10.5 inches in width.
When the settings are changed from tubular to every needle rib, the fabric is considerably wider and ruffles as seen at the top and bottom of the swatch, which could become a planned design feature. 
A segment was cropped from the 72X36 drawn once more in repeat to 84X72, repeating the same steps for processing the file 
alignment check 
If the plan is to evaluate the effect of tuck stitch on the design, to begin with, the file needs to be color reversed, whether in the drawn png or using machine settings 
Exploring results with the ribber set to knit in on every row, the swatch below the red line was produced with the knit carriage set to knit in one direction, tuck in the other, while in the remainder the knit carriage set to tuck in both directions. The areas that in slip stitch would form pockets knit in every needle rib, while tuck stitch segments produce a lacy effect. 
The same design, using the png created prior to color reverse, set for tubular slip stitch 
the transition between the changes in knit carriage cam settings results in changes in textures and added width 
The full tuck section (bottom) measures 16 inches in width, and the slip-stitch one (top) measures 11.5 inches.
Trying for a half-cardigan repeat with the same yarn produced an extremely wide knit with no discernible design.
Tired of double-bed knitting and swatches in a single color and large enough to cover pillows? the starting image reduced in size X4 to 21X18 pixels opens a new series of opportunities for knitting including on the single bed. 
The design, knit here as DBJ, uses the built-in KRC color separation. At the bottom, the knit carriage is set to slip in both directions. The ribber uses the birdseye setting in both directions with the addition of lili buttons.
At the top, the knit carriage setting remains unchanged, and the ribber is set to knit in both directions, for a striper backing. The tension remained unchanged. The image illustrates the difference in the aspect ratio of the design and the height and width produced by the respective settings. 
The same design knit as single bed fair isle produces problematic floats on the reverse which would need to be anchored down in a wearable. 
When knitting fair isle end needle selection is used to keep the yarn in the B feeder anchored so as to prevent any separations along the vertical edges of the design.
Here the light color is 2/8 wool. The yarn in the B feeder is switched to a 2/24 random contrasting color, and the knit carriage is set for thread lace. The white pixels knit both yarns together. Programming a blank row and knitting 2 yarns in this manner is considered by some an alternative to using the plaiting feeder.
End needle selection is canceled. If needles are brought forward, push at least one back to B so the combined yarns knit. In a long piece, a repeat in the width of the planned number of stitches could be planned with one or two blank pixel borders on vertical sides.
Due to the contrast in yarn thickness, the thin yarn creates large stitches that bulge in areas where it knits with the thicker yarn floating behind it, and the areas with combined yarns recede.
The areas in double thickness secure the yarn that produces floats, so that the latter may be trimmed on the purl side, leaving cut ends in any length. When cutting floats, consider sliding something under them and the thin knit so as to avoid cutting it as well, the fabric will release and flatten. 
Using elastic, the background yarn used needs to be thinner, here a 2/20. The repeat program is left unchanged, but the position of the yarns is swapped so the elastic/ “thin” is placed in feeder A and the white/ “thick” in feeder B. There is a considerable change in size, observable at the top of the previous images. 
Aiming for float control, the repeat is edited. 
A test of the 18X9 repeat using the fair isle setting measures 6.5 inches in width, 
while the same stitch repeat knit using elastic and the thread lace setting adjustments once more, measures just under 2.5 inches in width 