A return to Ayab knitting

I  am hoping to return to using the sofware more frequently, which requires a re arranging of my workspace to make the necessary cable connections.

After absences from topics I find it necessary to review them and their categories. This list for now catalogs my previous shares on Ayab use specifically, all are subject to future editing

an intended HOP 3 color follow up, tbd

drop stitch lace using HoP 2020, 2/17

revisiting ayab 2020, 1/20

tuck stitch combination fabrics 2019, 5/05

short rows atutomated with slip stitch 2018, 5/20

knitting with two carriages single bed 2018, 4/13

ayab diary 2018, 3/31

quilting using ayab 2018, 2/23

drop stitch lace 2018, 1/16

lace punchcards meet ayab 2018, 1/02

Although my swatches this past year were often knit using another interface I have added menions of ayab repeats which will turn up in searches. Other times I havee added them to earlier posts such as this one combining KC patterning with racking 2017/12/20

 

From automated lace edging pattern to doilies and ruffles

This information follows that provided in  lace edgings on Brother machines- automated with slip stitch 2 and lace meets hold and goes round 

More on holding techniques: back to that pie, a bit of holding, revisiting miters, spirals, going square, round, and more, and charting shapes for automating short row knitting and programming 

Plotting out changes to a randomly selected previous repeat

The process can also be worked out directly in GIMP, ie in the orientation in which the repeats will be used for download to my 930. The original repeat was mirrored (A), eyelets created by transfers to the right were considered (B), 4 stitches in width were added to the 24 stitch width, transfers to the right began to be eliminated (C). The final repeat D, with all transfers to the left, was used to knit the sample. The test swatch in progress I used a short cast on comb for weight across the piece, moving it up cautiously on a regular basis It is helpful when starting in waste yarn or simply using plain knit rows at the bottom of a test swatch to choose a clearly contrasting color. Here I did not do so, the drawn line is to help define the start of the shape formation created by the holding sequences and eyelets. The eyelet on the outermost edge of the circumference “disappears” as that edge gets stretched to the max. Two eyelets in the diamond shapes are not formed properly

Switching to a rayon yarn for knitting the “doily”, made for easy and quick knitting.  The comb used for weight in the wool swatch was not necessary. A single claw from a small weight on the edge stitch a few rows below the knitting and moved up frequently helped insure that the last stitch on that side knit off properly and maintained its length knitting without a knit gauge can be dangerous, here a guess is made as to how many more units might be required to make the final shape go round
I committed to 8 wedges,  another attempt at a check for size prior to seaming the shape.Before joining the stitches permanently, a quick look to see if there was enough knitting to form that pie With the knit side as the expected public side of the piece, the work was scrapped off the machine after some wast knitting, one end was rehung with knit side facing and the  waste yarn was removed and the process was repeated with the open stitches at the other end of the piece
The least satisfactory and most visible join is the latch tool bind off. Grafting by hand off the machine is the least so. For the sake of ease in identifying open stitches easily, both methods would benefit from a couple more all knit rows between each segment as seen in the repeat in the original doily post in spite of the fact that the shape around the very center opening will change.
I choose to remove waste yarn before binding off, some prefer to wait. One row was knit across all the stitches. Things were in great shape until the yarn snagged on the far right in my closing knit row, so there is a bit of added bulk there from the rescue attempts to correct the problem.
The center opening was gathered. The stitches on its side knit together so infrequently the opening beside them is larger than in any other held areas. The ladders in those spaces were latched up to get rid of those holes.  The doily after a very quick and casual press:

Not a doily person but fond of ruffles? they will be shaped with added all knit rows. The first test for adjustments in a spreadsheet The resulting pattern and reject:
A: if the design is programmed in the wrong direction, the eyelets for the outside circumference should appear on the right of the purl side, not the left
B: the last pass by the knit carriage preselects no needles moving to the right, LC makes its first pass consistently on a row with no needles selected
C: remember to set the knit carriage to slip in both directions, or knitting will continue across the whole row and “holding” is lost
D: keep an eye on the resulting shape and consider if worth pursuing Planning for diamond rather than bow shapes, the repeat was changed from a 28X68 one to a wider, 32 X 64  The extra knit stitches on the “held” side make for easier joining of the ruffle to the body of the piece. The “diamond shape” is restored. Its shape has some distortion as the spiral is created. The test swatch was lightly pressed after its removal from the machine, just enough to help it stay flat. In yarns with “no memory” (possibilities other than wool) stitches will be set permanently with pressing and steaming. If the basic principle is understood, other stitch types may be combined with slip stitch rows including tuck stitch, slip stitch, and 2 color patterning, seen here in some seam as you knit ruffles I added to some of my shawls and garments 

Beginner’s corner

WORK IN PROGRESS

Copyright can be a touchy, sometimes murky subject. In my teaching days at a design school, each instructor was responsible for accumulating what amounted to a “textbook” with any expected readings and required information for students attending the classes. There was an arrangement with a single copy center that actually paid a fee set by the government in order to be allowed to provide a service. Teachers supplied boxed material on a single-sided copy per page sheets, withdrew it at the end of the term. The copy center would make double-sided copies from each sheet in the original, bind them, making them available for purchase for only the cost of what it may have been to customers using copiers to make their own per sheet. My intro to knitting “book” evolved into 330 pages, costing students as far as I can recall about $30. An overall bibliography and often credit in sections were included. This all was happening pre-internet browser searches and easy downloads.
I have often not included a definition for some of the terms used in my posts. Also, I did not share information from manuals and company publications until they, in turn, became easily available online, long after the companies that published them went out of business.
A list of common abbreviations: Test and gauge swatches

From the Brother Knitting Techniques Book
I personally prefer to measure gauge on the purl side, where to my eye the start and end of the color transitions appear clearer.
The Passap advice was quite different. This is from the Duomatic 80 manual
and it was followed by tables that helped with calculation conversions based on measurements. When using Japanese machines while executing some DBJ or highly textured stitches, a larger swatch should become the go-to when measuring gauge for garments by default. Using 100X100 combined with the use of metric measurements facilitates the maths and use of devices such as the knitleader, where measurements in millimeters are required.

A “long swatch” exploring a card from a “censored” selection from the factory-supplied punchcard packet in as many techniques as possible became a required assignment In KM model manuals a list was sometimes provided suggesting what cam settings might be suitable for each card
Factory supplied cards were usually marked with a number and letter as seen above, but oddly as model numbers changed, sometimes either or both of the latter would change as well. A table of my own after a quick review of my stash:
1S, 2R,3J/S, 3P, 4D, 5J, 6P, 7G, 8S/J, 9G, 10D, 13G, 101, 102, 103, 107, 108, 109

 

Mystery pattern

At the moment this post is a place holder for images and info that may (hence the mystery) be explained at a future date Online references:
https://heartofpluto.co
https://heartofpluto.co/categories/hacking-a-brother-950i/
https://heartofpluto.co/2017/03/25/hacking-the-brother-km-950i-to-knit-multi-colour-patterns/
https://github.com/chixor/knitting_machine/releases/tag/950i-multi-colour

https://ayab-knitting.com/ayab-software/

https://www.ravelry.com/discuss/search#forum=Machine%20Knitting&query=3%20color%20dbj&sort=recent&view=posts&page=1

 

WordPress issues

Last April I encountered unwelcome text and characters within posts. The problem appears to have been resolved by intervention from my web host. There are still occasions of residual extra spaces or shifting of syllables and words within text content, and the omission of some of the accompanying images from the reader’s view. I have been reviewing and editing as I can. If the image problem especially is encountered by you, please alert me via email or post comment, and I will attempt to resolve it. TIA.

Earlier on I wrote posts privately over extended periods of time, and shared when to my mind I had gathered my thoughts on the topic and completed editing for the moment. “work in progress” headings came about to make the information available while in development so anyone interested may follow my thinking and see that it takes time, effort, swatching, and even periods of distance from the topic at hand to complete our goal fabrics or create new, related ones. Sometimes the text is composed outside this platform. I have now learned it best be plain text as opposed to rich to avoid character problems.

On occasion, there is a return to previous topics, with the addition of related new headings and content or simple text and new image addition within the body of previous shares.

New security measures are in place the latest WordPress software update. An excessive number of consecutive visits to the blog is likely to receive a gateway error message. The same measures may at times be limiting the number of edits I can make traveling through my history or successfully at any one time within a single post. Results were found in my latest one, leaving text or images in a place that were intended to be altered, moved or deleted by me until some time expired between my dashboard logins. I will work on sorting out how best to prevent such unintended content in the future and to develop operator habits to prevent its happening in the first place. Yet another opportunity for learning.

Ribber trims 2

WORK IN PROGRESS

This is an illustration of the #3 frill from the Ribber Techniques Book:

1. COR: knit a zigzag row to left, hang comb and weights, no circular rows2. knit second zigzag row to right3. transfer stitches as shown 4. knit to left 5. knit back to the rightrepeat steps 3-5 to the desired height

For another variation, knit 4 rows rather than 2 between transfers. My yarn is still a 2/24 acrylic. The trim would look quite different using a thicker yarn or even simply a tighter tension. I continued in rib. Ribber stitches could also be transferred to the top bed for continuation in stocking stitch In theory,  it is possible to knit lace transfers in Brother by dropping the ribber bed enough for the lace carriage to move across the beds while clearing the gate pegs. This remains on my “try someday” list. To my mind, hand transferring remains the best way to deal with lace/ ribber stitches combined.

Tuck patterns on the main bed (or slip stitch) designs can be used to automate and create patterns where holding is recommended in some sources ie. For a punchcard machine, the repeat must be a factor of 24 in width ie. 6 or 8 or  12 stitches wide. Electronic knitters can draw a single repeat, either the one on the left also using color reverse or the one on the right. Punchcard knitters need to punch the grey squares on the right across the card and repeating in height. An extra all knit row needs to be added at the top of each series of 4 rows tucked for the loops to be knit off automatically by the machine. Step 4 in the techniques book, resetting the main bed to N to knit a row after every 4 rows in a holding pattern is missing in their illustration above. The punchcard repeat: punch each grey square to match the illustration A few to try,  shown in repeat X2, as BW gridded .bmps,  and color reversed for knitting.  All but one are  12 stitches in width, suitable for punchcard machines as well Too much black? want to count those black squares more easily? pick your preferred grid color, it will disappear when the image is saved A screen grab from my iMac shows the original charts and the resulting single repeat .bmps after working in GIMP, ready for download with color reverse option and use on the electronic machines. Ayab knitters, in addition, would need to program the repeat in width to match the number of needles planned for use in the piece

Tuck stitch/ combination fabrics


Work in progress

I am presently attempting to knit my samples using a 910 with an EMS kit Ayab interface. When possible I will provide punchcard, electronic, and Ayab repeats for each.

White squares in the first chart represent tuck stitches, the dark blue row, the pass that knits every stitch, the lighter blue the pass that knits and in turn drops every stitch. The main knitting is happening on the top bed. Loops and dropped stitches are formed on the ribber. This pattern is not suitable for use with color changer since patterning for each of the 2 repeat segments occurs over an odd number of rows (7 each, for a repeat total of 14). Punchcard knitters repeat X 3 in height, electronic knitters use only one of the 2 repeats, outlined in red.
Preselect the first row of the pattern from either side on a punchcard machine or an unaltered 910, from left if using ayab.
*With the KC set to tuck <– –>, the ribber set to slip <–  –> knit 6 rows. The last row will be all knit (darker blue).  Cancel slip on the ribber carriage, setting it to knit  <– –>
knit one row on both beds to the opposite side (lighter blue, preselection will happen for the first tuck row in the next sequence). Disengage the ribber carriage still set to knit from the KC, take it across the ribber bed to release the loops. Reset the ribber carriage to slip <—->
move the carriage back to reconnect with the KC. ** Tuck sequence begins again. Repeat  * to ** ayab repeat for 30 stitch swatch, requires color invert the same repeat, not requiring color invert after loading into softwaretuck fabrics are usually more interesting on their purl sideTuck stitch combined with lace transfers
large scale mesh 
 large-diagonal-eyelets

Drat it aka “figlet” moments: knit leader mylar sheets +

Such moments may well have to be a new blog topic. In the hope of actually soon having enough time to return to knitting on a more regular basis, I have been reorganizing my supplies. This can be a good thing. I have “found” missing ribber comb wires, tools I had forgotten about, have drawer units that are helping with organization of all the “stuff”,  and that for a while will be contributing to my having to make regular searches for all sorts of things. Then there were all those mylar sheets for knit leaders with garment shapes on them for pieces I cannot even remember making with lovely multi colored lines all over them. One in particular had very fine lines, I guessed perhaps from ink other than that in my go to water soluble pens, so I thought to give removal a shot with some alcohol. Hence a warning: the lines did not disappear on the “outside”, so I flipped the darn sheet over to give erasing a shot on its reverse side and discovered quickly by the lovely blue on the cloth that the measurement grid was quickly and completely removed in any area touched by the alcohol. Another lesson learned. Perhaps an earlier one of great benefit might have been not to wait decades to erase knit leader mylar sheets, no matter what the marking tool as I now explore ” would I ever make this shape once again, ever?” and “what will take these lines off?” on other sheets.

Previously captured and “found” while exploring text issues in earlier posts, is now fondly remembered and shared

at 60 inch length of a lace shawl

Ribber fabrics with main bed tuck patterning

WORK IN PROGRESS


Tuck stitches on either bed will force apart the space between vertical rows of stitches in every needle rib, whether the tucking is executed on either or both beds, in one or 2 color knitting. The fabric lies flat, and depending on fiber and thickness of yarn used, the effect can be lacey and have lovely drape. In published repeats, often tucking does not happen for more than 2 rows, making knitting fairly “safe”. In thinner yarns elongation may be used to force the fabric even further apart for a more “open” look. Patterning in suggestions below occurs automatically, and on the main bed only. Needles out of work on the ribber may be planned within repeats to produce a fabric with knit textures on what appear as both knit and purl surfaces. There are designs in pattern books that are promoted as being specific for this purpose, but nearly any tuck pattern may be used once limitations are recognized.

The advice from the Brother Ribber Techniques Book and the KR850 ribber manual respectively is shown below. If a knitting with a very fine yarn, the close knit bar is recommendedAn often forgotten accessory: (I admit I have never used them)

Fine knit bar for using thin yarns

Typical patterns for the fabric from punchcard volumes

In electronic patterning a single isolated repeat will suffice. Punchcards illustrated above show the minimum required length for each. In matching needles out of work on electronics, it matters whether the default setting produces what is seen on the card on the purl or the knit side. Flipping the repeat horizontally may be required.  “Air knitting” with needle selection can help plan exact location on needle bed, as well as repeat width and in choosing of location and type of side edges. Again, having ribbed vertical stripes on each side will help the latter lie flat.

 

Brother/Passap: traveling between brands

WORK IN PROGRESS

This is the start of a new spreadsheet with between brands vocabulary. I will edit and replace information throughout the post as time allows 

A previous post on yarns info included these guidelines provided for knitting using Jaggerspun yarns. I have no affiliation with the company. I do still continue to use some of their “lines” and have a great appreciation for all their yarns. I obtained permission from the company to share content. The bottom 2 yarns, superfine merino, and zephyr wool silk are both 2/18.

Joella Knitworks was a publication in the 90s on Passap knitting. A ravelry question back in 2014 led me to dig up a copy of an article I wrote for the newsletter in 1998 on using tech 129 for adapting Japanese patterns for use on Passap, shared as a pdf, offered here as images

Brother dbj ribber settings

Two of my former  handouts on Passap lock settings and techniques
There are interesting differences between needle hook sizes that many of us experience or guess at when not obvious. This was shared by a PassapKnits member, “DT”, last October. I am sharing his observations here with his permission. The group has now moved from Yahoo, offers a wealth of information on Passap knitting machines