Casting on, double bed

The very early machine manuals had illustrations not often shared in later ones. This is on combs whose wires had looped ends This cast-on comb is favored by many, but not by me. I find it heavy to start with on small pieces, and if long pieces of knitting are rolled up as some do rather than moving the comb up as shown here, the proportional weight changes as the knitting lengthens, which can affect the gauge. The Brother KR850 manual, pp 19-29 has clearly illustrated how-tos for this process. Old manuals often have a translation from other languages that may be found to be from amusing to confusing or even incomprehensible. Method 2 below illustrates the “broken toe” cast on. The term partial knitting has nothing to do with its more familiar application to holding techniques.
 The tubular cast-on is probably the most commonly used and published one. It tends to have an uneven edge, but steps can be taken to compensate for this. In every case, on the first row, the yarn travels from a needle on one bed to a needle on the other. Remove the single bed sinker plate. Push the ribber up to the work position, and connect both carriages with the connecting arm. Make a couple of passes with the coupled carriages to ensure the needles are aligned properly. To drop the yarn between the beds prior to threading it into the carriage threading it through a double-eyed bodkin will make it easier for it to be dropped between the beds. It is commonly advised that the cast on the zigzag row be done on the tightest tension possible. That also varies depending on the yarn, whether the cast-on is to be decorative, or if the loops that are commonly considered undesirable are in turn to be chained through to match a latch tool bind off at the top of the piece. It is often recommended that for the circular cast- ons 3 circular rows be used. That produces one side of the rib with small “floats” with an appearance that differs from the reverse side. Arrows in this illustration point to that third row.  Only two circular rows do the job and avert that problem. Conversely, 4 tubular rows may give extra firmness and strength when using very thin yarns. For the final row set both carriages to close the zigzag, increase the stitch size to rib setting, and knit one row. At that point, stitches can be rearranged on the needles if needed.
For a tighter cast-on row sometimes a thin elastic is threaded with the main yarn and used for only the first zigzag row. Do not hang ribber weights until the cast-on is completed.
Other variations: set up knitting on a single bed only with waste yarn and ravel cord and cast on comb and weights, ending with a row of ravel cord. Using both beds, begin with garment yarn, and follow instructions for tubular cast-on. When knitting is complete tug waste yarn lengthwise to set stitches before removing the ravel cord.
On the double bed, after the zigzag row, lay a piece of ravel cord right on top of the zigzags, dropping the ends between the beds and anchoring the ends with a clothespin or other small clip. It will be enclosed in the knit as you continue to work. Upon completion of the piece, pull lengthwise on both ends of the cord to set stitches before removing it.

Cast on using an e-wrap single bed: knit several rows in waste yarn, either in EON rib or single bed. If single-bed knitting is used, poke the ribber cast-on comb through the waste knit or use it to cast on a single bed, making it the future home for weights. If a rib start is used, the stitches then would need to be transferred to the main bed. A row is then knit with a ravel cord. Proceed with a single bed e-wrap cast on, dropping the ribber if needed. When the e-wrap is completed, bring the ribber bed back up if it had been lowered. Knit a row to the opposite side. Transfer stitches to your desired arrangement. Thread the yarn, and proceed in rib.
Since my trial swatch was quite narrow, I opted to skip the waste yarn or rib cast-on and transfer to the top bed prior to e-wrapping; the yarn used is a 2/8 wool before the next pass, make certain there are no needles in work on the ribber, they will pick unwanted loops,  also, give a tug at the yarn on the carriage side as you begin to knit the next row in order to avoid loops as seen on the right below. Knit to the opposite side. Transfer stitches in the desired needle setup. With waste yarn, ravel cord, and weights prior to its start this cast-on may be used for wider flat ribs ie 2X2, 3X3, etc. Here the comb is in place,  ready for 1X1 rib the results It is also possible to e-wrap on empty needles set up for rib on both beds. The first pair of diagrams show movement from the left toward the right. Loops are wound in alternating clockwise or counterclockwise directions as seen below, being careful not to make the loops too tight. working from the right to the left side The e-wraps may be made with variations of movements that are counterclockwise or clockwise. Depending on the variations there can then be two distinct sides, requiring a choice to be made as to whether the purl or knit sides of the final fabric will be facing out. With a clockwise wrap a row of purl loops (red arrow in swatches)) will show at the bottom of the “wrong”, purl side. To reverse them, wrap all stitches counterclockwise.

Here all needles are wrapped clockwise, a slip knot on the first needle on left would steady the yarn, needles are brought to hold-position on both beds for easier knitting on the next row,  which is knit carefully to the opposite side
the comb is then hung. Make certain its teeth are placed properly across the row holding stitches down. Here they are not on the right, resulting in the issue marked with black arrows at the bottom of the corresponding swatch tension adjustments may be required. Knit slowly and check that the stitches are properly knitting off.  Bringing needles to hold on both beds for a few rows prior to knitting them may help prevent random dropped stitches.

This is the setup with alternating clockwise and counterclockwise wraps on both needle beds.  This cast-on has a good deal of stretch and looks the same on both sides, its test swatch is shown on the right. 
If working in fine yarns, 2 tubular rows may be needed after the wrapped cast-on.
Another handout from eons ago follows below. The broken toe cast-on is often used whenever both the knit carriage and the ribber are used to create the fabric but stitches are dropped off one bed or the other, such as in drop stitch lace. The placement for the comb if the ribber stitches are to be dropped is illustrated below. Red and yellow show the areas held down by the comb’s wire that will remain on the main bed when the ribber stitches are dropped. Below it, the wrong placement of the comb for this purpose is shown. The reverse would be true if the main bed stitches were going to be the ones to be dropped. These illustrations for the comb setups in other rib configurations were published in a Toyota ribber manual From the Brother KR850 manual Casting-on for 2X2 rib  For more configurations see the 2022 post:  More on standard and modified 1X1 and 2X2 ribs
Casting on the double bed info shared in previous blog posts
Racked ribber cast on and tips  included racked cast for every needle rib, and samples knit on Passap,  for 2X1 and 2X2 commercial ribs
Picot cast on for every needle rib 
Transitions from EON (every other needle) to FNR (full needle rib)

Taking advantage of the “wavy” first row to produce a ruffled effect: zigzag row at rib tension or one number less than rib. Set one carriage to tuck, and the other to knit. Make one pass with both carriages to the opposite side. Reverse carriage settings, and make a second pass to the opposite side. Repeat one more pair of rows, reversing carriage settings with each pass (as in the fisherman rib setting). One may also experiment with more tucking variations or a greater number of rows in a pattern before proceeding in the rib. Before the closing row, depending on the configuration chosen, slipping on one bed and knitting on the other may make for a more pleasing transition.
The start of playing with needle/pusher arrangements, with both beds knitting in pattern. Instructions will follow in a future post on ribbed trims. Decorative cast-ons and beginnings
Ribber trims 2 
Ribber trims/edgings 1

Online resources:
Ribber e wrap cast on   video by Roberta Rose Kelly
A decorative cast-on with lots of hand transfers on the ribber bed by Emanuela Mammarella.
Studio tips and techniques #13

 

 

 

 

Shadow pleats knitting

This fabric is beginning to appear in runways again, is fairly easy to construct on any machine.
Select two yarns of different weights and textures, the heavier being approximately two to three times the thickness of the thinner one. It is possible to use multiple strands of the thinner yarn to achieve the difference in weight. The “thicker” yarn is the one you will see on the “right” side of the fabric.
Select a tension suitable for the thicker yarn, it will remain fixed throughout the piece.
The knitting sequence can be varied. To begin with, test an equal number of rows of each color/ thickness i.e. 6 and 6. Adjust as needed for the desired effect.
Rows of weaving or slip patterns can provide the “thicker” areas of knitting, with plain stocking stitch the “thin”. If plying yarns and Fair Isle patterning is preferred, it is sometimes necessary to elongate the design. One option to try is to knit the pattern in alternating sequences, with a single or double strand in the front feeder to produce the “thick” and the plain knit “thin” with yarn in the back feeder only. Other variations are possible depending on yarns and designs used.
In items such as skirts, the knit fabric is turned sideways. Caution needs to be taken so as not to use yarns that can be “killed” when blocked flattening the knit permanently.
For a while, skirts in shadow pleats were very popular. One of the tips for blocking them at the time when acrylics were very popular, was to hang completed pieces with the bottom evenly weighted inside a large trash bag “sealed” as tightly as possible at the top, with steam entering from the bottom of the bag ie from a teapot. I always had a hard time imagining the specific activity. Simply using a yarn with memory in the rows composing the outward folds seemed a more viable option to me.

Instructions below are from the Brother Techniques book, which is now available for free download online


I would classify the results as ruching, a different knit category
A double bed knit may achieve, depending upon yarn selection and tension, a similar effect. Although these folds are called tucks (those who sew may be familiar with the term pintucks in that craft) they are actually knit using a slip stitch technique. Colors may be changed at regular intervals here as well, and when combined with the use of the plating feeder the color effects can be varied even more.  Depending on which side of the fabric is the “right” side, either the ribber bed (when the knit side is the right side) or the main bed (when the side facing you on the machine is the right side), one carriage is set to slip in both directions for the height of the folds while the other is set to knit. Once the desired number of rows is reached, both carriages are set to knit. To review:
1. begin with every needle rib, at a tight tension, working at least one closed row
2. follow by setting either bed to slip, and knitting 4-10 number rows in stocking stitch on only one bed. The tension for those rows will have to be adjusted to the same used for stocking stitch for that yarn.
3. Return to every needle rib for at least one or 2 rows forming the backing and locking the knit together after reducing the tension. The “locking” stitches will be elongated.
Repeat steps 2 and 3.
Just as in rolls created single bed by hanging a previously knit row on every needle at regular intervals with stripes of stocking stitch in between, the yarn type and tension determine the quality of the roll. Too many rows in the “roll” will result in its wanting to flatten out and it will look more like a hem than a roll. This double bed fabric falls in the category usually referred to as pin tucks. This page from the Ribber Techniques Book explains the method for one version
A small sample, 6 rows knit only on the main bed, only 2 rows on every needle on both beds. Since ribber needles are skipped until knit again, the last row knit on the ribber will form elongated stitches.  
The term shadow pleat is also used in the Ribber Techniques Book when discussing accordion pleats Some samples: fishing line and wire wool and cotton thin cotton and boucle the same cotton and chenille wool and raffia wire and vinyl combined with fair isle patterning

Tuck stitch/ combination fabrics

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 software tuck fabrics are usually more interesting on their purl side  Tuck stitch combined with lace transfers
large scale mesh 
 large-diagonal-eyelets

Casting on, binding off single bed

There are many ways of casting on and binding off both single and double-bed.  Ultimately, if it is important to have the top and bottom of the piece match as closely as possible in finishing, the only way to achieve that is to start with waste knitting and a long enough yarn end (wrap around all needles at least 4 times to be “sure” not to run out). After binding off, rehang the bottom and finish on the top bed, or treat the first row of the knit above the waste knitting with the same method as the cast-off at its top. Brother publications are now easily available online. The images below include some of the material that was included in my handouts as black and white copies. I am now also adding scans from both the Brother Manuals and the respective books for Techniques on both the single bed and double bed.  The advice on methods differs slightly depending on the source, and at times one explanation makes more sense when offered in one way rather than another. Some of the techniques are illustrated below more than once, offering different ways of exploring.
Any cast-on or bind-off can begin on either the right or the left side. If the yarn is to be used to manually knit off stitches, then one must begin on the side where the yarn end resides. If long stitches are chained through each other, then the yarn end needs to be opposite to the starting side, so that it can be used to seal the last bound-off stitch.

Anyone preferring video format when learning can find excellent presentations by others online. Roberta Rose Kelley is a prodigious YouTube contributor along with Diana Sullivan, and Susan Guagliumi has also expanded her online presence there as well as both on her earlier website and blog

2023 a follow up post: More on casting on and binding off, random tips

CASTING ON  as mentioned is possible in either direction. Remember that the needle head will have to pass through the chain stitch or e-wrap, so do not pull the yarn too tight as you move across the row of needles. If you are going directly into pattern knitting after casting on you will find it easier to have some waste knitting to hang weights from if needed, and to avoid problems with stitches forming properly for the first few rows after your chosen start. To do this, cast on with some waste yarn, end with a ravel cord row, and cast on once more with “garment” yarn. There will be a waste ravel cord stitch and a new e-wrapped or chained cast-on stitch on each needle. Waste yarn can be removed upon completion of the piece. I prefer to do so a little after a short distance, to make certain no errors occur. If weights are used it is best to move them up frequently. The rule for casting on is the same as for many other machine knit fabrics: no two directly adjacent needles on the same bed with loops on them will ever form a separate stitch on each needle on the following pass of the carriage. Simply making a pass with the carriage over the needles will create a series of side-by-side loops. If a cast-on comb is used, it is possible to continue knitting, but when the comb is removed the stitches will run. That said, it is an easy method to use particularly when a piece is begun with waste yarn or is intended as a quick test swatch.
This tip for anchoring an open cast-on may also be used after any cast-on row when stitch formation appears uneven or unpredictable for the first few rows knit  Single fully fashioned increase for reduced jags on the knit edge Fully fashioned single increase made with multiple transfer tool Increasing multiple stitches at the side of the knitting by e-wrapping A single increase on both sides is possible to achieve at once. Generally, the issue with the result is that the stitch formed on the carriage side may be a different length than that on the opposite one, so care needs to be taken with managing the difference ie. by adding a small weight to one side only. An open cast on either bed may be achieved single bed using the ribber cast-on comb. There are other cast-ons that will produce an edge that will not run but are not stable as permanent edges at the beginning of a finished piece.
Slip stitch cast-on: bring every other needle out to hold position, knit one row at stocking stitch tension, and knit one row. Now bring the in-between to previously selected needles out to hold, and knit a row to the other side. Do this at least once before continuing, the more rows used the firmer the edge. Weaving cast-on only works on machines with weaving brushes ie Brother. I tend to knit with weaving brushes down no matter what the fabric is unless using them results in problems ie the particular yarn being used has a tendency to get caught up in them.
Every other needle cast ons (EON) can be a quick way to make a gathered top for a hat knit from the top down or to gather the inner edge of a flower or other shape. The nylon cord cast-on shown below is an alternate for open stitch cast-ons when no combs are available. Any yarn that does not break easily is smooth, and does not shed fibers when removed may be substituted for the ravel cord. A ravel cord may also be placed over the gate pegs, in front of the needles as shown in the cast on the illustration below for a single row after troublesome cast on rows. Two or three rows of knitting then follow, and the waste yarn is removed prior to continuing to knit. 

E-wrap cast–on: the comb is not necessary. If the first row after this type of cast-on is completed has issues knitting off properly, bring all needles out to hold for a couple of rows prior to knitting each of them, and that should solve the problem. With any cast-on, any too-loose loops may catch on gate pegs, if too tight, the yarn may break or the “stitch” will not knit off the needle over the closed latch and hook.  The last needle on the side next to the carriage may be left empty and will pick up a loop when the next row is knit. Variations of this technique may be used to produce decorative edges. A variety of e-wraps and chains may be used to cast on or as hand embellishment or added within the body of the knit. EON configurations of the same wraps on the standard with the same movements allow for use of significantly thicker yarns

1-3   e-wrap loops as shown
4      e-wrap every other needle then weave over empty needles and under e wrap
5      e-wrap every needle
6      e-wrap every other needle with color 1, e-wrap every other needle with color 2
7     e-wrap every needle with color 1, chain every needle with color 2, may be done every other needle as well
8     chain every other needle with color 1, continue on alternate needles chaining in reverse, or use color 2

Chain or crocheted cast-on: the illustration is from Brother, the cast-on comb is not necessary

It is possible to produce a looser chain in a variety of ways. The easiest may be to cast on using a needle or latch hook from a bulky machine. A video of an alternate method that involves wrapping the previous needle for cast on and the previous gate peg or needle for bind-off in order to achieve matching width at the top and bottom of the piece may be found here.
Cast on problem-solving hints

Increasing stitches at the side of the knitting:
BINDING OFF
From a Brother magazine, this copy is quite dark. I no longer own the original magazines to rescan and thus make any changes in clarity, but the text is clear

For the latch-tool bind-off without using gate pegs, suitable on any machines including plastic beds and Passap see video
Single-eye tool bind-off
I have always been hesitant to sew off or bind off live stitches directly on the machine, prefer working several rows of waste yarn, and then continuing either with the work remaining on the machine or after scrapping it off.
When using this method, a stitch is made manually through the stitch on the last needle on the carriage/yarn side and is then transferred onto the next stitch.  Both are knitted through, and those two steps are repeated.  The main problem is maintaining even tension and equal stitch size. One can bring the emptied needle from out of work forward to hold-position for a more even length of yarn, bring the yarn under, around and over it, knit it through the adjacent needle with 2 stitches on it,  return the empty needle to out of work position, dropping the wrapped yarn.  Knit through the two stitches, and repeat the process.  Use a small weight and practice to keep the tension even. Continue until the last needle has 2 stitches on it, and secure yarn as usual.
As an alternative *transfer the stitch on the second needle from end #2 onto end needle #1. Then transfer the double stitches back onto the second needle from end #2. Put the now empty end needle #1 out of work*.
Repeat across the row

A crochet hook could be used in place of the latch tool.
Sewn bind-offs on the machine, and after several rows of waste yarn.

 

Using the sew off method to join open stitches to a finished  edge

Slow, less often used, figure 8 cast-off was introduced to my knowledge by Kathleen Kinder. It is slower, and supposedly has a lot of stretch. Bring out the first needle and hand-knit a new stitch. Make that new stitch a bit larger than the ones already on the needle bed.
Start on the carriage side using the transfer tool, inserting it from back to front from left to right, toward the center of the end stitch on that side. Swivel the tool clockwise, the tool will now be in front of the gate pegs.
Do not remove the first stitch from its needle. The stitch on the tool is now twisted, creating a sideways figure 8. Use the tool to hang the twisted stitch on the adjacent needle, the two needles involved now share the transferred half stitch.
The second needle now holds 2 loops.
Knit the half stitch through the one behind it prior to hand-knitting a new stitch, or (easier) bring the second needle out, and hand-knit a stitch through both loops on it.
Continue across the row with actions illustrated from right to left.

A quick swatch shows the potential amount of stretch in this bind-off. I tried dropping the stitch remaining on the right after it was shared with the needle on its left and both “stitches” were knit through by hand about halfway and just proceeding across the remaining row without dropping until the bind-off was completed. The latter was easier and faster for me. Once the knitting was completed I could see no difference between the two methods.

Potential for both top and bottom edges of knits: “Crochet” meets machine knitting techniques: working with “chains”

For mock rib executed on the single bed, for double rib as well, see post 

Video references found online:
Sinker-post-bind-offs using single eye tool and latch hook Susan Guagliumi
A variety of sinker post (gate peg) bind-offs Susan Guagliumi
Binding off around needles rather than gate pegs Susan Guagliumi
Latch Tool Bind Off around gate pegs single stitch at a time Diana Sullivan
My least favorite, loop through loop Diana Sullivan

Finishing tips
Seaming, joining, picking up stitches 3, ribbed knits 
Seaming, joining, picking up stitches 2
and seaming, joining, picking up stitches 1

 

Binding off, double bed

A DBJ discussion re Ayab use recently brought up the topic of ribber bind-offs. My plan for this post is to gather information and illustration on a variety of methods, beginning with those illustrated by Brother, then moving on to others I have come across over the years in a variety of publications. Transfer to single bed methods: transfer all the stitches onto the top bed,  then use single bed techniques to cast off. Having multiple stitches unevenly distributed can make the cast-off lumpy, and such techniques may also be too tight for the fabric. For latched-through bind-offs, one way to get extra length/size in stitches on the main bed is to bring every other needle on the ribber back into work after transfers. Set the ribber to half-pitch, knit one row with both carriages set to knit to the other side, drop off newly created ribber stitches by using the ribber carriage only to release the stitches by moving it back to the opposite side, dropping the loops just created, adjust the amount of weight, and bind off. That extra knit row may also be useful in rib configurations that leave empty needles after the transfers. Loops will fill in empty needles. Chain only through stitches, not loops. The latter will help create enough give to bridge the gaps. Technically, once the ribber stitches are moved to the top bed, any single bed bind-off may be used, whether through single or double loops. Some techniques produce more pleasing results than others. Each look is different, as is the amount of stretch. Testing on swatches in specific yarns used helps one determine the preferred method. If a latch tool is used to do a crocheted bind-off after transferring a 1X1 rib it is possible to maintain the rib. Insert the tool from the front of the stitches that were originally on the back bed, and into the front of the stitches that were on the front bed. Stitches have “legs”, inserting the latch tool back to front from behind the right leg will change the direction of the lean in the chain. As one enters the center of the stitch, the left leg is picked up by default. When latching stitches on the single bed after transferring all stitches to it, to keep bind off in the rib, on the purl stitches hook the stitch back to front (red line), on the knit stitches hook the stitch through the center (green line)Reviewing approaches to binding off with needle and yarn: working single bed is sometimes performed on the machine and is illustrated below working from left to right. It is referred to as back or stem stitch and “sew off” method, and is shared in many of the old machine knitting manuals. It is easier to achieve if after knitting the last row one knits at least 2 or 3 more rows in waste yarn to make the stitches more accessible. The knit side shows single loops in view upon completion. Dropping small groups of stitches off as one makes progress across the row may make the technique easier, helping with the placement of the other hand to hold the work. On the machine, the fixed distances between needles and gate pegs help to keep the tension even. The backstitching may be done off the machine, but maintaining even tension there may be a bit harder.

and here from right to left

Some references advocate this method for binding off the rib after transferring all stitches to the main bed. A row is knit across the transferred stitches prior to stitching through the now single thickness.

The process, whether executed on the machine or off, to my mind is easier with waste yarn knit after the transfers. Here is an illustration of single bed knitting removed from the machine.

The top of the last row of the body of the knit may then be bound off using a crochet hook or latch tool chain stitch using a continuous thread, or the needle and yarn sewing method may be used.  There is a limit as to the length of yarn used so as not to pose problems. Very wide pieces may prove to be a challenge, requiring more than a single yarn end to complete the bind-off. My own yarn end max limit for sewing up or off is about 18 inches

For folks who prefer to view videos, these are some methods on single-bed bind-offs offered by others on this topic:
latching off through looser stitches any KM, by Diana Sullivan my least favorite,
wrapping around needles, familiar to Passap owners, by Susan Guagliumi
several sinker plate bind-offs also by Susan Guabliumi. The very last method illustrated is my favorite go-to, around gatepegs whether single, double, or more, though I do it a different way.
Latch tool bind-offs without transferring both beds: 1. chaining through stitches on both beds
Knit the last row at a looser tension, and begin by setting it as high as possible in your first experiments. Knit a row to the left.
Lower the ribber slightly Begin on the side opposite the carriage and the yarn end, moving in a zig-zag fashion.
Go through the center, front to back through the stitch on one bed, moving it behind the latch, then go through the center of the stitch on the opposite bed, hold its yarn in the hook of the needle, and pull it through the previous stitch held behind the latch.
Continue latching until ass the stitches have been picked up and bound off. Break the yarn and pull through the last stitch to secure it.  adapted from Passap publications

Video: chain through each stitch on the machine by ArtOfClay.
2. transfer the stitches to the knit bed in Japanese machines, either bed on Passap, and after a plain knit row if textured patterns are in use.
Follow it with a last row of knitting, leaving all the needles on the ribber in work after the transfer.
Moving toward the carriage, using a latch tool, go through the center front to the back of the first stitch on one bed, moving it behind the latch. Then go through the center of the stitch on the opposite bed, holding its yarn in the hook of the needle, and pull it through the previous stitch held behind the latch. Continue across the bed, securing the last stitch.
In bind-offs such as these, the proper loops need to be latched through, or one may wind up with open stitches and no bind-off.
This Passap bind-off variation adapted for Brother machines is described in the post on fantasy fair isle patterning  3. Video after transferring to one bed, and taking off on waste yarn by BarbaraDeikeThis edited illustration, also from a Brother manual, expands on the one above, showing how the yarn is threaded through the stitches in numbered sequence according to the stitch configuration for the ribbed fabric 
 Using waste yarn on both beds: I prefer an alternative method for waste yarn scrap off, ending in place of circular or U knitting: knit the last row in garment yarn. Thread up waste yarn, and knit it at single-bed tension. Knit 4 rows on one bed, with a separate strand or even a second contrasting color of equal weight, and knit 4 rows on the opposite bed. Repeat alternating until there are more than 12 rows on each bed and scrap off. This will allow you to press the waste knitting only, and the flaps are opened up to reveal the tops of the stitches created on each bed. Finishing can then be executed as below.

Slip stitch marking row 1X1 rib: EON needle is transferred to the top bed.  From right to left: COR stitches that appear as knit ones on the purl ground are brought out to hold,  the knit carriage is set to slip from left to right, and purl stitches will slip.  Set the carriage to knit both ways, continue with waste knitting, drop the piece off the machine, and continue as illustrated in the circular fold-over method.

Here any waste yarn is folded over, exposing the tops of ribbed stitches. The threading and stitching sequence is numbered, illustrated for both one by one and two by two ribs. Depending on the planned seaming  choice, an extra stitch may be added on either or both sides of the knit so that half a stitch or a whole one can be absorbed into the seam, resulting in a continuous rib configuration on the outside of the garment 2X2 rib

For added information and settings, see later post: More on standard and modified 1X1 and 2X2 ribs

Text problems within posts; wordpress issues

After the latest version update in WordPress I have begun experiencing finding à‚ commonly in areas where a space bar or return key might have been used or in spots where the post was edited, at infrequent times with other added characters added as well. The issue is encountered in older posts from several years ago as well as brand new ones now when reviewing them. The problem appears to be a global one across my site.  I will share when the issue is better understood by me and perhaps solved, along with any method used to achieve any corrections.

5/4/2019 I have often edited or created content in rich text formats, then in turn copying an pasting in the visual editor. It may be that any content that was not simple text generated the symbols upon import and that those were filtered out successfully in older versions of WordPress, but not the new one. I now have a workaround that still requires me to review each post, but the process is amazingly faster. There is a WordPress plugin https://wordpress.org/plugins/tinymce-advanced/ that allows for a search and replace option in visual editing mode. It is available for both classic and Gutenberg. If it is used, each symbol or character set can be found throughout the whole document, a blank can be entered for the replacement of all, and offenders are quickly deleted from post content.
Of course, now that I got this far, I see there will be a brand new release on May 7th with the announcement “One of the most highly anticipated features for v5.2 is the Site Health Check. This feature adds two new pages in the admin interface to help end users maintain a healthy site through common configuration issues and other elements that go along with having a robust online presence. It also provides a standardized location for developers to add debugging information.” uh uh!

I am also not alone in not being fond of Gutenberg, some links to forum discussions: https://wordpress.org/support/plugin/gutenberg/reviews/

At this point, my apparent option is to hand edit every post I have written. The most frustrating part of the process is to locate graphics that now seem to have disappeared, a separate issue. Sigh!

After contacting my web host, it appears they were able to correct the problem. Some of the posts I have reviewed have extra spaces where the unwanted characters used to be and occasional graphics ie charts or photos are ghosted out from the content upon visiting the site. It will take a while for me to get caught up with reviewing remaining posts.  The announced date for my site update to the latest WordPress version is May 22.

  

 

More on Brother DBJ, including KR 260 bulky KM options

Any repeat suitable for a 2 color 24 stitch DBJ separation published or self-drawn for a 4.5mm machine is suitable for DBJ on the bulky.
At times yarns ie 2/8 to 3/8 wools that knit stocking stitch at tension 8-10 on the main bed and are too thick for every needle rib on the standard may produce a fabric that is not too dense, and still has some drape at the lower tension settings on both beds on the bulky.
Electronic standard knitters can double the size of the repeat prior to separating the 2 colors and then work on every other needle on both beds, proceeding as usual for DBJ.
Thicker yarns begin to make too thick a fabric for wearables but may work well for other uses.
If some drape is required, the ladder-back method becomes the preferred one in bulky KM DBJ.
I no longer have available the bulky dbj samples from my teaching days, my 260 KM is not set up, so, for now, this post will not include swatch photos.
As always swatching is a necessity to determine whether the resulting knit is one that meets our expectations, preferences, and often, patience.

To review: the 260 KH carriage will be familiar to Brother punchcard 4.5 mm machine users and has the option for creating thread lace (“split” cam button in center position), which is not commonly available in Brother models.

The Brother 270 electronic knit carriage offers similar settings

There is no automatic method for eliminating end needle selection ie KCII, rather, adjustments for it are made on the underside of the carriage, as in other punchcard machines in terms of DBJ, the electronics allow for the familiar KRC 2 color separation KR 260 parts as described in the ribber manual, followed by possible settings for cam levers are illustrated below. The absence of lili buttons is immediately noticeable. There is no automatic every-other needle selection on the bulky ribber carriage shown, as opposed to that choice being available on the standard KM.

slip to right slip to left slip both directions tuck to right tuck to left tuck both directions

hand selection tools for either bed, 4.5mm on top,  sometimes interchangeable every needle selector for standard, operates similar to Jac 40, EON here for use bulky, adjustable 17.5-inch workshop cut model in plastic for 2X2 selection on bulky nowadays 3D printed custom options are also beginning to be available

The DBJ setting that requires the least intervention on either standard or bulky machines is the one produced with the separated motif being knit with the ribber set to slip all needles in one direction, and to knit every needle in the other. Reproducing the lili effect is accomplished on the KR 260 is achieved with hand needle selection. For birdseye, where every needle is in use on an even number of needles in work on the ribber, select every other needle on the ribber beginning with the second needle on the right for the preselection row, and push up to the holding position. The ribber carriage is set to slip both ways and will knit hand-selected needles as it makes its way to the opposite side. Now select every other needle on the ribber beginning with the first needle on the right, bringing those needles up to hold. Stitches on those needles will knit on the ribber as the carriage makes its way back to the left and to the color changer. Colors continue to be changed every 2 rows as in any standard 2 colors birdseye fabric. 

Ladderback or modified Jacquard is at times used on standard machines specifically for the effect created on the fabric reverse side, and most often used with bulkier yarns to be able to make a garment with more drape than it may have in regular jacquard, or to knit large designs with no long floats.
This technique on the KR 260 ribber involves hand manipulation of the ribber stitches to reduce the number of stitches formed on the ribber as well.
Ribbing is often set up to produce a band that is not hugely different in stretch and width than the body of a garment, with further transfers for the ladder back configuration when it is completed.
No more than one needle is usually in work on the main bed beyond needles in work on the ribber bed. If an additional needle on the main bed is required, it should be on the left-hand side.
The rib is knit as tightly as possible, tension is loosened as one progresses into the jacquard portion of the piece.
Common arrangements are 1X1, 1X3, 2X2, etc.
When needles are arranged in “even groups” ie 2X2, 2X4, 4X2, etc, the lili setting or manual needle selection to emulate it on the 260 may be used.
Tuck settings may be experimented with as well, but tend to create a more noticeable vertical line between ribbed repeats on the knit face.
The larger the number of needles in work on the main bed between ribber needles in work, the more the main bed tension needs to approach that used for the yarn when it is knit single bed. 

In the EON ladder back tension increases are usually necessary to accommodate the number of stitches knitting plain on either or both beds.
The hand needle selection must remain constant throughout the piece to maintain the birdseye backing or any of its variants, which are based on pairs of needles alternating functions every 2 rows. This is the illustration for the lili actions from one of the Brother ribber manuals:  The second needle on the carriage side knits with each pass, and the last needle away from the carriage knits. When hand-selecting the rule may be reversed.

Striper backing is achieved by selecting the same needle for each of the 2 colors used, slipping the opposite color needle locations. The first needle selection on the right is easier to track by marking the location of the first needle used on that side on the needle tape or needle bed as a guide for subsequent rows. 

The row counter will show double the number of rows than if the fabric were produced in Fair Isle. Four passes of the carriages complete one design row. The motif will appear elongated to a degree depending on the yarn and techniques used. Ladderback and vertical stripe backings may produce vertical separation lines in the fabric that may be quite noticeable depending on color, tension, and yarn used. Watch closely for dropped stitches or split ones. Splices and knots in yarn may tend to break due to the use of added weights and tension. Plan on adding new yarn at the sides and using the yarn ends to seam up, or use Russian join before the point at which a new yarn end is required, and continue knitting. The latter has become my favorite even in lace knitting on the standard machine. A recent tutorial on the technique may be found here https://www.mybluprint.com/article/this-method-of-joining-yarn-ends-is-pure-magic

Check the alignment and oiling requirements of machines frequently. 

Other backings: one color backing. The main bed is set as normal for DBJ, but the ribber is set to knit for 2 rows of one color and to slip for 2 rows with the other color. This means on any machine (unless using 2 electronic carriages as described in another post) the operator has to change ribber settings every 2 rows. It will now take 4 carriage passes to complete 2 rows of knitting. Floats will be formed in the non-backing color and may be caught on the ribber on slip rows, so check frequently, begin with small repeats, and always test new yarns, or even a different color or dye lot in the same yarn on swatches before committing to larger pieces. 

Patterned backing: selection of ribber needles in blocks of alternate colors, or selecting ribber needles in between those selected on the main bed applies here as well. Yarn thickness and end product serve as guides as to whether the fabric serves one’s purpose or preference.

In large areas of solid color on the garment face, if bleed-through is noticeable, a pattern of 2 black rows alternating 2 white ones may need to be programmed, with color changes continuing as in pattern areas. If the goal is simply to match density or drape, then continue in settings used for the design area without color changing. Most punchcard double jacquard separations and “rules” apply to both standard and bulky machines.

Later posts: ribber bind-offs at first, and casting on. I was never quite content with ribbed edgings on my bulky knits. There are always several options for achieving a look that pleases us more, or a technique that will alter the unwanted results. In this instance, one is to knit a row on the main bed after several rows of waste yarn, continue with the body of the garment piece, rehang that first knit row, knit the rib upside down, and bind off. The latter can happen on the machine, by hand, off on waste yarn with a “sewing” needle, or removing the work onto hand knitting needles and going that route. The 260 ribber manual recommends the following method. 

Having the waste yarn U style with an opening on the right with the bind-off beginning on that side, or finding a way to mark the first needle on the ribber in the sequence may make finding that needle position easier when the knit is off the machine.

This illustration, also from a Brother manual, slightly edited, shows the sequence for how the yarn is threaded through the stitches in numbered sequence according to stitch configuration for the ribbed fabric

Ribber fabrics with main bed tuck patterning 1/ pick rib

I have often wondered where the pick rib name actually originated. The stitch has also been referred to as punch-tuck-rib by Studio, and simply tucking pattern by KR by Brother. FB shares by others in the MK group may explain the origin of the pick rib name in part. The manual for the SK 101 mentions the single bed pick stitch and explains the difference between tuck and pick.
It appears as though pick knitting, in this case, is what we have come to know as knitting using the hold position combined with hand selection of needles. Since the illustration is for a Studio machine, Russel levers are mentioned. They allow for holding stitches in one or both directions.
In Brother, holding works in both directions by default. D needle position in Studio is the same as E position in Brother, where the letter C was skipped when alphabetizing needle positions markings on the metal bed in machines I have been familiar with. That said, models dating back to the 50s such as the Brother 550 did use 5 A-D positions rather than the later standard 4. C was intended for use with the “picker  Position C: multi-pattern. To obtain needle position C, raise the needles to E and then return them to C by having the picker shifting from left to right so that the stitch rides on top of the closed latch. This position is used for shaping polo, round, square, and V neck, for berets, doilies, and in certain patterning. It appears as pickers were removed from knit carriages, so was the needle position C marking on the needle bed.
The identical pattern in later model machines may be produced by using the tuck setting. The image below shows the punchcard partial repeat and the isolated electronic repeat for use with the tuck setting. An early needle selector to help speed up the process  The Knitmaster 302 was an early pushbutton model The knit carriage appears to use “pick” as the name for what is now more commonly knows as the tuck setting. A downloadable punchcard set
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 the fiber and thickness of yarn used, the effect can be lacey and have a lovely drape. In published repeats, often tucking does not happen for more than 2 rows, making knitting fairly “safe”. When using 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 usually on only the main bed.
Needles out of work may be planned within repeats to produce a fabric with knit textures on 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.
If knitting with very fine yarn, the close-knit bar is recommended.  With the ribber knitting every row, using an end needle on each side of the ribber allows one to cancel end needle selection on the top bed and maintain patterning and clean side edges.
In Brother knitting, the card lock position is on the dot to the right of the card, the small triangle is used to advance the card every row, and the longer triangle advances the card every other row. For explorations, for a start, set the card lock lever to advance normally Note that the Brother reader is working 7 rows below our line of sight on the exterior of the KM. Most punchcard books and some machine manuals list the suitability of patterns for use with tuck patterning. If using a repeat published for a different brand it is good to be aware of any marking for starting rows being different. For example, in Studio KMs, the starting row for the pattern is 5 rows below the exterior of the machine bed, so if using the repeat in Brother begin on row 3. Any pattern where single row tucking is the overall composition may be elongated. Keep good notes for unusual arrangements. Starting side does not matter unless the plan is to change color every even number of rows, then one must perform the first preselection row toward the color changer.
The advice from the Brother Ribber Techniques Book and the KR850 ribber manual respectively is shown below.
Another alternating 3-row tuck pattern, this one followed by 2 knit rows after each tuck sequence, the appearance varies depending upon yarn thickness choice and color. Knit in thin yarn, stitches got away from me the more successful swatch, using thicker yarn An often forgotten accessory: (I admit I have never used them)

The fine knit bar for using thin yarns

Typical patterns for the fabric from punchcard volumes, some with side-by-side tuck formations.

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. Having every needle ribbed vertical stripes on each side will help the finished knit edges lie flatter.
Using a card in as many variations as possible is a good way to explore maximizing the work entailed in punching all those holes. Testing stitches does not necessarily require the use of the best yarn or favorite colors until and when a gauge swatch is needed or one commits to a particular variation. One card may be used in many ways, ER represents every row rotation, EOR every other row or twice as long. The full punchcard: The electronic repeat, 12X60, is also tiled to check its alignment  Settings for both beds, notice the decrease in width with the introduction of the slip stitch setting.
The repeat tucks for two rows throughout, so color changes can be attempted every 2 rows. One side of the fabric may be more interesting than the other, the added color may result in a muddy look, on the purl side as in this case Changing colors, adding plaiting, varying yarn thickness, can alter the look considerably  Because, in most instances, the ribber is set to knit there are stitches on the ribber holding down tuck loops on the main bed, and typical tuck configuration rules may be broken. One such pattern to try: the punchcard repeat and the electronic one are identical The differences in appearance: using a 2/8 wool the knit is fairly packed together while using a 2/18 silk wool, knit at tension 3 both beds, the fabric appears far more open, shrinks considerably in length when off the machine, and is very stretchy in width. Here the swatch knit on 40 stitches by 64 rows, relaxed, with no blocking, measures 12 inches in width, 3 inches in height. Again, loose cast ons and bind offs are required, should be tested on swatches for stretch and appearance. Adding color striping A closer view of the stitch structure:  Using the stitch type to create edgings or ruffles See “tuck lace” fabrics for some variations with top bed patterning also using sporadic needle transfers to ribber.

 

Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages

When switching between N/N and tuck/ tuck on the ribber it is not necessary to switch the tucking lever from its up position to the lower one. The ribber will knit every row when used in either of these settings It is possible to knit this type of fabric using color separations such as those seen for one type of DBJ where color one for each design row knits 2 rows, followed by color 2 for corresponding design row also knitting for 2 rows. Each color may be drawn and programmed once, followed in turn with elongation X2 on both punchcard and electronic machines. I prefer to work with the elongated images, believing it makes it easier for me to correct errors or knitting problems, should they occur. This color separation is the default on Passap. In Brother electronics, it would need to be hand done and programmed. It is best to start with simple shapes. This triangle series has been used in several of my previous posts. The chart shows the transitions in the process

Brother DBJ settings using tuck on either bed, not addressing hand needle selection on the ribber for the production of reversible fabrics. The yellow color highlights cam settings that require changing by hand for every other pair of knit rows and making the changes with each color change. With the exception of the bottom 2, the same settings were used in some of my brioche variation experiments. The resulting fabric, knit in reverse order from the chart (top setting down to first). The dropped stitches happened when I did not notice the ribber weight was resting on the floor, with no resulting weight on the fabric. There are single repeats of each motif. Two more possible DBJ variations

A full range of DBJ variations of the same repeat, including ones using slip stitch and shared in a previous post, executed in both one and 2 colors Passap knitters have the option of arrow keys and stitch type on the back bed that makes fabrics possible with ease that is daunting to reproduce on Brother machines. There is a category search on my blog that will lead to a collection of posts on the topic of knitting with 2 carriages selecting patterns.

I have often considered the possibility of using 2 coupled knit and rib carriages for some of my patterns but found it limited knit width because of carriage stops on the ribber bed, the unwillingness to have my ribber carriages fly off the bed, and the added limitation imposed when both carriages are selecting needles. Now that setting changes were required every 2 rows on the ribber I found a solution of sorts. It is one of those try at your own risk tips, but for me, it made several of the last swatches in brioche achievable far more quickly and accurately.
Brother ribbers have a stopper pin on each end that will not allow for the ribber carriage to move beyond a fixed point or to be removed easily, requiring tilting the carriage forward to do so I have long ago removed both of mine.  As in any knitting with pairs of carriages, when needle selection is happening from opposing sides, the turn marks need to be cleared on each side of the machine as the opposing carriage begins to move across the needle bed to avoid breaking the belt. I happen to be knitting present swatches on my orphaned 930, which still knits producing interesting sounds. It came with no carriages. I am actually using a knit carriage from a 910 and one from my 892E punchcard machine, with a magnet glued to the proper location facing the rear rail. I removed the stopper pins from either side of the ribber bed, placed lace extension rails on both sides as well as the color changer with all change buttons released as seen in this illustration. On the left, as the carriages move beyond the end of the needle bed, the return signal lever is tripped, making a characteristic noise. At that point, the turn mark on the left has been cleared, and it is safe to operate the carriages from the right toward the left
The right side of the machine is more problematic. The extension rail will store the knit carriage safely, but the ribber carriage has to move out enough so without its stop it would fall to the floor. My solution was to jerry-rig an extension at the appropriate height so the ribber carriage could slide out as much as needed while being supported. I was able to knit the hundreds of rows required for many swatches with no problem other than operator errors. Here the pair of carriages on the right are seen resting far enough off the machine to clear the belt, at an adequate height for them to slide off and on easily. At first, I secured the connecting arm to the connecting pin with an elastic “just in case”, but that proved unnecessary. 

I have been asked lately about the lili setting used in all my ribber carriage illustrations (center position). I tend to use that as a default to prevent errors and for consistent quality in my ribbed fabrics, especially if matching gauge ie in garment pieces or bands are needed. That said, for the carriage to travel far enough on the right in this setup, the slide lever had to be used on I. The plastic tray helped reach the appropriate height and made for easy slide off and on. There are a few minutes of maneuvering when setting up the first selected row. As always it is good to begin with familiar yarn and previous experience with double bed fabrics.

Some of my own operator errors are due to the fact that I still am not used to the fact that the 930 appears to revert to factory defaults with each new design entered, that I have to remember to switch from isolation to all over, that the image is reversed on the knit side like on punchcard machines unless the reverse key is used. I spent decades using the 910, where once the selections were made and once the pattern variation buttons were set, that became the default until buttons were changed for specific applications.

Double jacquard motifs in multiple styles, shapes, and sizes may be knit with variations in tuck settings. My post on a-return-to-brother-ribber-and-dbj-settings/   reviewed many of the possible cam configurations as well as working with multiple and even altered carriages. Passap machines have the added benefit of far more patterning than Brother on their back bed, the equivalent of the Japanese ribber. I am still obsessing over 3D folding effects, racked herringbone is back on my mind, as well as tuck ribber settings on Brother if one is willing to hand manipulate needle selection. I have been browsing through some of the directions in Susanna’s book again. For anyone unfamiliar with it, it was published first in 1986 and is the ultimate textbook on knitting fabrics on punchcard machines. It predated most electronics. Susanna continued to write for magazines and later addressed electronics in those articles and in her teaching lectures and workshops. This shows the cover of the paperback version. Over the years as many folks have written on DBJ, the separations have been named with some variations. In Susanna’s book, the original design is referred to as punchcard type A, the KRC separation built into Japanese machines is classified as Type B. This image shows the now-familiar series of triangles used in many of my blog posts on DBJ including at the start of this one. It is illustrated as the original repeat, then the separation is shown with either color represented by black squares. One of the peculiarities of this separation is the single-row color start. One may choose whether black squares or white squares knit first based on the pattern itself rather than simply on the convention in their specific machine brand. Color reverse in electronics is easy, but the function cannot be combined with KRC. It can easily happen if the separation is completed in software, prior to downloading the final repeat and knitting it. If a punchcard is used, simply exchange positions for each of the 2 colors in the color changer and follow the usual sequence. Designs must have an even number of rows. Susanna classifies the subsequent separations as C1 and C2.  Because each color in each row knits twice, there may be an odd number of rows in the initial design repeat. I am often asked as to why a type C1 or 2 separations would be a boon to fabrics made on Japanese machines. The options for new settings and resulting variations in the knit surfaces on both sides is increased many times over. These are some of Susanna’s suggestions for using the tuck setting in DBJ and begin to illustrate the point.

Lace transfers meet fisherman rib, 2 color ribbed brioche on Brother machines 2

Over the years I have avoided ribber fabrics that involve hand manipulation of stitches in addition to patterning. Runaway stitches are hard to see and repair.

In these fabrics, transfers are made by hand with multiple transfer tools. As stitches are moved, the last of the stitches transferred on the purl side (in this illustration 4 stitches), one will lie directly behind one of the stitches on the main bed (marked in red), sharing the same needle hook space. As the next row is knit, the needle emptied by the transfers picks up a loop. The following knit carriage pass will complete the stitch on the needle holding the loop, and the eyelet.

There is often confusion about the terminology, English, or half fisherman rib has only one bed tucking every needle, in a single direction, with all stitches knitting in the opposite. Here that bed is the ribber, the knit carriage is set to knit throughout. Illustrations from the Brother Ribber Techniques Fisherman, aka full fisherman rib, is a tubular tuck with each bed tucking in one direction, knitting in the other My recent posts reminded me of a repeat from an older Brother punchcard pattern book that combined lace transfers and fisherman’s rib. The original repeat is shown on the left, designed for use on punchcard machines.  In this instance, the main bed knits in one direction and tucks in the other while the ribber knits every row.  Stitch and tuck loop combination transfers are made every 4 rows, prior to knitting that row in the opposite direction. The machine is set for half fisherman’s rib. Tucking happens on the top bed on all needles in one direction only, the ribber remains set to knit both ways throughout. If all transfers originate on the same spot, a vertical line of eyelets is produced

Can plaiting give me 2 colors the “easy” way? If transfers move to the right or the left, an arc will be createdAiming for the punchcard pattern book inspiration I began at first by marking up the needle tape with a water-soluble pen to help track repeat segments After a short trial swatch I sought to automate needle selection to serve as a guide for moving stitches across the needle bedThe main bed is set to tuck in both directions. White cells tuck, black cells knit. Rows in Brother preselect for the next row with each pass of the carriage, so on even number design rows as the carriage moves to the opposite side, all needles will form tuck loops on the main bed. The next row will be preselected, with some needles now back in B rather than D position. With an appropriate transfer tool, move the stitches on the nonselected needles to the adjacent selected needle to their right after pushing it back to the B position. After each transfer, push all worked needles and their stitches as well as the now empty needle to the E position. As the carriage returns to the opposite side an all knit row will be completed. Several tension adjustments may be needed to ensure loops do not get hung up on gate pegs as stitches move across the bed, while still being loose enough to knit off properly.

The charts below reveal planning for a more complex fabric, a 2 color repeat with mirroring of the original above, colors are changed every 2 rows with setting changes on the ribber. For more detailed instructions see 2 color ribbed brioche stitch on Brother knitting machine 1.
Seeking new geometry, the repeat “inspiration” is mirrored horizontally. The final repeat is on the far right. The knit carriage is set to tuck in both directions throughout. On white cell design rows the main bed tucks, and the ribber is set to knit. For added directions see 2 color ribbed brioche stitch on Brother knitting machine 1. On most or all-black cell rows, the main bed will be knitting, the ribber is set to tuck. In this fabric, the transfers are made on knit stitches created on the previous row prior to moving the carriage back to the opposite side. All transferred stitches and the empty needle are brought out to the E position prior to moving the carriage to the opposite side, which will be creating the second all knit main bed row. Transfers are made every 8 rows, with pairs of transfers being made toward each other, no longer all in the same direction as in the single color sample The central repeat is color reversed to achieve the final repeat on the above right in order to produce those transfers on knit rows. The final row count needs to be a multiple of 4 rows in height. Here is a 2 widths 36 stitch X 32-row repeat chart The extra line seen occurs when one forgets to reset the ribber to tuck, and stitches are all knit on a “wrong row”. It is by coincidence that they seem to occur in the same spot in the repeat more accurate knitting  On the bottom half of the swatch below the difference is the result from when one carriage knits every row on both beds, requiring a change on the knit carriage as well, canceling its tuck setting with every other color change The last repeat may be flipped vertically as well. It then needs to be edited so those white squares land on the row after an all knit row, not below it. The final repeat on the right is 36 stitches wide by 64 high. There are still 8 rows between transfers. On the left is the first resulting chart, on the right the amended chart places selection for transfers on the proper row. the germ of one last idea, the repeat 14 stitches wide by 96 high, max transfer seven stitches (odd #)playing with ideas a bit more, max transfer six stitches (even#)

This was my attempt to shoot for a recurring shape and planning on having transfers land on like color, the repeat is 8 stitches in width, 112 rows height. Six stitches are the max number transferred. More would give a wider curve, the final repeat would be exponentially longer its reverse side :
When the main bed tucks in both directions with one color, knits in both directions with the other: I did try to eliminate those lace holes. On the right of the swatch as shown below I threaded a needle and attempted to close the eyelets with stitches, getting closer to the line one might get in a hand knit. On the left, I hooked up loops to fill the empty needles. The latter changes the intersecting lines completely
picking up only the white yarn from the tuck loop below the transfer bringing filled in needle back to E position prior to knitting next row the difference in intersecting lines at the outer edge of my intended shape. This is what happens when a new design is being tested, and the lili buttons “accidentally” happen to be engaged on the ribber