Category: Software

Charting knits using Mac Numbers 2

From 2012, Numbers 3.2.2: printing graph paper to desired cell dimensions: I chose to change preference for rulers to point units (options are for centimeters, inches, and points). Online conversion between units of measurement and PostScript points may be calculated (if needed) using calculators ie.
http://www.unitconversion.org/unit_converter/typography.html

default cell size in cm and points

Click on the table icon at top of your document screen, to right of function icon; select first choice on left, second row

a place to start

Uncheck alternating rows on the sidebar at right

Click anywhere on the screen, use command all to select all table cells. Choose row and column size, typing in your desired values or using arrows provided, hit return.

Click anywhere on the table to get additional markings to appear again. With your mouse, grab and drag the Add or remove rows and columns button symbol on the bottom right and all units on the sheet will be resized to displayed measurements

as you do so you will also have the benefit of viewing the number of rows and columns in your document.

For thicker, darker, or even differed colored and types of lines changes are easily made working with borders menus

Clicking on any cell leaves only your graph; selecting print from your file menu prints exactly what appears as the sheet number chosen, and /or have saved; additional adjustment options are offered on right

Click on the white part of your sheet, only your chart will be viewable and ready for printing. If a PDF is desired, choose Export to -> PDF from the file menu.

The last online manual for numbers 09 is available here. The program has changed significantly in appearance and in some of its functions since then.

I have been exploring numbers out of necessity since upgrading my Mac to the latest OS, thus losing availability to Office, and therefore to Excel. I recently published a post using Numbers for color separations in knits and decided to attempt to explore the program further. Here I am reviewing and sharing some of the process and information I now use in creating my blog’s knit charts. There is no recent, full manual for the program.

The format bar that may be familiar to users of older versions 

 

the Graphic inspector 

Tips immediately below are extracted from Online apple support  Numbers 5.0.   

A list of keyboard shortcuts edited by me for use with colored cells

“Undo” restores the previous state, may be used multiple times to reverse several steps. Redo will cancel it. The program autosaves. The option “revert changes” when closing the program erases all changes since its previous launch session. “Revert to” under file menu offers an opportunity to browse previous saves and restore them, similar to using the time machine in older versions of the program and Mac OS.

Frequently there are more options for achieving any desired result.

Building a knit chart: choose a default table from

Use format table in

  1. In the Format page1image1768000 sidebar to the right of the document to change features such as table name, headers, footers, as well as colors, and row and column size,

or click anywhere in table and select all  (Command A), choose no fill option on right to remove any default colors
Choose a border color and line weight. If accustomed to working with black as a color in your chart building, starting off with a colored border will make the black cells easier to count. The change may be made at any stage of the design

Determine column and row size using format cell menu on the sidebar at right. I tend to work in cell size 24-29 pt square shapes. These values may be easily adapted if one chooses to draw in knit proportioned cells for more closely approaching gauge or estimating elongation in fabrics such as DBJ. Border colors may be also be adjusted or changed at any point, globally,  for single lines, or to outline blocks of cells. Clicking on a column tab “letter” and dragging its border on one side or the other will change its width, and the new point value is visible on a shape with a black ground while doing so.  Top or bottom drag a “number” in the tab for rows at left for column height changes and viewing the changing value display. Undo will revert the change.

Review for basics for enlarging the table with cells with no fills: reference tab numbers on left may be used to refer to rows. Reference tab letters at the top may be used to refer to columns. Drag the table handle the Table handle to move the table. Click the column handle the Add Column button to add one column, drag it to add multiple columns. Click the row handle the Add Row button to add one row, drag it to add multiple rows. It is not necessary to press shift while dragging either symbol for multiple adds. Drag the column and row handle the Add or remove rows and columns button to the right to add columns, down for rows, and diagonally to add columns and rows at the same time. Reference tabs are active while the chart is being worked on. They disappear if any area outside the table is clicked on. Creating a chart initially larger than the planned design offers a larger field to “draw on” to start with. 

To draw shapes in color: click on a cell, choose your color 1 from the menu on right by clicking on the rectangle to the right of “fill”

To copy cells within a table, or to another table, drag the selected cells while holding down the option key. You can also copy cells by selecting them, choosing Edit > Copy (Command C), selecting destination cells, and then choosing Edit > Paste (Command V). You can also paste a cell€™s content into multiple cells, which don€™t have to be adjacent to the copied cell or to each other. After copying a cell, select the destination cells and choose Edit > Paste. The cell€™s contents are copied to all the destination cells, in the same or another table, replacing any existing content. An alternative way to draw motifs in different colors: holding down command key select cells that will compose the desired shape

choose the current fill color again to fill the outlined areas

adding a second color: click on a cell, choose the second fill color

hold down command, select cells for a new shape

color fill

repeat with color 3, and continue on

Not enough columns or rows for your motif?  Click on the Add Column buttontop right or on the the Add Row buttonbottom left will copy and add the previous column or row including content to clear unwanted filled cells in the added field, select column or row from tab reference letters (columns) or numbers (rows), choose “fill” as no fill

To insert multiple rows or columns at once: Anywhere in the table, select a number of rows or columns equal to the number of rows or columns you want to insert, “click the arrow” next to one of the selected row numbers or column letters, then choose Add Rows Above or Add Rows Below (or Add Columns Before or Add Columns After). The arrows are visible as you hover or click in either tab, seen more easily when working in larger magnification, and often clicked on while unaware of doing so in lower magnifications 

Alternately, click on table and in turn click and drag the Add or remove rows and columns buttonat the bottom right up, down, left or right for further adjustments to the total number of available cells,or simply repeat the fill in the selected column or row along with creating the added cells, and select areas to remove any unwanted color. In some instances, the added colored cells could serve as a deliberate design feature

Adding columns and rows above or below and columns before or after using the table menu. Options are greyed out until a row or column is selected. 

options also appear when you click on the arrow in the row or column reference tabs

Adding specific rows above or below can help scale coordinated designs. To add rows after a particular row, make sure the bottom row selected is the one after which you want the new rows added; to add rows before a particular row, make sure the top row selected is the one before which you want the new rows added. Then choose Table > Add Rows Above or Table > Add Rows Below,

or use keyboard shortcuts to add a row above a selected cell, press Option-Up Arrow. To add a row below a selected cell, press Option-Down Arrow. To add a row at the end of the table, press Return while the last cell is selected. To add a column after a selected cell, press Option-Right Arrow. To add a column before a selected cell, press Option-Left Arrow. To add columns after a particular column, make sure the rightmost column selected is the one after which you want the new columns added; to add columns before a particular column, make sure the leftmost column selected is the one before which you want the new columns added. Then choose one of the commands above. You can also use the Tab key to add a column to the right side of the table.

To delete a single row or column, hold the pointer over the row or column reference tab to see the menu arrow, and then choose Delete Row or Delete Column from the pop-up menu.
To delete several adjacent rows or columns, select the rows or columns and then choose Delete Selected Rows or Delete Selected Columns from the pop-up menu of a selected row€™s or column€™s reference tab.
To delete empty rows, drag the lower-left Row handle  the Add Row button up or drag the lower-right Column handle the Add or remove rows and columns buttonup.
To remove rows with content, hold down the Option key while dragging.
To delete empty columns, drag the upper-right Column handle on the Add Column buttoninward.
To remove columns with content, hold down the Option key while dragging.
Moving a cell or groups of cells: select and choose group by using cell handles or commands, immediately click on the same selection again, and drag it to a new position within the same table. Moving the selection outside the table, onto a blank portion of the sheet creates a new table.

Having a large table area to work on allows for copying and pasting repeats in different configurations. 

Added ways of working with cell groups: to select adjacent table cells, select a single cell, and then hold down the Shift key as you select adjacent cells. You can also click a cell, press, and then drag its handles through a range of cells. As seen above, to select nonadjacent table cells, hold down the Command key as you select cells. Continue to hold the key, and use Command-click to deselect any cell in the group.

Adding, copying, and pasting tables or portions of them. Clicking on the + beside sheet # will create a new default table, on a new sheet, a new sheet of “graph paper”.

Tables and their data may be copied and pasted from one sheet onto another, or on the same sheet. To add a new table in the same sheet from available templates click the Table button in the toolbar, then click a table or drag one to the sheet. Reviewing process once more: Move the table: Click the table, then drag the Table handle in its top-left corner. Add or remove rows: Click the table, then drag the Add Row button in its bottom-left corner down or up. Resize the table: Click the table, click the Table handle in its top-left corner, then shift-drag the white square in its bottom-right corner to resize the table proportionally. Change the alternating row color setting: Click the table; in the Format  sidebar, click the Table tab; then deselect or select Alternating Row Color. (To choose a different color, click the color well.). Change the look of the new table: Click the table, then use the controls in the Table tab of the sidebar to make changes, such as adding a table outline or changing the table font size. To delete the table click the table, click the table handle in its top-left corner, then press Delete on your keyboard. An alternative way to create a new table matching presets is to copy a blank segment of one of your existing tables and paste them, adding and subtracting more blank squares, or even to copy a full table with color designs, and simply remove color fill after pasting.

Selecting a portion of a table that contains graphics and choosing copy and paste will reproduce the selected portion as a new table, usually at the upper left of the sheet, sometimes on top of a preexisting table.  When working on large charts, the pasted table may be “hard to find”. Reducing magnification to 25% sometimes makes that easier, since larger sheet area then comes into view. Clicking on any tables and dragging on the the table handle at their upper left allows one to move the contents to its desired location.

Fine-tuning table size and positions may also be achieved by changing values in the size and position sidebar format options. Click on arrows for default size moves, or click in respective value boxes and type in the desired number, hit return 

Some of my tables have table 1 above the graphics, some not. That can be changed by clicking on the table name box in the format table menu 

or click the table, Control-click the row number for row 1, then choose Hide Table Name or Show Table NameTriple-click the name at the top of the table, then type a new name to rename it. Keeping a “name” helps track versions such as when working in color separations, where a whole table is repeated and altered in a series of steps while preserving the previous one. Below a table segment is selected, copied and pasted as a new table. The new table is moved into a position next to the original. To combine the tables in order to create a new design, choose arrange from the format menu. In this instance, I chose to position the new table by clicking on it and selecting the back paste option. Once you click on a blank part of the sheet, the table tabs will disappear. The tables are visually merged, but in fact remain separate tables, each of which can be moved, resized, added to, and otherwise altered. 

It is also possible when working on 2 tables to select and cut out a segment or more. Below, the table with the cut-out window is moved onto its unaltered table twin and shifted up (note numbers on right, and red border segments) 

A different “table” with the same cell dimensions, may also be dragged and placed under (or over) the “cut” portion of the first. My placement here is slightly off intentionally to show table placements for under/ in back  

and placement over/ in front  

To screen grab tables with row, column tabs, and corner bullet markings click on any individual table cell (note the outlined cell with handle markings upper left and lower right), and use shift-command-4 to select area for saving.  For a multiple-table grouping, hold the shift key while clicking anywhere in any single cell contents of multiple tables, and while still holding shift, add command-4 commands, select and save. Clicking anywhere outside the tables on the “sheet” results in tabs and bullets disappearing. Click on any cell in any table again, to move it, or make any other adjustments needed.

A helpful yellow dot: for sequential numbering in any row or column, fill in a minimum of 2 with number values ie 1, 2, 3, select all the numbered cells, a yellow dot will appear on the right click on it and drag across the row of cells you wish to number and  doneFor numbering in the opposite direction, simply begin numbering on the right in reverse order for at least 2 cells, and use the same technique. For vertical numbering, once again, use the same principle at the top or bottom of the column you wish to number.
Multiple numbers, symbols, or letters in repeat (wish I knew of this feature or its possible availability in my earlier charting)Any table may be adjusted to accommodate adding text, shapes, or to expand on instructions.  Working with shapes merits its own, separate discussion.

My favorite font, used in most of my charts that begin to address specific fabrics such as lace by adding symbols,  is no longer available for distribution. For more on symbols and fonts see post

If colored cells are in use and text or symbols are added to any such cell, the ground color may be lost. If a color is added to that cell after the text/symbol entry ie by copy and paste of a colored cell, the text is lost. Arrange behind from the format menu does not work in this instance. The quickest method is to use the command key, click on any cell containing only the chosen color you wish to use behind the text, drag and drop selected content onto text, and the color will appear behind it.
Another method is to use command key, click on the chosen colored cell,  use format menu to choose color fill, click on the original cell and the one you now wish to color, finally choose color fill from the format menu again

Online published shortcuts for using the program with downloadable as PDF 

 

Charting knits using Mac Numbers: color separations 2

This is not intended as a full tutorial, it presumes there is some familiarity with concepts for charting knits or proportioned graph paper using spreadsheets. I am sharing some of my recent explorations using the latest version of Numbers version 5.01 in Mac High Sierra 10.13+ OS. To my knowledge, there are no other specific directions for using the program for this purpose. As I progressed through the separations below, I “found” new ways to deal with cell selections and table properties. At some point, I will work on expanding the original post on drawing motifs (Numbers 3.2.2).

The command key has become my new friend. In my past experience using excel, I found limited ways to work with designing motifs and working with color in cell groups. When working on the design for 3 colors per row slip stitch for a segment of this post, I found holding down the command key while drawing makes clicking on cells and selecting them sequentially, to be akin to using a pencil/ paint bucket option in paint programs. The process is significantly faster than the other steps I have tried. This image is the intended, final one Working on the table: the areas selected holding down the command key and in turn clicking on chosen cells sequentially are outlined. They were color filled with blue for my chart. The one extra square “error” in the center of the motif was dealt with individually and changed in the subsequent color selection. For a screen grab with table markings, a cell must still be highlighted. If it is not, only the selected cell contents are captured. 

In a post I wrote in 2012, I referenced the features of splitting cells that disappeared in a later version of the software. These options for working with rows and columns are available. The highlighted row will be duplicated, one row at a time, a slower process than simply splitting cells. A positive feature is that an individual table may be changed while still within view of other tables on a single sheet, without globally affecting the document. It is possible to create blank rows between design ones. Though the results from such charting are not capable of being downloaded directly into knitting software, they are a good way to sort out repeats and begin to understand and create any necessary color separations. By holding the command key, rows on the table can be highlighted and hidden as a group. I chose all the even-numbered rows. The repeat then is drawn. When it is complete, rows originally targeted for hiding are “unhidden”, leaving the design motif with a blank row between each design row, at twice its length. Hiding could take place at irregular intervals as well.

Putting theories into practice: DOUBLE BED 

QUILTING: in terms of applying the technique, the first charts are based on a quilting post that created this example using other software

I had a 14-row motif in mind, so I created a table 28 rows in height, twice that of the motif. While holding down the command key I clicked on all odd-numbered rows and hid the 14 highlighted rows. I then drew the motif on the collapsed chart in the reduced number of rows. When it was completely filled in 2 colors, I used the option to unhide rows, having the expanded graph now 28 rows in height

On the left is the 2 colors “basic” chart. You will notice it is missing a blank row at its top. Check to be sure that the expanded image has that space, it is needed for that last row of color 2 (blue) to move up. In the center, by clicking on each blue square and then clicking on it again and “dragging”, I moved each square immediately above its spot, on the matching location in the blank row. I like to work with black and white squares before drawing bitmaps or other formats for download, so the image on the far right have all colored squares reduced to black and white ones. I filled them in Gimp using the paint bucket on a screengrab of the color separation, but it may also be done in Numbers (see below)

DOUBLE JACQUARD COLOR SEPARATION: this table was part of the review of color separation methods reviewed in a previous post For the first method: testing using a simple shape, 8 stitches by 8 rows, create table 16 rows in height by 8 columns (stitches) in width. Hold command key, click on odd number rows, choose to hide 8 rows from the table menu, resulting in reduced 8-row height. After the motif is drawn on the reduced table size, the odd-numbered rows are then unhidden. Next, fill in any squares in the restored rows that are empty in the row below, where markings already exist. This may be done all in one color, but I used green for the purpose of illustration. The image on the far right may then be entered into an imaging program ie GIMP for download, drawn as is. The choice follows as to whether to double the file in height prior to programming the machine or choosing software options for double-height after loading it if that is a function of your knitting software  This image is from a previous post on DBJ separations for punchcard machines using the same size repeat and mirrored (punchcards reverse the image), offered as proof of concept The second method is for the color separation that knits each color for each row only once: the motif can be drawn in black and white. The sequence is different than for above. Rows are hidden in pairs above row 1 (16 in table left), then the repeat is drawn in black squares only. Adding a column with numbers for each row in the original provides added cues, and follow with the changes in tables. The rows are “unhidden”, resulting in the completed separation for color 1. Color 2 (in different colors in the center chart for purposes of illustration): on the first blank row, (odd row numbers for color 2) fill in squares empty in the row below, on the second blank row, fill in all squares empty in the row above (even-numbered rows for color 2). On the right is the repeat ready to be drawn for download. 

Drop stitch lace, one color, partial repeat inspired from post, 10 rows in height vs 9:  beginning with table 20 rows in height, repeat is drawn with hidden rows (markings on left), in addition, design row numbers are added in a column on right expanded design revealing hidden rows, black squares ready to be programmed 

ONE REPEAT, 2 FABRICS once again, beginning with a repeat from a previous post DBJ with each design row knitting twice, no elongation: each design row needs to be expanded into 4 rows of knitting. The first table is drawn with table rows and design rows matching 

Starting at the top, using the option key and the down arrow, the chart is expanded by using the down arrow three times before moving onto the next row and repeating the command. Any errors in single rows are easily edited. I have added the green cells on the right to represent the alternate 2 rows of color 1, making it easier to keep an eye on rows as chart is edited further

holding down the command key, it is possible to perform the same action in multiple rows 

I began by eliminating the red on rows marked with green cells, leaving only the black in those rows. Copying and pasting the chart with each step provides a continuing visual check and may avoid restarts. In the middle chart, black has been eliminated from rows (with no color cells on the far right) containing red. Lastly, red cells are changed to black for the final pattern repeat.

DROP STITCH LACE IN 2 COLORS: my original separation

Today’s much quicker method, using the all-black chart from the DBJ separation for the repeat on the far right and the command key again, I selected odd-numbered rows from the bottom up and removed the fill. The results match the ones from the previous method 

Three colors per row slip stitch: the method is the same as for 3 colors per row DBJ. The separation from my previous post

the repeat and its companion table:

6 rows are required to complete a single row of the design. These charts get very long. I chose to work first with each design row repeated twice, and then followed the same process as for the 2 colors per row separation, including reducing the cells to all black. As one advances up the table, color markings on the far right indicate the single color that is to remain in that row. Hold down the command key, and select for removing fill in as many areas as comfortable. The magnified images with tables lining up side by side provide a visual check. For screen grabs such as these, the individual tables may be moved to the front or back of others by using the arrange feature in the format menus. The black and white squares would be converted to punched holes in a card (as is) or pixels. On either machine, they require elongation X2 for use with the color changer. Again, the increase in length may be achieved prior to download in your paint program, or automatically in software or KM that has the feature built-in. To elongate the image on the right use option and down arrow if starting from the top. I added design row numbers on the right of the table to help track the process. Clicking on those numbers performs the same action as doing so on row numbers generated by the software when creating the tables. At left is the repeat in process, on the right the final one. Note: the numbers 6 and 7 are sequential on the left, an error, with no empty cell vertically between them. It is easy to see which row is not elongated and to make the correction seen in the image to the right. 

SINGLE BED

It helps to have some understanding of rules for creating fabrics such as mazes and mosaics prior to designing your own. The color separation can be a tedious one. I have previously worked out the repeats in paint programs. This method is far quicker, but there are still lots of pixels that need to be entered in software for download or squares that need to be punched. There are very interesting results that can happen by using pre-punched factory-supplied punchcards. Any of the same designs may be worked on both single and double bed, but the topic here is for a DIY approach to the separation for suitable designs

MOSAICS 2 WAYS: I previously posted on drawing motifs, and moving from design to pattern. Here again, I am starting with an 8 stitch repeat. The first method results in a repeat suitable for use with electronics. The repeat then in turn needs to have its colors inverted and is programmed to knit double length. Color changes will occur every 2 rows. The original motif is on the left, shown with hidden rows on the right. The expanded table is 16 rows in height, double the row height of the original repeat (8). Hide odd-numbered rows, and fill in your motif. (Note table row markings as opposed to the design repeat row markings)
On the expanded graph, with unhidden rows, on odd-numbered design repeat marked rows, fill in empty squares with another color. Follow that by in turn removing any black squares in that same row. Hide rows to collapse the shape, resulting in the top image on the far right. The bottom right chart repeat illustrates pixels that would need to be programmed. The setting is slip stitch on the main bed <– –>. With color reverse, the now white squares will knit, the now black squares will slip.

Punchcard knitters need to punch the majority of squares. They are manually accomplishing the task automated by color reversing the repeat in electronics. This fabric is knit at double length, with color changes every 2 rows. The alternate color now fills in empty squares on even-numbered design repeat marked rows in the expanded table. Black squares are removed from those same rows. Hide blank rows. The bottom right chart shows stitches that will be knitting, white squares will be slipping. 

EXPERIMENTING WITH LARGER DESIGNS I began with an image used in one of my earlier posts on the topic, worked through the whole process, and realized at the end of it that my repeat was technically 23, not 24 stitches wide, so it was back to the drawing board for the separation once again with the now counted and marked 24 stitch repeat. Tiling is a quick and easy process using gimp, and these repeats should be checked as those for any other type of fabric.

The newly corrected repeat (center) was then drawn onto a table twice its original height, as described above. The added rows that will be hidden and in turn unhidden are partially shown in incomplete width and highlighted on the right. A second color may be added to the repeat at this stage, but I find the results too much to deal with visually for further editing The rows are hidden prior to drawing the repeat and unhidden to create the expanded graphs. The command key is held down while clicking on selected rows along with the design height for both actions. I find the expanded rows easier to follow for editing, with the blank rows between giving my eyes a rest. If black is one of the colors, the borders may be drawn in any shade other than black to make counts in black areas easier. Some of the early programs actually assigned black as the value for the €œtransparent€ grid, automatically changing palette colors to other values, or resulting in error messages if black was part of the design palette.  Since the repeat eventually will need to be reduced to pixels or holes in cards, one can attempt to skip a step by using a darker color for color 2 in the separation and count squares and draw pixels from there. I personally find it easier if I am dealing with only black squares when plotting out pixels for download. Adding color to numbered table cells on the right is another clue to follow. Within the spreadsheet, the whole document allows for easy travel between magnifications for easier editing or prepping for any screen grabs. 

Here the repeat is drawn, rows are unhidden, on even-numbered design rows (highlighted on the right in green), the empty squares in that row are filled in with a different color (red). The black squares in those same rows are then in turn emptied of color (no fill). Again, holding down the command key while selecting across a row allows the same change to be applied to all those cells, making the process faster

a partial repeat for the squares altered in colors for respective color changes the completed results for each step If rows are hidden at this stage, the center image will result, and all red squares may be changed to black if preferred

As mentioned, I prefer to work on expanded graphs. When ready to hide rows, select empty squares (no numbers) on right, again holding down the command key while doing so to make a global change as opposed to row by row 

The BW image tiled. Most electronics (ayab is an exception) require a single repeat in width and height. If color reversal is an option, one may program white squares and use the machine or software to color reverse. Punchcard knitters use the 24 stitch width repeat in width, twice in length, punching all black squares. Slip stitch <€” €”> is the default setting.

After all that, let us not forget that for color changes every 2 rows the new repeat needs to be programmed to knit at twice the height. Again, most electronics (ayab is an exception) have a double-length option. I began at the top of the repeat, working my way down. The pull-down table menu may be used, or the shortcut: option key, down arrow for an exercise in “add row below”. One can verify that no rows have been skipped by checking on design row numbers on right. Punchcard knitters punch black squares. Electronic knitters have the option of drawing and programming the white squares as well but followed by the use of the color reverse option prior to knitting the fabric. 

In a later post, on using numbers and gimp to produce files downloadable for knitting on electronic machines, the method is explained for taking the numbers generated image above, opening it in gimp,  where stitch and row markings are cropped. The mode is then altered to a BW indexed one,

which scaled to 24X28 is ready for download (shown magnified here) 
and the repeat is shown in a tiled configuration test 

Revisiting knit graph papers, charting, row tracking, and more

DIY proportioned charts may be created using spreadsheet programs. I began to use Excel for charting in 2009 and continued to in nearly all the colored charts in my color separations for knits posts up to my latest computer upgrade. I now no longer have access to Office and work primarily in native Mac OS programs. I reviewed links for working with Excel for this post, and these are still live in 2024
http://marniemaclean.com/blog/tutorials.html#.Um_-wpFQY7I
http://www.chemknits.com/2010/01/how-to-make-knitting-chart-in-excel_9394.html
http://fleeglesblog.blogspot.com/search?q=charting+with+excel
http://anniebeeknits.wordpress.com/2011/06/06/charting-in-excel/
http://www.youtube.com/watch?v=T9dwuarghqE
https://colornotesyarn.com/create-knitted-design-chart-with-excel-spreadsheet/

one for google sheets:
http://fibercraftmama.blogspot.com/2014/10/making-knitting-charts-in-google-sheets.html

my early posts on working with numbers with some edits
https://alessandrina.com/2013/10/28/color-separations-using-mac-numbers-for-knitting/
https://alessandrina.com/2013/10/29/charting-knits-in-mac-numbers-program-2/
https://alessandrina.com/2014/09/03/creating-knit-graph-paper-on-mac-using-excel-and-numbers/

Punchcard design planning, new: these are not to scale but can serve as a base for planning repeats on paper, may print to size with some tweaking by splitting on more than one page. The first sheet is marked as a Brother factory blank single card, the second has the same markings as the roll I purchased as a “Brother one”, which has row # 1 markings for Studio kms, so Brother knitters need to begin knitting on row # 3 punchcards.

I have revised the nearly-to-scale template from a previous post; the first is not for a full card but is designed to fit on one sheet. There are 36 rows/ 180 mm high, by 108 mm wide, of prints to scale on my printer. It is bordered in blocks of 6, with no row numbers: scale no numbers.  A second document includes an added 6 rows, brother numbers row markings on the right, and a column for notes such as lace arrow marks, etc, prints to scale on my printer scale card extra2

It is sometimes helpful to have help in tracking information for actions to be taken on specific rows ie for increases or decreases during knitting on specific rows, or for lock/carriage setting changes in more complex double jacquard (DBJ). Going the printed paper route, this PDF  tracks single rows, every 2, every 4, every 6, and every 8 for tracking such instructions on individual pages. They have enough blank area left to write in pattern name, stitch, cam settings, stitch size, yarn, etc. It may be helpful to include short clippings of the fiber used. Each page may be printed separately, with printer adjustments made if required with your software: tracking rows

Some rib setup with room for notes, in both P and H settings

Ribber fabrics produced with 2 knit carriages selecting needles

There are a number of ribber fabrics that are produced by altering the settings on the ribber’s carriage to slip for an even number of rows in both directions. This requires manually changing the ribber setting from slip to knit and back for the length of the piece. In electronic machines, where the pattern advances with every pass of the carriage, there is another option. For example, to produce DBJ with the backing in one color, settings would be changed manually every 2 rows, using the color changer on the left

Some things to remember: when 2 carriages are selecting, each carriage needs to move far enough at the end of the needle bed so as not to be locked onto the belt. Extension rails are required. On the Brother ribber bed, there are stops that keep the combined carriages from going off the beds. There is one on each side (magenta arrow on left, the blue arrow on right), and to remove the ribber carriage off its bed, it, in turn, needs to be tilted forward prior to reaching the stops in order to clear them on either side.

Altering the KC sinker plates and arm: remove 6 small screws from the sinker plates, leaving only their arm

The carriage with the altered sinker plate in place, in turn, will then be used to replace rows that were to be knit with the ribber set to slip in both directions <– –>. In my sample, it operated from the right, with the combined carriages (KC2), from the left. 

For consistency, I am editing the original post and will continue to refer to the coupled carriages= KC2, the altered single bed one= KC1. KC is the abbreviation commonly used in publications for Knit Carriage. The change knob, which affects end needle selection, is marked on the KC as for I (end needle selection, indicated by black arrow) and II (cancel end needle selection). Initials KR in publications are often used to refer to ribber carriage in setting discussions. My beginning swatches were knit using ayab software’s ribber setting, which matches the KRC (2-color double jacquard separation) function in the unaltered 910. With my first try, I made no effort to consider which color gets chosen first in the color separation (ayab = black, 910 = white). There is a limit as to how far the single carriage from the right (KC1) can travel on the needle bed to the left because the combined carriages on the left (KC2) are held in place by the pin.

It would be possible if needed to separate KC2 and push further out on the extension rail, but perhaps not practical, so there are some constraints on the fabric width able to be produced.

My first swatch has some manually created pintucks on the knit side (white only knitting extra rows, joined together by all knit rows with pink). The reverse, purl side, is knit by the ribber set to N/N, all in one color. The stitches held on the ribber while the white only knits on the top bed are visibly elongated (left swatch bottom). There is some color confusion on the knit side on the first couple of rows of DBJ, solved in the second swatch. My repeat for the planned width using Ayab:

Knitting on 910 a single repeat may be programmed, start knitting with color intended for white squares, which will also serve as the solid backing color. For more similarities and differences between the original and the altered 910 see ayab diary post.

To knit using Ayab: begin the knitting with the color intended to be used for areas marked in black squares, which will also serve as the solid backing color. Preselect the first row from left to right with ribber set to knit (N/N), it will remain set that way for the remainder of the process. When on right, set coupled carriages (KC2) to slip <– –>, knit one row to left, both carriages stay on left. Knit the next 2 rows for DBJ using KC1 with altered sinker plate operating from the right, using color intended for areas marked with white squares. The main bed only will knit. Set change knob to end needle select (KC I) to ensure first and last needles in use knit. Return the KC1 to the right, on the extension rail, and knit the next two rows with KC2 operating from left. Repeat, changing carriages and consequently colors every 2 rows.

Blisters or pintucks are created when one bed knits more rows than the other, whether as simple knitting or in the pattern. Periodically the knitting is sealed by at least one-row knitting across all stitches on both beds. In this version, sealing rows must occur in pairs to allow for color change. The first chart shows a tentative repeat, planning for black squares to create the blister shapes, drawn in 2-row blocks to allow for color changes every X even number of rowsThe image color inverted, so white areas will create the blisters in slip stitch (col 2) while black squares will knit (col 1)Most published patterns for these fabrics will also include an all knit rows to seal the shapes knit on the main bed only

By using 2 carriages to select needles, one (KC1) may be set to slip <– –>in order to knit X number of rows on the top bed only, while the pairs of carriages (KC2) are set to normal knit on both beds, its cam button set to select needles, KCI. Selection will continue, but no patterning occurs as a result. A proof of concept swatch knit on only 24 stitches, the pink knits for 4 rows, the white for 2; the pink yarn is a cotton, the white an acrylic/wool blend:

An expanded pattern repeat is planned for a larger test swatch. Here there are 2 black squares added at each end of the repeat to ensure that those stitches on the top bed are knit on all slip stitch rows. The new color is wool, this time knit for 6 rows in slip stitch prior to sealing with 2 passes of the combined carriages with the contrasting color.

Single bed slip stitch rows appear on the knit side in color 2, the reverse, purl side is in a single color (1), and formed by the all knit rows. Its stitches are in turn elongated, since they are held and not knit while the opposite bed knits for multiple rows. In the sample, the first and last stitch on each side were on the ribber, creating a single white slip stitch edging. One can adjust such details to suit. The first preselection row was made after cast on with both carriages(KC 2)set to knit, moving from left to right with color 1, where they stay. KC 1 with altered sinker plate was threaded with color 2, and begins from and returns to the left-hand side.

A detailed shot of the edge: note the white, single, elongated stitch uppermost, and the pairs of contrast color ones in the “border” Designs with the deliberate placement of white blocks representing each blister can be created. It is a good idea to test tolerance for each of the yarns involved as a hand tech or repeat such above before planning significantly longer repeats. All black rows are required at intervals if the fabric is to be knit changing ribber settings for all knit rows. The same rows could be left blank if using carriages in the above manner, and lack of needle selection would be an indicator for switching to the double carriages for the 2 sealing rows, while not having to track the count for the slipped ones.

I am always interested in automating stitches to facilitate as many details as possible in creating fabrics that imitate hand techniques, without relying on row counts and a lot (in this instance) of “hooking” stitches up manually. The swatches below were part of a series of posts on ruching as a hand technique

The hand tech chart mirrored, as the springboard for my automated fabric Both led to my exploring the possibility of a cousin, working on the double bed, and using the 2 carriages. The process began with a proof of concept swatch. Two colors were used to highlight what the stitches knit with each of the 2 carriages are doing. Both KC1 and 2 were set to knit in both directions. I began with KC2 knitting the needle set up for the fabric in a dark color, on a small number of stitches

KC2 operated from left, KC1 from the right. With KC2 returned to left, KC1 knit 8 rows. It is best to work out the limit for how many rows will knit on the top bed without stitch problems prior to any automation of functions. *Two rows were knit with KC2 in the dark color, 8 rows with KC1, ribber racked to proper position**, * to** were repeated. The elongation of the stitches on the purl side results from the fact the ribber knits far fewer rows than the main bed, and in addition, the stitches on the row knit on its second pass in the pattern are pulled on across the bed at distances matching the racking positions. The plan is to automate the texture, knit it in one color, and find a way to track correct racking positions: cast on may be in any preferred method. With the pitch set to P, it is easier to transfer stitches between beds to the desired configuration. Every needle is in work on the top bed, for a multiple of 10+6ribber needles with stitches that will be moved with racking

placement of stitches on respective beds
change pitch after transfers, ribber moves slightly to right final configuration prior to patterning and racking sequence begins

The starting racking position is 5. Racking handle markings for Brother begin with 0 on left, 5 at the center, 10 on right. The ribber is set to half pitch since part of the needle bed will be knitting every needle rib. An often-overlooked clue as to what is happening or is about to is found in the arrows just below the racking position indicator. The red arrow indicates the direction in which the bed was racked on the last move. Since racking for my experiment will only be to 3 different positions, I began by choosing to use 5 pixels center, left, center, right for the full repeat sequence, but later amended the repeat to numbers of pixels equal to specific racking indicator number. The needles will be selected prior to the next row knit, a reminder of racking selection. Sequence will actually be 5, *0, 5, 10, 5,** 0, 5, etc. The racking indicator

My first Ayab repeat was planned for use with 2 carriages: KC1 (single carriage) is set to knit but to not select end needles (KCII), and will be producing the multiple rows gathered to create the blisters/ hems. KC2 (coupled carriages) are also set to select needles, both KC (knit carriage, cam button also on KCII) and KR (ribber carriage) are set for normal knit. They will create the sealed stitches joining up the blisters/ hems. The same color yarn is threaded in both. Blank squares will knit because a carriage set to knit overrides needle selection or lack of it in stitches on needles in the work position. My repeat is 46 stitches wide. Because the knitting is started with the ribber already in racking position 5, the first move in the pattern is turning the handle to the right, toward 0. The concept illustrated

set up and ready to go, racking position 5

4/19/18 As is true in any knitting, things can go quirky. I began to have a single needle on the main bed not knitting on rows knit with the combined carriages, then ran into dropped stitches in racked groups. The problem was initially not with the software but appeared to be a ribber issue, which after checking and balancing was resolved.

4/22/18 And today’s problem is the software, with persistent, intermittent selection errors. I did achieve a sample by manually pushing wrongly selected needles out to D by hand on problem rows, which tended to be 5 and 7 in all black areas. Some reminders and observations: ayab auto mirrors all images. If this repeat is entered (I added a single square as a marker for racking position 0), the software will actually be knitting this, the “image as it would appear on the knit side of the fabric”. What to program? anticipating the above getting mirrored by the software I entered this resulting in this

That said, remember that turning the racking handle to the left is toward increasing numbers on the indicator, to the right is toward decreasing numbers. For me that is counterintuitive. Mirroring the image again, and working with the repeat below can help with tracking racking movement even more. With the single dot on right, turn the handle toward it, to the right, and the movement will be towards 0. With the movement of marking row to left, turn racking handle to left, toward 5, and so on.

Next on the drawing board: a fabric using the same technique, but that I might like more. This image was a portion of a greyscale pin of a pattern book from a Russian pinI tested a concept for recreating it as a hand technique, trying to sort out how many rows I could knit before racking and the racking sequence. The best result was with a single sealing row, which in turn required changing the ribber slip setting for one row only,

so it’s back to the drawing board. I think any automation is best done using the ribber to do the all knit rows, the main bed to needle select racking positions. Results will be added to the post on combining KC patterning with racking

The present set up with 2 carriages may be used for solid color backed quilting. Using the altered KC1 operating from the right with no yarn in feeder should work to drop stitches in drop stitch lace where the repeat is altered to allow for the knit carriage with no yarn to do the stitch ditching while selecting needles as well. Related color separation and swatch may be found in the last segment of the post: revisiting-drop-release-stitch-lace/

 

Revisiting knitting with 2 carriages single bed, 910 vs Ayab so far

The question has often been asked as to why knit with 2 carriages. For me, it became a personal favorite for knitting fabrics requiring color changes every even number of rows. I tend to push the limit with materials and found the Brother single bed color changer to be quirky. When using 2 KCs there is no pushing the wrong button for the proper color in the sequence, or accidental choosing of an empty slot and dropping the knitting. Some of the loops at the color changer side edge or yarn getting caught in wheels or hooks are also eliminated. Each carriage can be set for a completely different function from the other with no manual cam button changes ie single color knitting vs FI, its own tension depending on desired effect or fiber (ie striped shadow pleats), etc. Floats along the vertical edges of the knit as a result of the striping happen on both sides rather than all on the color changer side. The principles apply when using the lace carriage and combining it with tuck, slip, or FI settings in the KC. If one is following a published punchcard pattern for such fabrics, frequently there are guidelines as to when to change colors, but no explanation as to why the cards are punched the way they are, so understanding what happens enables one to interpret directions for electronics. When going from published 2 carriage punchcard machine repeats to electronic, the repeat needs to be adjusted to compensate for the change to row by row selection. In punchcard machines, the needle selection does not advance when you switch to operating the carriages from the opposite sides, so the pattern for those rows knits twice.

Many of the stitch world books seemed more concerned with larger repeats than with some of the more labor-intensive, specialty fabrics. The punchcard books, now downloadable for free are worth having and studying no matter what your machine. They do need to be brand specific. Studio and Toyota ones may be used, but adjustments may have to be made in terms of starting rows or even flipping the card over vertically.  Download links for punchcard patterns, with symbols used and pattern samples, can be found in my previous post

I have added a new category to my sidebar to make this topic search easier: Patterning with 2 knit carriages.  Included are color separations for some fabrics suitable for this method of knitting.

I am presently knitting my samples on an altered 910, using an EMS kit purchased last December. I have had selection problems related to my hardware, but some of the 2 carriage operation or lack thereof has been evaluated and duplicated by others. My successful experiments with 2 single bed carriages selecting so far:

Lace and slip stitch: both carriages selecting in their usual positions 
2018/03/05/lace-edgings-on-brother-machines/
Start with 2 knit rows in a programmed pattern 
with KC on left, preselect to right, set to slip <€” €”>, knit first 2 all knit rows, ending with KC on right, proceed with selection with LC on left
Will not work if the pattern is adjusted so KC knits the first 2 rows and parks on left, with attempted use of LC from the right. LC will not select. 
Operating LC with KC plain knitting (no pattern selection) may be done with LC selecting from either side, with repeat adjustment 2018/03/05/lace-edgings-on-brother-machines/

Lace and weaving: 
2018/01/02/lace-punchcards-meet-ayab/
both carriages selecting in their usual positions 

Lace and tuck stitch: the fabric worked out for use with mylar sheet

Ayab actions for carriages, use LC on left, KC / tuck <– –> on right
a charted ayab repeat for my swatch 

I came across this image on a pinboard, and imagining the possibility of knitting it led me back to a previous post illustrating a similar stitch structure, knit on an unaltered 910. The pin:


working out the first repeat in the blog post

The swatch (sideways view) shows the repeat as illustrated in the upper segment of the above chart, and then lengthened X 2, with color changes every 4 rows (the length X2 is not presently an available action in Ayab)

In the past, when I tried to knit with 2 KCs, one on the left and one on the right, both selecting needles, I was unsuccessful, but in light of the above experiments, I decided to test the idea with the RKC (the one that would operate from the right) selecting and then knitting the first 2 rows of color, in turn resting on the right side. I then operated the second KC from the left, alternating carriages every 2 rows. Knitting at a slower speed and moving each carriage perilously far out on the extension rails did the trick.

To use the repeat in Ayab, in order to keep the proper color sequence, the last design row is shifted down to row 1 position. There is an error in the repeat, marked by arrows I did not notice until I had completed the swatch. The repeat may be used as is, and color reversed via action inverse in Ayab, or color reversed prior to loading the image, which I chose to do personally. 

This is grabbed from the ayab screen: the knitting is actually mirrored automatically by the software, so what is shown onscreen is what appears on the knit side of the finished piece. Something to keep in mind in situations where placement and direction might have some importance. 

Things to notice in swatch: as already mentioned, there is an error in the repeat in terms of my intention. Placement for the slip stitch blocks could certainly be planned for an asymmetrical effect, varied in size, and more. Slip stitch produces a significantly narrower knit than the stocking stitch. That would need to be allowed for were the stitch to be used in a garment or gauge dependent knit. 

Examining the purl side of the knit, which is facing as one machine knits: the intentionally dropped stitches at the start on both sides are there because I had cast on extra stitches that were outside the parameters of the programmed repeat width. The left side edge, next to LKC (left knit carriage) is visibly shorter than the right. The two yarns used were of different thicknesses but knit at the same tension. The LKC would have merited from a looser tension, and an edge weight on the very last stitch on that side would help with adjusting the length the white edge €œfloats€ from one color change to the other as stripes are created. The handling of side floats in striped knitting is dependent on the row height of such stripes.  
There are a great number of interesting ribber fabrics that can only be knit by manually changing the ribber settings to slip in both directions, so that the main bed only knits for X # of rows, with the ribber carriage periodically set to knit again. If the function happens for an even number of rows at a time and in both directions, the sinker plate for the KC may be altered for use with the ribber in the up position, to knit the main bed stitches only. Its change knob should be set to KC I to ensure that the first and last stitch is knit. I knit this sample using the altered KC selecting from the right, the KC engaged with the ribber sinker plate selecting from the left. I will address the altering process and steps involved in the knitting in a separate post. 

 

A Brother 910_ Ayab diary/ EMS kit

This is a work in progress post. I have now edited and included its previous version so the most recent observations appear first, the oldest last.

9/8/18 I have received a replacement unit from EMS. I got this far testing a large scale pattern, no fault of the program at my stopping point. I did not notice until I got across the last pattern row that I had actually knit with both strands of yarn. Rather than try to fix the issue, I decided to scrap off. This gave me a chance to test new yarns. I had never used chenille in DBJ on Passap, it sheds too much, resulting in error messages. I like to have my scarves at least 60 inches in length, and this combo looks as though it would reach that length when completed. I also did a bit more editing of the repeat as shown here. We shall see if the equipment and I both last to a whole 1200 rows or so in one sitting anytime soon 😉

6/25/18  the kit apparently has now gone from out of stock to officially no longer in production 

5/28/18 replacement kit never received, it’s back to mylars for me to actually try to get any significant knitting done 

4/27/18 I have been able to develop some fabrics using two knit carriages selecting needles from opposite sides, though the lace carriage will not select from the right if the knit carriage is also selecting from the left. The posts include altering a knit carriage to use as the second one to select needles as an alternative to changing ribber settings between normal and pattern knitting, and addition to posting on combining KC patterning with racking

I had been told my kit would be replaced due to persistent patterning error issues. Sales are presently on hold while the hardware is reviewed, and work is being done on a new version of the software, so any changes in status are to be determined.

3/ 31/ 18 At present there is no English text manual for using the software or a quick start guide. I am sharing some of the differences and similarities in actions I have noted between the unaltered 910 and those of the hack, beginning with settings, and including a few tidbits gleaned from support as I encountered patterning problems. They may be of interest to those making the transition after previous knitting experience and familiarity with the machine, or to anyone curious about the program and some of its features and differences.

Yellow text in this first image from a publication on the 910 indicates matching functions I have identified so far in ayab software.

the full illustration from the 910 manualactions on the unaltered 910

When the pattern selector is down, the pattern is centered on green #1 (right of  0). This means if the pattern is an even number, say 24 stitches, then the pattern limits are green 12 and yellow 12. If the pattern is an odd number of stitches the pattern limits are yellow 12 and green 13, the center being green #1. With an odd number of needles, Ayab places the larger number of needles on the left, its orange (yellow) side.

AYAB

I purchased my hardware kit (now off the market) from the developer : to purchase , wiki , interface , install. Online discussion groups:  Ravelry , Facebook, and GitHub.

At present, there is no cover readily available for the machine once the unit is installed, so the left side of the main bed remains exposed.

Though beeps heard upon preparing to preselect the first row from left to right are described as a triple beep, I hear them as a triple set of multiple beeps with pauses between. Not taking the time to “hear” them all will result in patterning errors from the get-go. Be sure to hear the beep and see the flashing of the unit before reversing carriage direction. Clear the left turn mark at least periodically while knitting. If you have experience with any production knitting on the unaltered machine you may feel the knitting speed is slowed when using the software and cable for downloading each row as opposed to that with which the mylar scanner accomplished the same task.

Ayab can be set for an infinite repeat in length, the function was automatic on the mylar unless one made the choice to stop at any point. A single repeat on the mylar was enough to program across the width of the needle bed, with ayab the full width of the pattern must be programmed, so designs need to be tiled accordingly.

Installation of software can be achingly slow on Mac desktop (I am using High Sierra OS). SiLabsUSBDriver  is also required. Security settings need to be checked/changed even if no warning is given by the computer leading one to assume there have been no issues with the download or the install. The driver will reside in the library/ extensions.

The hardware install is fairly straightforward.

The USB connection needs to be made prior to launching the software for the port to be recognized. If port questions come up, click the “Refresh” button on the AYAB screen. When things are working correctly, you should be able to see a port name from the pop-up menu. The plug-in power supply supplies power only to the needle selection.

The popping noise or clunk is heard usually but not always when you cancel AYAB and restart and is produced by the solenoids. I have been reassured it “does no harm” by support.

The launcher box remains open throughout knitting.

To start knitting:
1. Load your pattern in the width of the planned repeat
2. Set all the AYAB settings at default (2-color, start at row 1, single, center). Check infinite repeat if you want to knit more than one vertical repeat
3. Knit carriage is on the left, outside the turn mark
4. In the AYAB software, Configure/Knit
5. Wait until the software says Please Init carriage at bottom of the screen
6. Bring the carriage across the left turn mark and stop before crossing any needles, wait for the triple set of beeps.
8. Continue across the first row and stop, wait for flash and beep, then proceed with movements to and from each side, again waiting for flash and beep that indicate each row download is complete.

If knitting a repeat in single height, when you are one row ahead of the last selection the row numbers disappear as “Image Transmission is finished. Please knit until you hear the double-beep sound”. The marker on the image jumps down to the beginning. You knit across and it does the selection for the last row and gives the long beep sound. Knit one more row to actually knit that selection. When all needles are selected to B, you cancel your settings and you’re done. 

In some instances clearing both turns marks seems to help avoid errors and ensure consistent patterning. Beware of moving the carriage back and forth for any reason, ie to fix a yarn loop, dropped stitch, etc. The movements in my experience have been counted as rows, resulting in patterning errors as would happen when using a punchcard machine. If working on a desktop as opposed to a nearby laptop you may be missing any visual cues for row advancement provided by the ayab screen.

The image displayed on the screen may be magnified and reduced to fixed amounts, but at present, there are no programmable cues as might have been used on mylar ie. for color changes, lace vs knit carriage actions, etc.

When exploring the menus, creating an easy to view repeat helps to sort out available actions

The single setting is used for all single bed fabrics. The row numbering starts from 1, not 0, and focuses consistently on the row whose pattern is being selected, not the row being knitted; design row start line placement

start needle design stitch position on needle bed 

single design alignment test: left, center, right of the same repeat on an alternate start stop needle configuration 

As mentioned, with an odd number of needles, Ayab places the larger number of needles on the left, its orange (yellow) side. It also automatically mirrors all patterns, so lettering and images appear on the knit side as drawn. The mirroring, however,  is a problem with lace. If working from an established pattern, the lace repeat must be mirrored again either before loading the pattern or prior to knitting it or lace transfers will be made in the wrong direction. It is possible to operate the LC from the right side using Ayab, but if  knit carriage is also set to selecting needles ie. if set to slip stitch, and is used in combination with the lace carriage, the LC will not select when operated from the right, and the pattern will not advance properly (documented by others as well).

I used to constantly use 2 knit carriages in a lot of my accessories. At this point, that function is not possible due to patterning errors or loss of patterning when the second carriage operates from the right.

The first preselection row in Ayab is made from left to right. For any pattern that requires a start from right to left, ie one with color changes every 2 rows, there are 2 options. One is to place the design row start line at the very top row of the repeat. That row will be selected left to right, the first design row will then be preselected right to left, and the 2 color rotations using the color changer on the left can proceed accurately.  The other option is to shift the last row in the programmed repeat down to row 1 position prior to downloading the pattern and saving that as the working repeat.  I prefer the latter since it eliminates having to recall the change in the start line. An example of the shift is seen as applied to the automatically shaped lace trim

The ribber setting: a reminder, later color changers were also capable of being used on the bulky machine

Brother DBJ KRC setting including on the 910: white is the background (color 1), punched holes, black squares or pixels are considered contrast (color 2)

This is the KRC color separation described for DIY use on a punchcard machine: 

some of the possible backings (vertical striper requires extra steps)

Previous related posts: https://alessandrina.com/2015/04/18/a-simple-shape-an-exercise-in-dbj-brother-km/ and https://alessandrina.com/2017/10/26/dbj-and-color-separations-some-previous-posts-links/

AYAB color sequence is reversed from the Brother convention of white pixels being color #1, and black pixels being color #2. It chooses black as color #1, white as color #2. The first pass to the right is set up with the “black” yarn. The actual position in the color changer can vary depending on how the yarn is threaded in the mast. The first pass to the right preselects for the first row of black squares, which will be knit on the first pass from right to left. In one option, the ribber needs to knit the yarn in order to get the carriages threaded with yarn to the other side, the KC makes a free pass, with nothing knit. This is achieved by having the main bed set to slip <– –>, and the ribber to selection to be used in the remaining DBJ fabric. After knitting across and waiting for beep, knit back to color changer, the beep happens again as you reach the opposite side. Press the button to change yarn to “white” and continue in pattern, changing colors every 2 rows. Depending on your choice of start to the piece, another option may be to have the ribber set to slip as well on the first preselection row from left to right, thread the “black” with the carriages on the right, using it to knit that first design row, moving toward its empty slot in the yarn changer, where you will then pick up the “white”. Check cam settings on both carriages before moving back toward the right. Thinking of the pattern in terms of black and white and matching the sequence as described frees one from the factory KRC convention.

KC I or II may be used, needle arrangements can vary depending on the look one prefers on the edges. It is helpful to have some previous experience with ribber use and understanding of how stitches are formed. Patterning resulting from choices on end needle selection on either bed may be considered a boon or a distraction, at times even create a smaller, secondary pattern (arrows)

The circular setting: was intended for tubular fair isle, some of my experiments to produce other fabrics may be found in earlier posts. The ravelry group discussion on the topic including using the setting in knitting socks, with an extensive tutorial by Adrienne Hunter: https://www.ravelry.com/discuss/ayab/3346844/26-50#38

3/15/18 After more testing I have come to the conclusion that end needle selection cancellation on my 910 LC is working properly, but is not operative when I am working with my Ayab interface.

3/5/18 While working on a post on shaped lace edgings on Brother machines  I encountered 2 new issues. One appeared to be I was unable to restore end needle selection on my LC while sorting out the repeats. The other was that if 2 carriages are in use, the lace carriage will not select needles if operated from the right, while if is the only carriage selecting needles, it will work from either side. This is a property that is not isolated only to my set up.

2/28/18 I have continued to intermittently knit swatches on my hacked 910. The software continues to be a boon in terms of avoiding the mylar and producing test fabrics quickly. At one point it was suggested I flash the Arduino “go to the Tools menu, Load AYAB firmware. Choose 910, Uno, 0.9. It takes a few seconds to reload the firmware (the part of the program that’s in the actual Arduino.  The changes from 0.8 to 0.9 were minimal, but it’s best to make sure you are using the latest.  EMSL preflashes them in testing so it’s not normally necessary for the user to do it.” Mine had not been. Doing so has not changed any of the behaviors that make me reluctant to even attempt to knit anything other than short fabric tests.  The trick now has become to keep enough patience and distance to be able to not assume that any patterning issues or fabric inconsistency are due to the software and not my own inattention or faulty notes. A recent observation: if an odd number of needles are being used the rule is that the larger number will be on the left.

1/21/17 I have been reworking some of my previous posts to accommodate for the fact that Ayab preselects the first knit row only moving from left to right. After being contacted by a design school student in Europe with respect to creating specific designs in 2 color drop stitch using ayab, there is now a dedicated post on the topic. Nothing has changed in terms of my having reliable and consistent patterning for any significant knit lengths using Ayab. In addition, the knit carriage movements in the 910 when using the software now behave like the Brother punchcard knit carriages. Any change in movement in the opposite direction or jiggling of the KC for any reason can make the design advance pattern rows. This was never true for the unaltered 910 machines, which were wonderfully reliable if the knitting was interrupted, if carriage were moved outside the knit edges for any reason, did not need to clear end marks for any reason other than on the first row of knit, were able to preselect first row from either side, making patterns that required use of the color changer usable without design first row adjustments, and the list goes on. The Facebook group is an active one, and worth joining for anyone seeking more observations, advice, and inspiration.

1/7/18 Over the weekend it appears my software has now begun pre selecting  first with errors, and now correctly on that first pass from left to right, so I will now be reviewing any instructions I have posted this past month in case settings need to be changed for anyone trying to execute the same fabrics, beginning with  lace.

1/4/18 My Ayab software set up rows work this way: the first pass from left to right only gets the carriage to the right, selecting only first and last needle if change knob is set to KC I. The second pass from right to left preselects the first row of pattern. The third pass (from left to right), knits the first row of pattern, selects the second, and so on; the subsequent selection is correct, no rows of the design are skipped. It has been pointed out to me that this may be a unique feature to mine or one unreported by others. “First preselection row should occur on that first pass from left to right”. My posts on using the software are based on the first pattern row knitting from left to right, not right to left as would happen if the very first pass from left to right preselected for the first row of knitting. At this point in time, it is also not possible for the first preselection row to occur moving from right to left. This, in turn, needs adjustments if patterning needs to occur in 2-row sequences from the left ie. in knitting mosaics and mazes unless preselection happens from right to left,  a result of my version’s “quirk”. Since I also knit on an E6000 the first 2 rows feature to complete preselection for the first row of pattern is a familiar one, and from the beginning, I assumed it was an intentional feature in the Ayab software as well. It actually solves the problem if the first selection row needs to happen toward the color changer. Fixed starting sides can be problematic depending on the type of fabric being knit.  Lots of options to explore.

12/28/17: tuck lace meets hand technique 

12/25/17 my first try at lace: the LC is the one to select for transfers, the KC knits to complete the formation of stitches. Brother punchcards for lace usually begin with selection rows, end with 2 blank rows at their top. Using Ayab the repeats need to repeat across the width of the piece. One nice added feature is that when doing so, blank rows may be planned and left at both sides, creating a knit stitch border and eliminating the problem of paying attention as to whether end needles are selected or not, or what other measures to take. This fabric creates large eyelets, there will be 2 empty needles side by side for the duration. Some of the old pattern books referred to it as one of the “mock crochet” ones.

the resulting fabric, knit and purl sides

one more to try: a large diagonal eyelet lace combining lace and tuck 

1/22/18 swatches with preselection from left, similar results for shapes that are shaped with single row increments in height. Double height, the fabric creates tiny pintucks, not blisters as can begin to be seen at top of swatch; KC slip <—, ribber slip —>;

shapes as seen in test swatchverifying presence of pockets 

For a full post on quilting in one or 2 colors please see later post 

12/23/17 The “quilted” fabric produced below is different than the one achieved by specifically designed color separations, the fabric has an interesting blister like effect, the knit areas have more horizontal texture. Because of limitations due to the eventual needle selection errors, I am experiencing with the software, my swatches are limited in length or have interrupted patterns. My new repeat two of the “pockets” have beads dropped into them to highlight their location 

12/22/17: settings given below are for first preselection row from right to left, not for left to right,  testing out the waters with the circular settings, using the repeat. Please check later posts for reviewed content 

I tried to go for “quilting, but think that may require switching levers on the ribber, so to start with, this was knit in an every needle rib, with the ribber set to knit <—->, main bed set to slip —>, producing a fabric with very subtle pintucks, which may be more interesting in 2 colors
Quilting: KC slip <—, ribber slip —>

The pink and white swatch is in “drop stitch lace”,  was also knit using the circular setting. Instructions for color separations for fabric, how-tos, tools, tips, and samples may be found in my posts on the topic, with the same repeat used in https://alessandrina.com/2015/06/16/geometric-shapes-in-drop-stitch-lace-2-brother-km/ 

the image resulting from my own past color separation its purl side, turned sideways

Previous posts have covered manual color separations for fair isle, quilting 1, quilting2, and a summary of series on drop stitch lace. A later post on drop stitch lace using ayab .

One of the differences in using Ayab, is that knitting set up begins on the left, with first preselection row happening on the second carriage pass from right to left. This makes sense if the goal is to set up patterning for moving toward the color changer. Passap E6000 uses the SX/GX (2 Rows) for set up, with its color changer on the right. The knitter may set the carriages or locks for any chosen setting (knit for knit rows, slip if the extra 2 rows knit are not desired as part of the pattern or those suggested by console or other instructions). In the original state 910, the starting side is of no consequence as long as one is outside the set line, and preselection happens on a first, single pass. The same is true of preselection in the punchcard, one may start on either side. In some fabrics such as slip stitch worked holding techniques, or if the color changer is in use and making moves in even numbers of rows toward and away from it are required, starting side matters. The Ayab circular setting does the color separation for the fabrics above, but other cam and lever settings may need adjustment, based on sorting out what selected needles are doing when knitting starts. For the “quilted” swatch above the left part button on the KC, and the right one on the ribber were used. Sometimes the guide to color selection or cam settings is whether the first square in the imported image for download is black or white. With the loss of the built-in color reverse on a hacked machine, it is easy to work when swatching and testing to color reverse the repeat by using invert, available in the color menu, providing the alternative repeat. In Gimp the grid color may be adjusted as well if you choose to work in black and white as your starting palette. For the individual image, Image/ configure grid changes the preference for single use. 

12/19/17 I am continuing to really appreciate the speed and ease for sampling pattern ideas. That said, I  have also again experienced selection issues varying from lost selection to repetition of the same pattern row indefinitely, frequently after more than 50 rows are knit, and in spite of increasing attention being paid to beeps and flashes. Short pauses also seem to put the software into time out mode. I have not done enough knitting to evaluate whether moving the carriage past both turn marks with any frequency prevents those selection issues. Support is responsive, with new tools come new learning curves for everyone involved.

There is a popping noise /clunk that I have now learned is routine and  “likely from the solenoids being engaged or disengaged, when they’re first powered up, or released at the end.” It is a noise I have never heard in standard 910 use. I usually power down equipment when not in use, and have been told: “For the sake of longevity on the knitting machine, it’s probably better to err on the side of disconnecting the USB cable when you power down the machines.”

My present knitting efforts are to come up with some sort of variation of this fabric, published in an early Empisal Ribber Pattern Book, shared in a Facebook forum post.  I have used racking in a variety of experiments but never traveling over a MB pattern as in this instance. There is now a dedicated post on the topic 

12/17/17 I am brand new at using the system, my comments here are logging my personal experience and observation as I am learning a new tool, not intended as a guide. Please follow forums for advice from folks with more experience and knowledge.

The ayab interface from EMS is now up and running on my 910. The process was easy and straightforward in terms of hardware. Software install on the Mac is very slow initially, but the launcher operates quickly after that.  I am using the system connected to an iMac presently running OS 10.13.2. There initially were issues with port failure when attempting to use the program to download. No security warning was received when the driver download was completed, but rather, the image below, which I took at face value, so I did not immediately access the preferences security panel to make any changes thereIt took some sorting out with EMS support and finally accessing preferences security settings and “allowing” the install to solve the problem. Apparently, there may be some change in the message received within a half hour of the install. So, easy fix, check system preferences security settings regardless of pop up window even if lacking  familiar and obvious warnings such as

At present, there is no cover available to fit over the kit and its wires, so the left-hand side of the machine remains exposed. There is a row counter built into the software, but I tend to rely on the built-in on the 910. Any DIY cover should take clearing the row counter and the knit leader trippers into consideration. There is some conversation about 3D printed ones or even metal. Tiny detail: the kit comes with electrical zip ties to help secure the plastic shields on both sides of the board.  Clip the ends, and twist them so join sits either on top or under the interface, thus keeping them clear of KM parts, and, particularly, the belt drive on the left.

There are a series of beeps and flashes that indicate that the pattern row has indeed been downloaded and is ready to be knit. 910 mylar users are familiar with the sound coming from the reader as each row is scanned. Prior to using the Ayab system, I was initially concerned about beeps for each row adding to machine operating noise, since I am familiar with the Passap screech and at one point was also with the Studio electronic version. The Ayab beeps are actually on the soft side, and background noise or inattention may actually lead one to miss the cues. LED flashes occur in pairs indicating the row is ready to knit as well. Again, any cover may hide the light or soften the beeps, even more, making the cues available via the screen more essential.

The kit comes with a 3 ft. cable. I have rearranged placement of my machines to make using both the Croucher cable, switch box, and wincrea on the Passap, and the Ayab system on my 910. My initial wish was for a longer cable, which is possible to use. That said, there are several knit from screen clues that if you are operating the machine any distance from the computer get lost and become hard to see, including indicators for row numbers and the pattern advancement lines on your motif.

So far I have small FI samples and DBJ  samples. Ran into a problem after 60+ rows of each with mis patterning occurring, but that may well have been operator error. I have used my 910 for production accessories and was very familiar with a personal optimum speed. I believe I almost unconsciously with the initial samples, may have picked up speed and interfered with the accurate download of pattern rows. When I slowed down and was much more deliberate, waited for each flash and sound, a test got me to RC 110 with no issues before I quit for the day.

11/27/17 This punchcard was shared by someone trying to reproduce the implied fabric on their 910. It is intended to be used as a combination lace and weaving card, so on the punchcard machine, 2 carriages would be locked on the belt. If even number of passes are made with each carriage, there is the issue of the card not advancing each time when the opposite carriage makes its first pass. So far I have not been able to get this repeat to work for me as drawn, to produce results anything even resembling the “finished swatch” published photo. It did work for me using the LC carriage for 3 passes, releasing it, and following it by 2 rows knit with the KC set to tuck in both directions, a very different fabric. If the LC  is released after an odd number of rows, then technically when the KC is first in use,  the right to left and back to right selection is not interrupted, it is moving in the direction the LC carriage would have moved, and the punchcard row is not repeated. The first row with LC selects, second row transfers, selects next row. Third row transfers, selects every other needle for the first tuck row on the next pass of KC, and LC is released. The fabric then tucks for 2 rows as punched, on every other needle. The second tucked row is completed with KC on right. The first LC row has now been preselected, as the *LC heads back to the right (1) it transfers the selected needles, selects them again, but since they are now already empty, nothing happens to any yarn, and the next row of transfers is selected (2). The second set of transfers is made to the right (3) as the first tuck row is preselected. LC is removed. KC tucks for 2 rows (4, 5), selecting first LC transfer row with the second pass.* Repeat. The marks on the left should indicate carriage movements for each carriage, but they are off as well in my version of the fabric. My final repeats were for use on the 910 with a mylar.

the pattern book swatch image tuck swatch

Lace is a challenging enough fabric without adding weaving yarn floats, and definitely combining them requires a clear understanding of what the yarn is doing on the needle hooks as one progresses through the repeat. I will be starting a separate post reviewing card markings in punchcard pattern books, and translating them for electronic use. For further information please see post on 589

I have always been interested in machine knitting hacks and began sharing information from the internet on the topic as early as 2013. I own the 910 Brother model, and when the ayab hack first became available, assembling electronic components was beyond my skill and interest. I have a good supply of mylars, but have always knit more complex fabrics on my E6000, which has the Croucher cable and switch box for download to and from a Windows laptop, using Wincrea .  I had known a preassembled kit for the 910 hack was in development from a trip to CA, which included a visit to the Bay Area Machine Knitting Guild  back in April 2016.  A recent post on Ravelry alerted me to the fact that Ayab was “alive and well”, and that an assembled kit is now available and on the market. The hardware kit developer , to purchase  , wiki , interface , install . My understanding is that the software is still being developed in Germany.
Online discussion groups:  Ravelry , Facebook.  My compiled list of online pattern generators, hacks, free KM manuals, and more: 5435

I have purchased a kit and will share my experiences with it as time passes. In addition to bypassing the mylar use, the idea of having software that will render color separations that would normally have to be hand drawn for larger repeats than would be practical, or for complex fabrics, is an exciting one.

An artist whose work I admire, using the interface early on is Claire Williams , her tutorial  updated 2016 with DIY assembly of the original “kit”.

Lace edgings on Brother machines- automated with slip stitch

I wrote this post (unaltered) in March 2018, returned to the topic of automated lace edgings on Brother machines in July 2020. As often happens after some distance, details may be freshly observed or seen in a different light, and approaches then in turn vary or change.
Some of these edgings have been reworked, and new ones added in subsequent shares.
My blog posts include my notes as I work through concepts, not every chart represents a successful repeat.
As of this year (2020) I no longer own a 910 or an Ayab interface, so I am unable to provide further tested revisions or advice on their use.
The edgings outside this post were knit using img2track, but the same repeats should work in the 910 with Ayab with adjustments for starting row and mirroring.
At some point in time I began to include pngs as well as charts for my designs, they will be added for these trims as I review content.
A reminder: although I make an effort to include punchcard knitters in my writings, the 24 stitch repeats shared and used for my swatches testing this technique and knit on an electronic, are not suitable for use on punchcard machines. They would need to be adjusted along their full height.
When 2 carriages engage the belt selecting needles as the carriage from the opposite side first comes into use, the punchcard does not advance, selecting the same design row once more.
Many early published trim repeats were intended for use with hand transfers combined with plain knit rows. Such designs may be translated for use on electronic models using this technique.
The initial goal here is to produce a knit fabric using lace transfers in a familiar way, but the knit carriage will now be set to slip in both directions, also selecting needles with each pass.
In routine transfer lace knitting, the KC is set for plain knit, does not preselect needles, or advance the mylar, punchcard, or rows in electronic patterning.
This image, where all blue squares represent knit stitches and white squares unworked ones, is the start of planning it to produce a piece of knitting on the machine.
The initial hand technique approach might be to use a single prong tool to move the edge of the blue in one stitch to the right for a decrease and out one needle to the left for an increase.
When the decrease is made on the bottom curve, the needle from which the stitch was taken must be pushed back out of work.
When an increase is made, an empty needle is moved to work on left, and the last stitch on that side is transferred onto it. As knitting continues, that now empty needle location will create an eyelet.The stitches on the needles at the decreased edge will hold two stitches after the transfers, the ones at the increased edge will hold single stitches after the transfers, producing a different quality.
I decided to “wing it” for the first swatches. This illustrates the same knit shape. Blue rows represent all knit rows and stitches, the empty pairs of rows leave areas to insert lace eyelets in a pattern.Arrows indicate the movement of the lace carriage on left, knit carriage on right. Red squares now represent transfers to right, green ones transfer to leftA second transfer to the right is included in the pattern close to the left edge of the trim to create eyelets next to the decreases, matching those eyelets created by stitches moving out in the increase segment of the chartA theoretical series of right and left transfers is then inserted, creating a shape in the center of the trim’s widthNow reducing it all to black and white squares or pixels for first preselection from right-hand side using an electronic. This repeat is not suitable for use in a punchcard machine even though it is 24 stitches wide. Electronics advance a design row with each pass of the carriage when cam buttons are pushed in and with both carriages set to needle select. Punchcard machines in those circumstances do not advance when the alternate carriage is brought into work from the opposite side.
This charted repeat and any designs beginning with a single row of black pixels are usable as shown on an unaltered910 using a mylar, or download programs that allow for the first preselection row from right to left.
The LC operates in the traditional manner from the left, KC from the right but in the decreasing shape, the transfers begin to the right instead of the traditional left. This requires a shifting of pixel placement since the traditional start in published Brother designs is usually with transfers to the left. Planning the repeat in that manner reduces the number of blank rows. For use with Ayab software two other things need consideration.
Ayab mirrors lace repeats, so either mirror the repeat of the original design or choose action mirror in the software prior to knitting.
This is a screengrab of the repeat used for the initial test swatch.
The designs shared are not always resolved, problem areas are pointed out in proof of concept fails.
The section where the diamonds cross in at the center of the design was altered in the later repeat. Since the knit carriage in the present Ayab version needs to preselect with the first pass from left to right, and to knit two rows with  two more KC passes to return it in position on the right, the top row of the proposed design was moved down to row 1 position, resulting in two rows of all black pixels.
That can be achieved manipulating the starting row count or simply planning for mirroring and black pixel row starts in the DIY png.
Brother preselection can be confusing to new users. Carriages can knit one preselection while concurrently preselecting the next row.
Design rows as numbered in any chart may differ from those on a KM row counter or prompts from software.
To review: the KC here preselects left to right, knits black squares to left, preselects the same needle selection again to knit those same stitches traveling back to its home on the right, creating the two knit rows that in “normal lace” would be worked with the KC simply set to knit.
As the KC now knits the second row, it preselects needles for the first row of transfers, rests on the right
LC transfers to the right as it travels to the left preselects the next row of transfers. As it moves back to left it transfers to left, preselects for first of 2 all knit rows, rests on left
The sequence is repeated until the piece reaches the required length.
In these first repeats where the designs begin with two all knit rows, end needle selection is off on both carriages.
As LC travels to left, because of no end needle selection, the first needle on the right is not selected. An option is to manually pull that needle out to insure it knits. I preferred the chain created by those single stitches knitting only every other row, but was not happy with the elongated stitches on alternate rows edge stitches on the increase side. These would be the carriage actions I had a serious yarn tangle on the right about halfway up the swatch, with some of the evidence visible near thecenter of the swatch photo changing that crossing of the diamond outlines, still “winging it” 
My fiber is now crisp cotton, unmarked weight, tension 8, and it is much easier to observe areas that may still be a problem for me as the designer.
Ideally, I would prefer the lines created by the transfers marked in cyan to match the quality of those immediately below or to the ascending part of the diamond on their opposite side, which would require changes in the transfer sequences and space between knit rows.
The LC non-selected stitches on the straight creating every other row slipped stitch is still something I like.
The difference on the edge stitches in the ascending angle is happening because with each transfer out, there is a single thickness of yarn on the new edge stitch, and moving the stitch over a needles space elongates it.
Longer loops are also created when single increases are made by bringing needles into work on the carriage side prior to knitting a row across all needles. In the trim’s decrease edges, the transfers in each new edge stitch have double the yarn thickness contributing to a different appearance, highlighted with magenta arrows. There are 2 rows that have no edge transfers programmed intentionally in the center before reversing direction, so that area has no resulting edge eyelet.  The last shot at adjusting the repeat, with improvement in those cyan, marked areas. Plain knit rows may be added between each repeat, the edge of the knit will be different than in the remaining trim on each sideGoing back to the wheel that has already been invented, how can pre-drawn published MK lace repeats be used instead of “winging it” endlessly or not having the confidence to perform the necessary assigning symbols and proceeding with the required separation? Still trying to work with a pattern that knits for 2 rows, transfers for 2, a chart from Stitch World:

marking the 2 all knit rows that will be plain knit by programming black squares The pattern is actually for an all over lace. All the transfers in the central diamond actually are happening in the same direction. If the repeat was programmed in the usual manner, beginning with LC on the left, those transfers on the first design row and in the whole of the center diamond shape would all be to the left. I can live with them all being to the right, and would be interested in more eyelets at the edge of the trim. Here is a new repeat, with the increased eyelets at the curved edge There is a disruption for 2 rows in the very center of the diamond, where no increases or decreases occur on the shaped edge prior to reversing the shaping. It was there in the earlier sample marked with arrows as well, but not as noticeable where the edge was created with the addition of single eyelets on increase and decrease rows.For pngs for this reworked, more resolved repeat see Lace edgings on Brother machines- automated with slip stitch 2. 3/7/18: a lace punchcard repeat with transfers in opposite directions Assigning colors to transfers: red to left, blue to right. In theory the same repeat could be used flipped horizontally for operating the lace carriage from the right. Yellow lines highlight the 2 blank rows in card that will be replaced by black squares/ pixels (remember rules are different for slip and lace in punchcard knitting)Since the goal is a trim, things are rearranged for knitting to begin on the full 24 stitches There are 2 ways to get the above repeat to work, one is by adding extra blank rows. I chose to reverse positions for transfers, moving left transfers up one row, and red down one row. With lace carriage operating from the left this is my new repeat, with edge shaping added for trim edgeKC is set to slip after the first preselection row, first set of transfers is selected on its second pass to the right. The first transfers with the LC are made to the right, the second set to the left. If knitting the repeat using Ayab remember the above is mirrored by the software, so choose action mirror prior to configuring it.
I knit a swatch using the thinner yarn again. The difference in increasing angle can be seen here as well, the pattern is short, so the outer curve of the trim reflects that

3/10/18: an adaptation of Susanna’s automatically shaped trim for Brother KM, p. 223 of “A Machine Knitter’s Guide to Creating Fabrics”.
This chart shows the first rows of the published punchcard. Please note: using my own lace carriage, when I tested canceling end needle selection, the problem was not solved. Brother setting recommendations made for a similar transfer pattern in an edging published by them, are given and repeat is pictured at the end of my post.Row 1: LC moves to the right, no needles selected
Row 2: LC moves to left, preselects next row of transfers
Row 3: LC moves to the right, transfers preselected needles to right (red dots), selects needles (if any) for next pass to left
Row 4: LC travels to and transfers to left (green dots), preselects for the first row to be knit by KC In this particular pattern the direction of the arrows match the direction of the transfers with movements of LC operating from left
Row 5: KC from right, set to slip <–  –> knits all needles in D position, repeats the same selection as it travels to left (yellow marks)
Row 6: KC travels back to right, in the second shaped knit row, preselects for the next transfers to be made by the LC
Row 7: LC travels to and transfers to right, preselects for next row of transfers
Row 8: LC travels to left, transferring to left if any needles have been preselected on the previous pass, and the process continues
The numbers on the punchcard chart do not reflect actual row numbers in knitting because when row 4, 10, etc is reached, on the next pass (a blank row in the card), the card does not advance and the previous selection is repeated. For each carriage to make an even number of passes to travel to and from its original position, the total length of the repeat must be an even number of rows.
Here is my series of steps in attempting to adjust the 24 stitch repeats for knitting on the electronic.
A for an unaltered 910
B indicating the direction of transfers (red to right, green to left). Arrows mark the problem row, and my solution to it
C on the far right, the repeat converted to black and white pixels, with a single all black pixel row 

Both KC and LC are set not to select first and last needles in the directions. When the decreases start to happen on the left of the chart because the end needle selection for transfer to the right again does not happen in areas marked with magenta arrows,  there is an extra stitch that remains on the left that does not get transferred (orange dot) so it is not knit off and simply get held as subsequent rows of knitting take place.
Restoring needle selection in the LC is not a solution for the problem, so the final repeat has been amended by me to get that edge transfer.
The pattern starts on cast on 20, not the full 24 stitches. Ayab knitters: use the LC to begin selection from left.
The first pass will select for a knit row, push those needles back to B, and the LC will select for transfers to right on the next row as it moves to the left. When knitting is to take place there is a clear distinction in the number of selected needles (black squares).
The KC will be set to slip <–  –>. Make certain to remember to return the remaining 4 of the 24 total stitches back to B so the full repeat is in work on the needle bed before continuing in the pattern, otherwise there will be needles there to accept stitches moved over for increases to left.
The two extra passes of the LC in this method result in a 2 stitch border on the increasing and decreasing angles of the piece, creating a much nicer edge than that in the samples at the top of the post. The eyelet so close to the right edge stitch which also winds up being slipped every other row made for very messy loose stitches in the thicker cotton that I could not control. The sample did better when I pulled the non selected needles on knit rows out to hold prior to moving across them with KC.

Adding extra stitches knit on the right side of the original repeat made it possible for me to use my cotton again, giving me a controllable edge on that side without having to pull stitches out to make them knit.
To my eye, I find the extra passes with the LC and extra knit stitches are well worth the effort along with planning extra knit vertical columns in the finished piece

I prefer to start my repeats on the full width of the repeat, this 24X70 png shifts the first segment to allow for that, still with a single all knit row start, making it suitable for non-Ayab knitting, its png is mirrored as it might be, depending on end use prior to downloadThe 26X70 repeat with start at the narrow end  its matching png without mirroring, and beginning on the narrow end of the design. Something to try: I found instructions ascribed to Brother for another version of edging using a pattern that has the same eyelet sequences along the shaped edgings. Their recommendation for a 950i is to remove the non-selection mechanism on the lace carriage, and mention was made of the “rubber wheels on the carriage” being uppermost, allowing the end needles to be selected.
My lace carriage at this writing has fixed, old fashioned brushes, not rubber wheels, and my eliminating end needle selection did not solve the problem with that single stitch in the center of the repeat. And if there is not enough to keep track of, this also combines fine lace and traditional transfer lace, would work fine as just lace.
Many patterns recommending switching between fine fine transfer lace and traditional can be attempted without switching settings, as all transfer lace.
In fine lace, stitches are shared between two needles,  the technique is sometimes referred to as half- lace stitch. Any resulting eyelets are significantly smaller, and the texture created by the partial transfers is subtle 3/15/18 after more testing I have come to the conclusion that end needle selection cancellation on my 910 LC is working properly, but is not operative when I am working with my Ayab interface.

Quilting using Ayab software


My last post reviewing the quilting on the machine topic so far. Ayab does not allow for the first preselection row to be made from right to left. In any fabric where preselection needs to occur from that direction, with pattern instructions written with that requirement, in order to match the fabric the solution lies in shifting the last row of the repeat down to the first. If you are working on an odd number of needles and set up matters, pay attention as to whether the program places the extra needle on the right or the left of 0 before you commit to placement on your needle bed, the software is not consistent in this. Here the odd # is placed on the left, in a later swatch on the right. From Adrienne Hunter the tip “I think you are expecting that the odd number will always be on the left. But that’s not it, the rule is that the larger number will be on the left, which may be even or odd. ”

Ayab settings: 
I began with this partial repeat from an older post

To avoid any confusion with which KC (Knit Carriage) slip buttons to push, simply push in both. The selected needles that should knit in slip stitch will knit, and the ones that should slip (not selected) will slip. Knitting starts COL, prep the interface, travel to right. With COR proceed to left. Machine can be set to knit those first 2 rows, or to slip both beds if you do not wish to have the extra 2 knit rows. Now with COL set main bed to slip <–  –>, ribber to slip <–

My first repeat for a “square” pocket was wrong. The total number of rows in height needs to be an even one. It takes 2 passes of the carriages to complete one circular row. The first repeat below is 17 rows high; so I got as far as one series of pockets followed by mis patterning that was the fault of the design, not the program. The software gives one the opportunity to easily check for stitch and row counts. Though I loaded images 60 stitches in width, my samples are knit 40 stitches widethe amended repeat, now 16 rows in height 

I had a problem when I first paused to stuff pockets with the software advancing a row even though I was outside the left mark, but no issues after I restarted the process and continued. Because the pockets are knitting stitches separately on each bed except for where shapes are joined, the resulting knit approaches stocking stitch qualities and tension settings. It lacks the stretch of every needle rib, where twice as many needles are in work. The joins on the knit side (L) nearly disappear unless the fabric is stretched, while joins on the purl side (R) are more visible. 

A “diamond” 12 stitch repeat as it would appear across the bottom of a punch card with the option for first preselection from either side, followed by appropriate cam settingsThe repeat adjusted for preselection from left, illustrating row shift on right
The repeat adjusted for knitting across an Ayab 60 stitch swatchThe bottom of swatch, with absent pockets, shows what happens if wrong slip/knit combinations are in use. Knit side is shown on left, purl side on right, with a bit of cotton ball “stuffing” poking through  
While trying to work with the circular and other settings I found an easier way to achieve one color quilting, still working with that “diamond” from my early post 

I use GIMP to create most of my images for download to either the Passap or now also the 910. In order for the elongation not to be muddy with an image outline in multiple colors, or to cleanly tile it, the image will need to be converted. To draw or paint, begin in RBG mode, then change image to BW palette for scaling or tiling 
 make certain the number you wish to remain constant is highlighted
click on “chain” to break aspect ratio
change the second value to desired one click on scale, here is the single repeat, without the necessary last row shiftto tile the image across the width of your swatch make certain the value you want to remain constant is highlighted 
“break the chain”change width to stitch count of your swatch

the tiled image will appear in a different part of your screen, it will be the repeat usable for the first preselect row from right to left. More on using GIMP.

For use with ayab with a repeat that is already tiled but needs “correction”, using snap to grid, dot to dot, copy and paste all but last row onto a new image at the top of a new canvas with the same pixel width and height. Then copy and paste the last row from the above tiling to the first, blank row of the new image. You may also simply work on the original image if you are comfortable with moving the larger cropped image around, pasting it in place at the top, and then editing the first row by hand.  Finish with “export as” in your preferred format for download The smaller diamond would also be workable, but resulting shapes would be very small. The initial, unaltered tiling:for use with Ayab:
Ayab setting is for “single machine type”. The carriage settings: opposite part buttons, right on KC, left on ribber, are set after the first 2 preselection passes, with COL

the resulting elongated diamond fabric, knit and purl sides respectively

Thickening the outlines of the “diamond” varies the joined outlines; solid geometric  shapes may also be created and used as seen in other posts. I like to work with same or similar shapes to understand what the different settings do to their knit structure and scale

Working in more than one color: using the color separated repeat double height. The first chart below illustrates it as it would appear on the bottom of a punchcard. Here first preselection row would need to happen moving from right to left, toward the color changer, with subsequent color changes every 2 rows  
adjusted repeat/ top row shift to bottom for use with Ayab’s preselection from left This fabric requires changing ribber settings manually every 2 rows, thus creating a solid color back. Set the ribber to slip /levers up when most needles are selected on the top bed, set ribber to knit / levers down  in both directions when a few needles are selected on the top bed. The latter selection forms the “stitching” lines on “quilt”. The first color to knit after preselection toward the color changer knits the black squares on rows 2 and 3 in the chart above, so it will create the dominant color in front of the fabric, the second color change will knit the background / white squares on rows 4 and 5 above, and seal the edges of the diamond / black squares 
Reminders: no matter what stitch type, if you forget to select proper cam buttons after N/N settings you will only get plain knitting (stripes at bottom of my swatch). If you are working on a Mac make certain to set your energy saving preferences to insure it stays “awake” for the duration of your knitting time. I happened to knit my samples with cam button set to KC II. KC I is the better setting, giving a slightly different seal along the edge away from the color changer. 

What of using the ayab circular setting and letting the software do some of the “work” for you? The setting was developed for tubular fair isle, so the main bed  with slip stitch <–  –>  knits alternating colors. When the one color knits on the main bed, it skips and forms floats in front of needles not selected for that color. The process is repeated with each color change. There will be a pair of  floats on the inside of the knit for each completed design row. For some how-tos to achieve color separations involved, and more info on tubular knits including Passap techniques please see previous post

The goal is to had been to use the ayab circular setting to produce quilted fabrics, joined at intervals rather than as an open tube with a different pattern on each €œside€.  When attempting to utilize anything “off label” for a use other than intended, lots of trial and error can be involved. Ultimately the choice needs to be made as to whether the final technique is worth using simply because you can. I habitually double check my settings and fabrics at least once, a day or more after I knit my samples and post. The work in progress posts actually show some of the editing as it happens, with corrections and mistakes included. The heading goes away when I think I am done with the topic. A day after my pink and white adventure I tried to reproduce the fabric with absolutely no success. This was as close as I got, with different carriage cam settings, the knit side is shown. 

After quite some time and a collection of expletives in 2 languages it appears the solution to my inability to produce the fabric is because the ayab setting I used for knitting it was not the circular one. After a software patterning error and a program restart, I apparently selected ribber rather than circular machine type and proceeded happily to success. To produce the fabric in my re do: the ribber “machine type” setting was chosen 

the green yarn is thinner than the pink, so the bleed through of the white on the reverse side is greater. The remaining information applies. My first samples using a single stitch outline, length X 2 for the €œdiamond€ were a disaster in terms of stitches falling off, the fabric being a squishy, shortened mess.

Back to the drawing board: I thickened up the outline of the shapes, grading up and down in 2 rows in height sequences, needed for getting to and from the color changerI chose to continue to test on a narrower repeat. An added consideration: in knitting fair isle, the first and last needle on each side is normally selected whether by using change knob on KC I in 910, or adjusting knit under carriage in punchcard machines. One can program black squares on either side of the full pattern repeat for the width of the fabric to insure that any number of edge stitches knit every row on each side. Working on a smaller repeat, now 47 X 24note: the odd # and even number needle positions for this new repeat are in reverse order from the one at the top of this post. Here the odd # is placed to the right of 0, not the left
If for any reason you choose to work in color reverse, the black border on each side will be lost.The amended repeat to keep that knit border (black squares/ pixels filled in; this was my working repeat It takes a few tries to sort out what may work. These were my first effort switching ribber settings around until I reached  creating pockets.The color choice needs to be made re solid color for backing and sealed areas of the fabric; for me it was the pink. This is where things get a little fiddly. The fabric settings once the first design row is preselected: KC is set to slip in both directions throughout (remember to change main bed to slip if preselection row have been with KC set to knit). I began with pink for my “sealing” stitches/ solid backing color.

After return to left, change color (white),  no stitches are knit on the ribber, only on main bed

here the floats become increasingly apparent the ribber  now dropped a notch on the right side 
stuffing pockets with cotton balls the ribber is returned to up position, knitting continues 

A: setting operator error creating solid color row. B: same, ribber not set to slip in both directions, resulting in white joining all selected needle. C: stuffed pockets, tending to make fabric wider and shorter   A, B: extra sealing rows (2 in white). C: stuffed pockets and a bit of peek through cotton. D: points to bleed through backing color of white floats on the inside of the pocketsA helpful tune: pink down, white up in reference to right ribber slip lever.

The question now follows: which color separation does Ayab perform automatically for DBJ?

 

Revisiting GIMP in knit design

2/2020: Please note: the Mac version of GIMP has been updated and features and appearance. I have begun another post, hoping to illustrate some of the new tools and features over time, it includes links for download of the program and to its manual.

If my only goal is to create illustrations for my posts rather than to produce programmable designs for download to any knitting machine, my go-to program in the past was Excel. Depending on my charting needs, now that Excel is no longer available to me, I am using Mac Numbers or Pages.

My computer is an iMac, with OS High Sierra installed (Mojave update 2019). Last December my 910 was altered to work with Ayab, as mentioned in other posts, via a USB connection to the Mac. For generating files for download I like to work primarily in GIMP (Photoshop is no longer available to me as well). It is freeware. The latest stable Mac Version is version 2.8.22.  Windows users have an option to download a later release. Another freeware option is Paintbrush, a smaller, user-friendly program.

I began sharing my GIMP explorations in mid-2013. Some topics included charting 1, 2, 3, color reductions for 2 color portraits, generated mazes 1 and 2, lace mesh, lace mesh and superimposing, 2 color drop stitch lace

I am using one of my drop stitch designs throughout this post to illustrate steps taken for altering the original by using options such as scaling and tiling. It is intended as a partial quick start guide, not a complete tutorial. The program’s manual provides keyboard shortcuts etc. for anyone wanting to explore more options to obtain similar or other results. That said, the manual is not recently updated or Mac-specific, and Mac vs Windows appearance of windows and menus differ.

To alter and set pixel per stitch options double click on pencil tool,  choose square single-pixel highlighted in brush shape menu

to draw in single pixels, choose show grid, snap to

There are limitations as to how low the magnification may be set before the grid is visible or disappears. I often work in 1,000 magnification. The magnification value numbers, seen at the bottom of the charts in progress, may be typed in, or use arrows to scroll up and down in value 

If your document size is larger, it is sometimes quicker to work in larger pixel size blocks. Here one meets limitations

GIMP large square brushes: numbers indicate desired pixel count and if you are using Paintbrush instead, the “square” is lost

To scale images in height or width without color distortion, change color mode

Image, mode, select Indexed
choose Scale Imagehighlight number you wish to keep constant, whether width or height
to break aspect ratio and control one of the 2 values, click on the chain like symbol on right, it will appear “broken” change the alternate value to the desired number

Click on scale image. If the intent is to continue editing by using the pencil tool, the image mode needs to be returned to RGB before proceeding with editing

You can verify finished image size by choosing scale image again, at that point the chain like symbol on the right of the numbers is “whole” again, awaiting further editing choices

double height double width
 scale may be performed again on the last image created 
the appearance if the image mode is set to RBG, and not indexed prior to scaling

scaling down by half for mylars or for machines that can alter motif to double-wide: 

click to the right of the highlighted number, the “chain” symbol on right remains intact replace the width value, click to the right of the height value and the number will automatically change

Click on the scale option; remember to change image mode prior to doing so if needed; on the left is the image scaled in RGB, on the right in the 1-bit palette

If the image has numbers that have odd numbers in stitch width, the software makes the choice, in assigning values, since no half pixels can be rendered.  For design details see previous post 

Tiling is useful to check how repeats line up when applied to all over the surface of a knit, choosing to alter the horizontal repeat in width or vertical in height, adding borders, and other variations. Ayab software, in particular, requires the individual repeat to be programmed for the number of needles you wish to knit in a pattern on the main bed. Depending on the size of the original motif the tiling function may be used on nearly any scale, with or without a visible grid

To keep aspect ratio, the chain-like symbol on the right of width and height values should be kept whole (first image). It will appear “broken” on side of values from screen grab after the image was tiled when by pulling up the scale option again, to verify pixel counts for the newly created repeat (images 2-4)

to color invert a single repeat or a tiled one  

A Facebook Ayab Group share and tip by Claudia Scarpa brought up a discussion on using Gimp to rescale knits with the intent of estimating distortion in the design as a result of stitch gauge. In many knits aspect ratio is forgiving. In representational knits, it can start to matter significantly. I played with numbers from 3 different gauges, getting back to a simple circle square first, then following up with a much larger image. Starting with pixels per inch setting in scale menu:

doing a bit of math: if the gauge is 5 sts, 7 rows, divide 7 by 5 = 1.4,  6 divided by 4 = 1.5; use the quotient (division result) to modify the respective X and Y values

keeping the X value constant, multiply the Y value by 1.4 for 5 X 7 gauge
in the view menu, uncheck dot to dot prior to selecting scale

keeping the Y value constant, multiply the X value by 1.5 for the 6X4 gauge, uncheck dot to dot if it is available in the view menu to get rid of the math, simply switch to pixels /mm and plug in your gauge. The starting image:

change X and Y resolution to match your stitch and row gauge, breaking “chain link” on right to disable aspect ratio. In order to show the altered scaled image, the dot per dot feature in the view menu needs to be unchecked prior to selecting scale

knitting gauge 5 stitches, 7 rows per inch  4 stitches, 6 rows  per inch and going much larger, using Rocco again: the original version scaled for stitch gauge of 33 X 40

a large geometric .bmp edited with the same process

Claudia Scarpa has created a document on “how to edit a picture with GIMP for “Oknitme software” that she has given permission for me to share here: 03-ENG-gimp. The tutorial has clear instructions for anyone wishing to explore photo editing for use in knits with GIMP, and the Oknitme online tool helps punchcard knitters participate in the process.

If freehand drawing suits your needs, you may find it easier to work with the view settings shown below and adjust pencil pixel size to suit

 

 

Drop stitch lace using Ayab software

Some notes on how tubular software color separations such as the one automated in the ayab circular setting may be found in the previous post

In an effort to respond to a request I have had via my blog, I am sharing information on this topic as I have time to explore it. My first attempt when up and running with the Ayab software, was to reproduce an earlier sample I had created as a color separation originally intended for a hand-knit shadow knit experiment.

a chart from that blog post  try_drop_stitchthe resulting hand knit, on the purl side
IMG_0823the color-separated sample knit pre ayab the sample knit using the Ayab circular setting

Patterns predawn for shadow knitting, appear to be one published source for interesting 2 color drop stitch variations. What about geometric shapes or developing your own designs? Designs created using this technique lengthen considerably when off the machine. Both color sets of stitches become elongated as they are dropped, and that should be a consideration in planning your design. If your goal is a circle, the actual shape programmed may have to be closer to an egg laid horizontally rather than that of a “true” circle. The fabric also widens considerably when blocked and off the machine, making the cast on and bind off methods considerations another necessity. Design repeats may be drawn in Paintbrush or GIMP (both freeware), or Photoshop. I have been a long time GIMP user, and prefer to use it in tiling repeats as opposed to the copy and paste features in Paintbrush to accommodate the Ayab requirement of programming the repeats horizontally in the width of your piece.

In my previous, how-to posts on designing your own 2 color drop stitch lace, part of the color separation required elongating the design X 2. The starting side in Ayab for needle selection always needs to be from left to right, and elongation of the motif is not required when using the Ayab circular option.

This was my first working repeat, A = repeat charted out. B = the working bitmap or png, etc. (which would be the only requirement for the mylar). C = the image tiled for the chosen number of stitches (again, Ayab requires the repeat to be programmed for the width of your knit piece). D = the image elongated, not usable for this fabric, it results in too much elongation. If you would like a knit border on either side, that can be achieved by having extra stitch(es) in work on the ribber. a possible ayab repeat, 56 stitches wide by 36 rows high

The results up to the point in which I had a yarn caught in brushes and stitches dropping on the left of the needle bed:

Drop stitch lace has been referred to over the years in other terms as well, such as release stitch, drive lace, and summer fair isle in Passapese. Passap knitters will recognize the results from this first method are akin to those produced using Technique 185.

Getting started: stitches intended to be dropped may be created on either bed. If the ribber is used to create loops, then the technique is a manual one. Using the main bed in Japanese machines to program dropped stitches increases accuracy and ease.

If you are swatching and testing, a permanent cast on is not necessary. The broken toe cast on is one of the two quickest on the Japanese machines, usable on either bed. It is fondly called that because if ribber cast on comb and weights are in the wrong place so that the wrong loops are dropped, everything falls to the floor, and likely on your toes. There is an online video by Diana Sullivan that shows its use for a tighter cast on row in 1X1 rib, but the use here is for a different purpose.

In producing this fabric you are technically knitting every needle rib. Cast on a fairly tight zig-zag row. The ribber comb wire needs to be placed so that it holds down the stitches on the bed on which you need to keep them. The principle and results are akin to the first row knit when you use a single bed cast on comb, and the second pass, with the first knit row anchors open loops before you continue to knit. Any loops not secured by the comb will result in dropped stitches. Any fabric, any time, when 2 stitches are empty side by side, stitches are not formed and the yarn is dropped off them creating a float or ladder.  The red line indicates the ribber wire on top of the ribber loops in the zigzag row, placed so released knitting will be left on the ribber. Black lines your zig-zag yarn loops, blue dots the teeth of your ribber cast on comb. You can check placement by dropping just a few loops on the main bed before hanging your weights on the comb. 

zigzag row showing the placement of cast on comb teeth, on each side of main bed needles
with wire in place, anchoring ribber stitches testing out dropping a few stitches all stitches now on the  ribber in preparation for dropping stitches created on main bed 

It is possible to also use a wired cast-on comb for an open stitch cast on the top bed only. Remove the wire from the comb. Bring the comb up and between needles to be used, and re-insert wire. Needles and latches will need to travel easily under the wire when the first knit row takes place. 

The knit carriage will not clear the comb properly because of the location of its brushes, etc. For the “cast on” row, exchange the sinker plate on your knit carriage for the one normally used with the ribber. The first photo below shows the approximate location for the comb during the first row knit. Needles are centered between the teeth, the teeth themselves line up with gate pegs. The comb needs to be manually held in place since there is no opposing bed in use to help balance it. Working with the ribber up would ease the process in wider pieces of knitting. The ribber sinker plate has no brushes or wheels to anchor knitting on the knitting bed. Any rows knit single bed using it, will need to have needles brought out to hold position prior to knitting each row for all stitches to be formed properly

the comb in position pass is made slowly with the ribber sinker plate in place the comb is dropped  bring all needles out to hold position  knit one more row, returning to starting position change sinker plate on knit carriage if needed, proceed with knitting

To use the same method with ribber in place: hold the appropriate ribber comb with the bump(s) up facing you, so that the teeth line up with gate pegs as shown above, and so the needles can come through the gaps. Leave the wire in, hold the bump(s) against the ribber, and tilt the comb against the knit bed. Hold the comb high enough to take the carriages across to the opposite side. Move carriages to the other side, drop the comb and weigh it. If continuing on the top bed only drop the ribber, switch sinker plates, and continue to knit.

“bumps”: Brother comb 

For other purposes and an edge similar to a weaving cast-on executed on Japanese machines use EON for the cast-on row, then bring into work and add the rest of the needles prior to knitting the second row.

Use a cast-on comb appropriate for your knitting machine’s gauge ie 4.5mm, 5mm, etc., the brand is not relevant, only tooth spacing is. It is possible to cut ribber cast on combs into different widths for use when knitting is planned on fewer stitches than those accommodated by their available commercial widths.

As for dropping those loops that will form the long stitches, one can do so manually with improvised tools. For more automatic dropping of stitches using knit carriage in Brother patterning, one may punch a card or draw a mylar with a method akin to color separation. A pass of the KH carriage across the knit is made with no yarn in the feeder, color 2 is actually no yarn/empty from left to right while establishing the proper needle selection on its return. The ribber would need to be reset to slip, or the ribber carriage separated from the knit one for the 2 passes to and from the color changer. This is the “scariest” option by far, more error-prone. It is not applicable when using the circular Ayab setting in creating the fabric. Without a specific tool, all stitches can be brought to E and back to B with a ruler, piece of garter bar, ribber cast on comb, or other handy ‘toy’. Dropping stitches is done while carriages are on the left, after the return to the color changer side. It is possible to modify the Studio accessory used to drop stitches

full altered_500

For 2 color drop stitch, the main bed is set to slip in both directions. Because not all needles on the main bed are used for patterning on every row, the KC II setting on the change knob is used, eliminating end needle selection on the 910. The ribber is set to knit every row

Ayab: begin  your design repeat on your first row, choose its circular setting in machine type pull-down menu on the right
The first design row is preselected left to right
The main bed is set to slip <– –>, change knob on KC II (end needle selection is canceled)
Ribber is set to knit <– –> for the duration
COL: as you go from the left to right, needles are preselected on the top bed, they will knit, picking up loops that you will in turn drop on the subsequent passes of the knit carriage from right to left.
COR, the KC knits on preselected needles as it moves to the left.
Clear the color changer, set up your next color. Drop the stitches knit on that last pass

It may be necessary to push those loops down between the beds before you next pass, remember to pull down on your knitting periodically,  visually check needle alignment on the main bed (all needles in B in the work area)

*With the new color move to the right, preselecting the next row of loops
Knit right to left, picking up loops on preselected needles, change colors, drop stitches,** and repeat * to ** steps in 2-row rotations

so I want circles, here is my test pattern more like eggs, the black squares in shape appear as drawn on the purl side shapes are reversed as drawn on the knit side 

It is possible using the circular setting to drop only one of the 2 colors, whether background or shape. I began by dropping the white ground. I used to encourage students to develop a tune/ repeat in their heads when regular actions needed to be taken. For me, in terms of yarn color,  it was “white, knit, drop”,  “brown =  erase (push back to B), go back”. 1: white travels to the right, needles are pre-selected; 2: white travels to left, picking up loops 3: on left, change color, drop stitches. For brown: 1. travel to the right, needles are preselected 2: on the right, before traveling back to left push all selected needles back to B. Only the ribber knits on the way back to left, so brown will have knit 2 rows with no dropped stitches. I ran out of brown yarn, started over with the blue and white, planning on having the shape drop the stitches. There is a difference in the fabric width with the change in the distribution of stitches. I stopped knitting, not due to any mispatterning, but because I encountered another Ayab behavior that may be well known to punchcard knitters. Due to a yarn mast issue, I moved the knit carriage back to disentangle the yarn, and lo and behold the pattern advanced a row.  Punchcard machines will advance a row with any movement of the carriage outside the edges of the knit. This was never an issue in the unaltered 910. At that point, I stopped knitting. 

Not fond of stripes? prefer one color? the sample below was worked on 40 stitches in width, using the repeat charted for 56 stitches. Here decisions are made at the design phase of your repeat. For single color, drop stitch use an image double length, and single setting in the Ayab software. The process is the same: *preselect stitches left to right, knit on selected needles right to left, drop loops just picked up traveling to left**, repeat from * to **. Settings are the same as for the 2 color drop stitch, but the elongation depending on the number of stitches dropped is not as noticeable. The texture in my swatch is diminished after a quick press, the yarn is an acrylic blend. The charted repeat illustrated is wider, but I worked it on only the center 40 stitches. As always in slip stitch, the black squares knit and they represent the stitches that are dropped. If you wish to create the long stitches on the ground (white squares),  reverse use Ayab Action Invert prior to knitting

the chart as viewed and explained at the top of the post

Sources of inspiration from studio publications vary, patterns designed for pile knitting make for suitable one color drop stitch. A partial punchcard repeat

from an electronic collection

and a punchcard pattern book, where markings emulate eyelets, usable only for single color knitting 

Note that in #2 card directly above, there is a solid row at the very start that is a design row (third all punched). In Ayab again, first-row preselection is left to right, you will be picking up loops on preselected needles going from right to left and then dropping them. That first design row needs to have punched holes or black squares/pixels in it. The color separation is essentially done for you in the source image. Do not use circular in Ayab, but rather, use “single” setting and follow instructions for creating the fabric as described above,  with no color changes. The blank punchcard rows match the no selection rows in self-drawn color separations,

If double bed work is daunting, for a different stitch, worked single bed, that may cause interesting distortions in all knit, single bed fabrics see block stitch post.


The self-drawn design repeats for 2 color drop stitch may be offset as well, resulting in colors being dropped alternately.  The design shape needs to be created in 4-row blocks in order for the yarn to make it back and forth to the color changer with both colors to complete one design row. The second pairs of rows in each 4-row block is erased. In this instance as well, rows marked with black squares will pick up loops on the main bed, which are in turn dropped to create the long stitches. The second design repeat is offset to try to get sections of it to create loops to be dropped as well. The final motif must be a multiple of 8 rows in height if it is to be used as Ayab’s infinite repeat in length.
Color changes are indicated in the vertical strip in the center of the design. This was my starting idea

Elongation to 4 rows per block, erasing the second pair of rows for each color on right. The repeat on the right may be used if only one color is to be dropped; the 2 blank rows in the design field represent stitches that will knit only on the ribber for 2 rows. No stitches are dropped in color(s) used in sequential rows of blank squares in all “white” areas of the chart, including multiple rows above and below the design shape. Color changes every 2 rows continue, creating continuous stripes. shapes staggered, visually checking for placement of alternately dropped stitches 

To accommodate the Ayab preselection for the first row to be knit from left to right, move the last blank row in the design to the first-row position. As the carriages travel from left to right and back to the color changer, the stitches will knit 2 rows only on the ribber. Continue knitting in steps as described earlier in the post, changing colors every 2 rows. On a larger knit ground such shapes may be arranged to suit. This was my working repeat, but I used a third fewer stitches in the swatch than in the chart. Note that the images will be reversed on the knit side, so if preferred, use Action Mirror to flip the image horizontally prior to knitting it

The swatch has been quickly pressed, so the texture is flattened out, but I am reminded of a few shadow knits when viewing its purl side.

In an unaltered 910 with the ability to double the width of the programmed repeat, mylar users are not excluded from exploring a similar fabric. The repeat above may be rescaled to half the width,  drawn that way, and then use the twice as wide built-in feature. Gimp does an “interesting” thing when scaling this design to half-width, note the right side of each repeat is an odd number of squares, the left side an even. The repeat may be used as-is or redrawn, adding or eliminating black squares if symmetry in each shape matters.  Paintbrush produces the same image, mirrored.

The explanation: further analysis of the original design reveals the fact that some of the pixel numbers in the design black square blocks are uneven in width. In this instance, 3.5 is half of 7, and half pixels cannot be rendered, so the software assigns the split to 4 and 3.