“Crochet” meets machine knitting techniques: working with short rows 1

Another Ravelry thread recently looked at knitting this pattern, from an old Knittax pattern book

I found this in a different manual, with a similar structure, and “English” directions  Translation of symbols used in Knittax patterns On the purl side, this creates structures that emulate crocheted shells. My first attempts at trying to knit anything like this were in thin yarn, and I had enough issues to give up for the moment. Things worked out much better when I switched to a sport weight yarn that seemed to like knitting at T 10 for stocking stitch. With NOOW set up, my sample was knit at T 9. Waste yarn and ravel cord are often a good way to start, but not always necessary, the same is true of weight. I began with a crochet cast on, every needle, multiple of 4 st + 2, then dropped the alternate pairs of needles between the first and last 2 pairs of needles in work, pulling the needles back to A position, determining the width of my “shells”
My initial experiment was an adaptation of the concept, with more needles in work than in the inspiration photo.
Working from right to left, starting with COR; the first pair of needles on carriage side in work, remaining needles away from carriage are in hold position moving toward left, the adjacent needle in the first pair in hold gets wrapped; be sure to retain proper positions for knitting and holding the first wrap completed, needles in position to continue the process is repeated X number of times. I chose to wrap X 5, which requires 10 rows of knitting, making the row counter usable to track rows in easy increments. When wraps are completed, push wrapped needle and its partner into work, knit one row make certain all the loops have knit off, wrap the first needle to their left, bring pair on the right to hold continue for your desired number of wraps return wrapped needle and its partner to work position, knit one row, wrap next single needle on left remember to bring needles to right of the pair just knit into hold repeat to end of row. Reverse process moving from left to right (in progress photo). I found a single tooth from a claw weight on the pair of stitches doing all the knitting helpful. 

Variations can include the number of needles in and out of work, yarn choices, etc. The needle arrangement to match the symbols with 3 in work, 3 out of work The same steps sequence is followed as for the first swatch, using a 2/8 wool. Summarizing the beginning series of movements starting with CORThe full series of patterns may be found in the Portuguese language booklet The illustrated needle arrangement for #4I like to begin using a chain cast on, and then dropping chains off needles out of work1: COR, leave the first needle in work, pull the remainder out to hold, knit 1 row
2: COL, bring the thread under the first needle in hold position 3: COL, knit 2 rows, repeat 1-3 5 more times, creating a total of 5 wrapped loops, ending COL
4: COL, put the needle storing the wrapped threads into work, and knit this stitch by hand twice, leave it in work
5: push the adjacent needle to its left into work, the needle on its right out to hold, knit one row, ending COL
Repeat steps 2-5The fabric shares knitting sequences with the first 2 samples Here a similar technique is used for a trim, both sides are shown  trying to imagine the process in chart format 

Online inspiration:
a youtube shawl
techniques that use holding while moving across the needle bed in a similar manner, though not necessarily producing “crochet-like” fabrics: https://www.youtube.com/watch?v=XR_7Ys9KIaU&t=4s
http://postila.ru/post/29275341

A follow-up post with more fabrics inspired by the Knittax pattern book

“Crochet” meets machine knitting techniques: tuck lace trims and fabrics 1

Any discussion of crochet like fabrics on home knitting machines, whether single or double bed, invariably lead to looking at gathered loops, whether created as a hand technique using holding or automated by using the tuck setting. The function of the card remains the same when cam buttons are engaged, regardless of whether knitting single or double bed. In Brother machines punched holes result in needles being selected to D position (brother has no C), those needles will knit (second color in FI, thin yarn in thread lace / B feeder). Unpunched areas remain in B position, and will tuck or slip, (color 1/A feeder FI, both yarns together in thread lace) based on cam settings. Another Brother feature is that the needle tape to help with markings for stitch counts, pattern repeats, etc. centers between 2 # 1 needle positions. This can cause some confusion when translating patterns from other makers that rely on needle position numbers only for their directions.

I often use punchcard designs on my electronic machines after isolating the repeat, most often for the sake of speed and convenience. Swapping out the needle tape for the electronic with one for a punchcard machine makes identifying and placing repeats easier. In Brother punchcard machines tapes the heavy solid line, followed by a thin line on alternate sides, reflects each 24 stitch repeat. Repeats on these KMs are fixed, there is no option for altering the starting position. When using electronics in some patterns, aside from the added convenience of color-reverse for minimal “drawing”, it is helpful to know that the punchcard design reflects what happens on the purl side, so letters, etc are reversed on the knit side. As a result, when translating for electronics, some patterns may also require being flipped horizontally. Using the markings on needle tape is pointless if the tape is not properly centered. Check needle “bow” mark at 100 on the left side, the last needle on that side should rest directly in its center. As the retainer bar begins to loosen a bit from wear, the tape may start shifting position, and cello tape may be needed to anchor it in place

Marking colors have varied over the years

“Trims” can be any width, from narrow to wider bands. Punching cards is enough work so that it is worthwhile to get as many functions or fabrics out of each card as possible. Various software makes it easy to check repeat tiling, or simply scan/copy the card with black paper behind it, cut it up, and cello segments together to sort out needle placement. I chart mostly in Excel, old fashioned colored pencils, and graph paperwork just fine

self-drawn punchcard for Brotherside by side repeats in this instance, left side needs some adjustment

got a pre-punched card? tucks occurring for 3 rows for an all-over pattern,  or trim choosing a section of repeat Studio card (use appropriate starting row for the machine)same needle arrangement, tucks will now occur for 4 rows

Love your ribber? use any tuck lace appropriate card. Transfer any or all of the needles to be left in A position (OOW) on the main bed onto the ribber, and you will have a pattern combining knit and purl stitches. Use waste yarn, ravel cord, and ribber comb with weights through waste yarn. Cast ons and bind-offs may require planning and choice depending on yarn used and the number of rows tucking. These in turn result in a stretch in width and diminished length proportionately in the body of the finished fabric. After casting on and setting up both beds, set ribber on P (so needles on both beds are directly opposite each other) to center ribber created vertical columns between those on the opposite bed.

When more than one stitch tucks

A quick post to address another question:

Two cards that meet limitations on fabrics with side by side tuck stitches  when using Japanese machines

Side by side tuck loops create floats similar to those created by slip stitch; the yarn is held in the needles however, so they are longer than those in slip stitch, which are simply not worked and travel in front of gate pegs. In Brother KM, the non selected needles tuck

In the card above left, after tucking for 2 rows, the needles are all selected forward in order to knit across the next whole row (every square punched). This is the result as needles come forward, illustrating some of the potential problems and limitations with wider or longer “tucks”

fabric 1fabric 2

“Crochet” meets machine knitting techniques: working with “chains”

There are a group of single-bed braids/edgings following horizontal chains produced on the knitting machine that has reminded me of crochet. They are based on frequent latch tool bind-offs that occur with the fabric facing either side as it is regularly removed from the knitting machine. The bind-offs by necessity will move in either or both directions, since a continuous yarn strand may be used unless one chooses to change colors. The bound-off edge is rehung and worked further. It is a great way to get proficient at the technique or to get some use from that linker that has been in storage (providing a loose enough tension producing big enough stitches for it to work smoothly may be used). For the purposes of this discussion, this illustration of a crochet chain shows places where the hook might be inserted and exit before picking up yarn to create the next stitch with a hook. I think of the rear and front loops illustrated as creating a “chain”, and the one in the rear as a “bump”.

Below I have used an acrylic yarn that tests the 4.5 mm machine’s limit at the loosest possible tension. In crochet cast on, the “bump” is sitting on top of the needles, the “chain” below them

parts of the cast-on structure taken off the machine: the “bump”  “rear loop” “front loop” “both loops”

most of these fabrics start with latch tool cast on the required number of stitches for chain +1 knit one row, bind off remove work from the machine, do not cut yarn 

options for picking up and rehanging stitches: the front loop of “chain” back loop of “chain” both loops of “chain” roll work toward you to reach rear “bump” work turned over, rear “bump” rear loop of “chain” as shown in top front loop of “chain” with the rear of the fabric facing you 

To keep the number of stitches constant for a straight edge on both sides of the piece, the loop at the end gets its own needle. A sample was created picking up the rear loop only, without turning the work over at any time. View of side 1 and loop consistently worked. Note the slight bias in fabric, due to its being worked always in the same direction. Turning the work over would eliminate the problem, in a similar way as transferring eyelets in opposite directions achieves that in lace.

its reverse side 

Such trims may be used for no roll edges anywhere on a garment. The number of stitches may be decreased following shaping ie in necklines. Starting with waste yarn, ravel cord, and a chain cast-on row, one can produce stand-alone trims. The look as always varies considerably with the fiber used and its bulk. Other variations and tips:

  • knit more than one row between bind-offs (2 or 3) at maximum tension, the chained row will roll slightly, giving a different look; removing the work from the machine and turning it over before binding off, will get the chain to roll to the opposite side
  • keep the number of needles in use constant for straight edges, and use math to calculate episodic count adjustments such as decreases if needed
  • reverse side is usually the one facing away from the knitter. That is a consideration in planning the look of the trims, depending on whether the body of the piece is to use the purl or knit side as the “public” one.
  • in Brother machines holding position is E (they skipped C), and in Studio machines it is D. To ensure stitches’ knitting off properly, work may be brought to this position after each knit row
  • textures are further varied by using needles out of work or transfers within knit rows or rehanging concave or concave loops in varied sequences. Looking at stitch formation after 3 knit rows

Convex loops are what is picked up when hanging a hem or turning the work over. In sampling, I tend to use any yarn at hand. Quality of material directly relates, however, to the quality of results. The white here is a 2/15 acrylic, and the blue is a 4-ply wool. I knit a long white strip, making a side available for rehanging on the machine, and continuing with a series of trial trims. All samples were made with the purl side facing, but depending on preference and end-use, the fabric could be returned to the machine with the knit side facing as well. It is helpful to have a neat selvage. If the edge includes increases or decreases making them fully fashioned will provide one. Yarns with “memory” ie wool will retain the rolling effect produced by extra knit rows. Stitches are picked up on the finished knit a full stitch away from the edge. I tend to keep my yarn continuous rather than binding-off with separate threads. Pull a long loop out at the carriage side, avoiding tugging and distorting of end stitches when lifting them off the gate pegs in order to rehang them on needles after turning the work over. Adjust loop size prior to knitting the next row. Hang it on the first stitch on that side, or on the adjacent empty needle if you find you are a single stitch short (machine knitting magic)

Trim 1: stitches rehung on the machine   all needles brought out to hold position knit 2 rows latch tool bind off (LTBO)

Remove work from the machine, turn the work over (in this case the knit side was now facing me), pick up concave loops and rehang on km, keeping track of stitch count. Bring needles out to hold, making certain each needle has a stitch on it

knit 2 rows, LTBOI steamed swatch, some roll lost because of fiber used 

Trim 2: hang stitches on every other needle, knit with thicker yarn 
bring needles out to hold, check stitches, knit 2 rowsLTBO
turn work over, rehang EON (every other needle) knit 1 rowLTBO, lift off

proceed as above, except after first hanging stitches on EON, bring all the empty needles out to work, check stitches knit 2 rows on every needle LTBO, lift off loop that gets picked up and rehung with work turned over, rehang stitches EON bring all needles out to hold, check stitches, knit 2 rows LTBO, lift off

Trim 3: stitches on EON, introducing tuck loops knit multiple rows hook ladders up on empty needles bring all the needles out to hold, checking stitches LTBO, lifting the piece off the machine, turning work over picking up grouped loops placing them on EONknit 2 rowsLTBO, lift off


Linker manuals: Studio , Brother 

A no longer “mystery pattern”

A Ravelry post shared a Knittax pattern for this stitch and was followed up by my first, untested interpretation of the repeat here the center stitch selection in the center of knit blocks is eliminated partial repeat for punchcards electronic repeat X 2reviewing the idea after a few days I realized the repeat should be edited; orange squares need to be knit stitches  Slip <-> creates floats to be hung on center non selected needles of blocks of 5. Before the next row is knit, bring that needle out to hold to insure groups of loops in the needle hook will knit off with the next carriage pass.

When I sampled this repeat, I decided three all knit rows between loops were too many, and this became my final repeat, tiled X 4 (suitable for punchcard)multiple tuck loops, side by side do not even stay in the hooks slip stitch sample, purl side a bit closer,  knit side

Knitting in pattern with 2 carriages vs color changer, Brother punchcard KMs 2

After my recent attempt to resurrect my single bed color changer and frustration with my 910 behaving “flaky” when reading mylar sheets drawn using template marking pencils (perhaps, because over time of some of the marks flaking off the surface of the mylar, with changes their density as a result), I went back to the idea of using my punchcard machine. I pulled out an old friend, illustrated in my post 2012/10/15/mosaics-and-mazes-from-design-to-pattern/ , had forgotten about my other post 2016/08/25/knitting-in-pattern-with-2-carriages-brother-punchcard-kms/ and actually came up with a second alternative for starting to knit with 2 carriages. Here is a bit more description: I began with a card punched with repeats that are single rows in height, and would normally have to be elongated for use with a color changer. Since 2 carriages are used, the starting side does not necessarily matter. With COR, color 1, carriage set to KC, card set on row 1 but not locked, but rather, set to advance normally. The first carriage then is moved to the opposite side of the bed (in this case the left). The second carriage is now placed on the extension rail on the right, cam settings set for the choice stitch to be worked (in this first case tuck or slip). It is threaded with the second color, is used to knit 2 rows of col 2, returns to right. The carriage on the left now comes off the rail on that side and onto the needle bed, with cam buttons set for appropriate stitch type, it travels to the right,  and then back to its starting point. Yarn weight alters the appearance of any fabric considerably. As always, slip is short and thin, tuck short and wide.

The same method may be used with any punchcard requiring color changes every X even number of rows. FI can be knit with 2 separate sets of colors in each carriage, or with one carriage set to select but with no cam buttons engaged for solid color stripes between motif repeats (it will plain knit, with color in A feeder, the card keeps advancing). Cam settings may be combined for different or opposing textures or stitch types without any manual changes to cam buttons. Of course, also helps if your punchcard is punched correctly to start with ;-). Problems in the slip stitch red and white segment were due to tension adjustments being needed for stitches to knit off properly. 

Lastly, there has never been a single bed 2 color changer for the 260 bulky. Extension rails for the bulky machine were manufactured at one point. If a second carriage for the bulky is available as well as the rails, working this way opens up a range of complex fabrics for execution more easily.

And then, buyer beware! I am still experimenting with a patterned ruffle. So I tried the card first with 2 carriages, but the design was different than one of my aged swatches using the same card.

I went back to the color changer, assuming this yarn pair might work in it, and it did, but here is the resulting fabric, so it would appear the above is technically twice as long. Frankly, when the color changer works, when only one carriage cam setting is used or very few changes are needed, and if you don’t do things like pushing the wrong button, have your yarns happily mating or causing loops in all your brushes as they travel from the yarn changer side, it may even be quicker than using 2 carriages. What is possible may not produce what you originally intended, but sometimes the surprise can be a very pleasant one. If not, then it’s back to the drawing board to accommodate the techniques and yarns involved. Pictured below is part of the working repeat, whited out areas are not punched for these swatches, they are covered with cellophane. Denise Musk’s book on the technique of slipstitch provided the source/ inspiration for the experiments. For the second swatch, the card was flipped over vertically. 

Areas of the knit placement on THE needle bed may be changed to suit. I like working within the 24 stitch marking on the needle tape for this sort of work. Flipping the card vertically when using the color changer in this instance will allow that, and begins each row with knit stitches (every hole punched on right in the image above), and patterned knitting and needle selection stops shy of the “slipped” stitches (unpunched areas on left). In using the slipstitch setting this may not make a significant difference since the yarn threads stay in front of the gate pegs. This repeat is also suitable for the tuck setting. The yarn gets laid in hooks as the non punched area of the repeat is cleared. While not knitting or necessarily affecting the pattern, this can cause added issues with loops and yarn tangles on that side (one may be noted in photo of purl side of swatch below). Seam-as-you-knit can also now occur on the opposite side, away from yarn ends and color changer.

Purl side showing loop at non-knitting (or punched) side and edge curl on the left may actually be used as a “design feature”. The density of the tuck stitch helps keep it in place.

the knit side 

an “oldie” of mine, using the technique in a single color 

4/6/17 I am getting along better with the color changer by making different yarn choices, so I now have a WIP, and am going about a shawl design backward: ruffle first, body later. Reasoning: seam-as-you-knit should be easier if not taking place during ruffle knitting. If the latter is not bound off it may be continued with body knitting taken off on scrap yarn if needed to facilitate doing so. BTW, as with all knitting that uses patterning on only part of the knitting on the machine, end needle selection must be canceled on the knitting undercarriage. Any reverse movement of the carriage will advance the card for a pattern row, so that is an added possibility for errors as the knit grows in length. The pattern has 18-row segments, 36 for the full repeat. For 36 passes of the carriage, only 8 full rows of knitting take place. Every individual has their own design process. I tend not to sketch, but rather to make decisions as each piece grows. As for some math? 800 rows would actually take 3600 passes of the carriage, the shawl requirements TBD. (3276 on completion).

A previous post with notes on color changers: https://alessandrina.com/2014/01/26/some-notes-on-machine-knitting-color-changers/

Older model machines had no provision for a second yarn mast, and an accessory was available for mounting on their left side. Having the yarn in that position brings it closer to the changer and seems to help with undesired looping and sliding within the changer’s wheels. This shows the carriage traveling toward the extension rail, with the auxiliary mast in place

If the ribber setting plate needs to be moved forward in order to balance your ribber when in use, setting it as close to the needle bed as possible or even removing it may be needed if it starts to catch and hold the yarn

 the “finished” ruffle; HK markers every 20 repeats to help track rows knit and being joined on with “seam as you knit” technique
the finished shawl after a successful truce with  my color changer 

going green the series grows 

A new “leaf” lace

I am often surprised when I return to visiting past ideas and discover how long I have actually been blogging.
My temporary obsession with lace leaves began in 2011.
In 2016 Vogue knitting published what appeared to me to be an interesting pattern for a leaf lace variant combining dropped stitches and lace transfers.
Below, I am sharing my WIP swatches and notes.
I am presently working on some production knitwear pieces, and it is unclear when I will return to more samples of this variant.
The “new leaf” requires hand techniques and working with multiple transfer tools.
Dropped stitches in hand knitting can translate to ladders in a machine knit.
My first trial swatch was made on the standard KM.  Casting off and on posed interesting questions. The lines where knit stitches meet ladders, as pointed out in previous posts, can result in the knit stitches aside the ladder growing in size

I do not enjoy time-consuming hand techniques on the machine, so to speed things up I moved on to the bulky. As with any other knitting, the lengthwise sides of the knit are going to want to curl to the purl side. I deliberately worked with acrylic yarn, anticipating that blocking it would be required to attempt to get the results to stay flat. Here is the resulting swatch, as first off the KM

after pressing with steam 

A couple of days later the fabric was still lying flat, so I decided to try to chart it out for slightly different results while planning for a different turning angle and a consistent number of ladders throughout.

I began to use Excel 2008 in 2009, as well as Apple’s Pages and sometimes Numbers over time to produce my charts and illustrations. I keep learning tiny bits as time goes on. Some features may disappear in such programs or become added with upgrades. These are settings I prefer for backgrounds and borders in Excel

format

and for screen grabs or improved visibility, zoom comes in handy 

For links to some online tutorial by other authors https://alessandrina.com/2013/10/29/charting-knits-in-excel/, a search in my own blog will lead you to my own explorations over time. Simple graph paper and color pencils may be used if the software is not available to help work out proper repeats, etc. A single repeat of my leaves so far is shown in 2 segments for increased visibility, successful knitting, probably in another “killable yarn” tbd.

A shawl tale 2

My “spider web” shawl has been a popular production for sale item for me for a very long time. From time to time the line was joined by chenille and felted ones with variations in shape

wool rayon

felted wool
chenille 

Most of my chenille inventory traveled with me to my new residence. The yarn has some challenges in knitting and handling, which may relate to the core content holding the fibers in place, and its twist. Lace holes may disappear with blocking, fibers shed sporadically with washing, and so on. Quality and behavior are not necessarily pricing or source dependent. Swatching is always worth it. As I work on new ideas, I occasionally decide to “wing it”. I prefer shawls that work with a bit of neck shaping rather than simple triangles. So I thought: Faroese style shawl, 2 triangles, and a shape with a bit of holding at the center, just “knit it”. The first triangle knit was the striped section, shaped with increases from 3 stitches to the desired width. The wedge section had interesting issues with biasing, even with blocking. The solid green triangle, shaped with decreases actually knit to a size different enough so it had to be unraveled and re-knit. There are many hand knitting patterns published that offer directions for “asymmetrical” shawls, which use such differences as design features, and that certainly can be an option in machine knitting as well. Calling the item a shawlette or scarf also discounts many issues. That said, I got this sort of shape and wanted this, with close to equal shaping on  either side of the center wedge

The original idea had been to create a ruffled edging with color patterning using the slip setting, automating needle selection, pattern, and shape. Brother has imo created the worst single bed color changer on the market. It is the only one I know of where the yarn does not leave the changer and in turn travel with the knit carriage sinker plate. The chenille yarns simply did not clear it properly for me, sticking together, and looping far too easily (though smooth yarns had no issues). So then my 910 got set up, and I thought to try knitting with 2 carriages. For the pattern I wanted to create even this involved issues with carrying yarn up the design stripes, and after trying slip and FI patterning I gave up and went for the KISS principle, returning to single color shaping using holding to create the ruffled edging.

the finished chenille shawl

purl side

Some of the steps I would do differently or add in future pieces:

1. definitely gauge swatch, perhaps even draft shapes on the knit leader and use it to guide triangle (or another shaping) for shawl segment

2. shape both large triangles with decreases, requiring one to be started on waste yarn (yellow line) and rehung prior to section knit in holding. Red arrows indicate the direction of knitting for each piece

3. yarn markers every X # of rows along the outer edge of shawl or on inner ruffle edge if it is knit separately, may be helpful both for seam as you knit, or later for joining the ruffle by hand

4. if the color changer is required, try to use the double color changer, with knitting weighted as for rib (this is a very viable option for frequent color changes on the bulky machine). Drawback here is the pattern is no longer immediately visible, so any errors or dropped stitches may be missed in time for immediate repair.

…………….

 

 

Return to circles, knit “pies”, miters and spirals 4

I  have gotten used to seeing charts for crochet in the round, and prefer charts to written instructions in knitting as well. My hand knitting has usually been project-oriented in terms of experimentation or exploration. Reviewing the information provided by both Zimmermann and Thomas in their early publications has led me to new appreciation and admiration for their efforts and for the knowledge made available to their readers, and not just in their time.

Looking at the additional medallions by Mary Thomas, I thought I would play with attempting to illustrate them, some in rounds rather than individual wedges lining up flat with blank or grayed out squares between them. The first example is my imagined square medallion (straight, geometric), p. 239 in my Dover edition 1972, and created in Excel. The work is begun on 8 stitches, divided evenly among 4 needles, knitting with a fifth. The cast-on is equal to double the number of sides of the square geometric shape, 4. A hexagon would begin with 12 (6X2), an octagon with 16 (8X2). In this instance, the increases are arranged at the beginning and end of stitches on every needle.  When compiling information on machine knitting, I generally swatch to proof ideas. I am not planning on making accompanying samples or swatches for these.

I knit primarily on the machine and prefer hand knitting on long straight needles as opposed to rounds, so I find myself often referring to counts as rows rather than rounds. For square medallions cast on 8 stitches, divided into 4 needles, knitting with a fifth. In all patterns after the cast-on row is divided, the first round is knit in the back of all stitches to flatten them. Stitch counts after increases sorted high to low is helpful when knitting from the outside edge in, and in that instance they become decreases. For the square medallions, they are shown in that order, with counts for many more rounds than those in the illustrations. Beginning with the pentagon, they reflect stitch counts from the start of each segment shown.
The windmill medallion (square, p. 240) instructions given: beginning on round 6 “M1 into the second stitch from the beginning and the third stitch from the end of each needle. Continue thus on all even rounds”

The maltese cross medallion (square, p. 240) lines up the side of the M1 increase, in the center of each wedge. Increases are grouped together at the center of each of 4 needles in use may also be grouped on either side of 2 center stitches they may also be grouped on either side of 2 center stitches In a square medallion (bias, swirl, pp. 241-242) increases are placed on only one side, at the beginning of each wedge. Yarn overs are used to create eyelets for more ease when attempting to keep the square flat, and the increase round is to be repeated: “as required”. If double yarn overs are used, drop the second yarn over on the next round. They are made before the stitch. Single increases are to be made each round. Here are the wedge shapes side by side around a center core For a pentagonal medallion (pp. 242-43) cast on 10 stitches divided evenly, or as the number of segments increase, work 2 sections or more on any one needle. For the swirl double yarn overs may be needed to keep the work flat. Thinner yarns may require additional knit rows between increases. Stitch counts For hexagonal medallions (p. 243) cast on 12  stitches, two sections are placed on each of three needles, knitting is done with a fourth. Each increase round will add 12 stitches; 2 or possibly even 3 rounds may be needed between each increase row to keep the shape flat. STS column reflects their number after increases have been made 
The hexagonal medallion swirl (p. 243) is shown using both M1 and YO increases. Here the rate of increase in rounds is slower than above (2 per needle as opposed to 4), so increase rounds are separated by only one row of  knit stitches The octagonal medallions (pp.244-245) are cast on 16 stitches, divided into 4 needles, and knit with a fifth. To make a smaller center hole, 8 stitches may be cast on, doubled on the next round, and then divided. The first geometric medallion shows increases (4 per segment, 16 per round) in single rounds, requiring several knitting rounds between the increases. The second medallion uses more frequently (2 per segment, 8 per round), so single all knit rows separate roundsFor the octagonal medallion swirl  (p.245) directions are the same as for the hexagonal one, with a 4th segment providing extra sides If the perimeter or circumference of the shape to be knit are known, the process may be reversed from the edge in, with decreases replacing increases. The advantage of working from the center out is that adjustments i.e. extra knit rows between increases, changing increases to yarn over(s) for added ease or decoration, etc. may be made far more easily as the work grows. Considerations should be given to leans of M1 stitches so they point in opposite directions on alternating sides. Motif and pattern placement can only be planned after these building units have been sorted out.

 

Return to circles, knit “pies” 3

Elizabeth Zimmermann provided guidelines for circular shawls in her books and publications, including “Knitting Workshop”. For a basic pi shawl (p. 112, Schoolhouse Press, 1984) the assumption is that each section is twice as deep as the previous section and has twice as many stitches. Below CO row represents cast on stitches if the work is to begin from the center out, Column A the row count on which the increases take place, column B the number of rows knit just prior to the increase row (A-1), and C the number of rows available for any planned repeat (A-2), these are constants. The columns directly below each cast on (CO) number (orange) counts represent the number of stitches when increases are complete. The stitch count doubles when the number of rounds has doubled. Mary Thomas’s Book of Knitting Patterns, Dover 1972, p.p. 245-247 provides guidelines for circular medallions. She calls her first a “disc” medallion. In executing it the aim is to scatter increases so they are less visible and do not form spokes. Four stitches are cast on, with 4 stitches increased in the total count every other row. The number of stitches between M1s increases by one on every other row. My chart happens to read from left to right. As with any knitting in the round, the process may be reversed, starting at the circumference and moving toward the center. I personally like charts to help visualize results, and have revised her counts in the illustration below so increases are at the same rate but placed a bit differently within the rows. On rows with even numbers between decreases, start row with half that number of knit stitches before the first increase. Because one is knitting in the round, with knit side facing, all rows are knit. If the work were knit on 2 needles, knitting every row would produce a garter stitch. what happens if increases “line up” For her circular “radiant” medallion after the first 2 rows increases are made every 4th round. My chart is renumbered excluding the first 2 rows, so the increase rounds would occur on numbers divisible by 4, making it easier for tracking them. Each “building” round increases the number of stitches by 16.

In her “target” circular medallion, the building increases are arranged in concentric circles. Each increase row begins with a M1. Once RC 20 is reached, a stitch is added between increases on each increase round. This chart reflects the knitting progress, but not the shape. STS column on right reflects the total number of stitches after increases have been made. Each building round after RC 6 increases the count by 32. Formulas for more, varied geometry-based medallions are also offered in the book.  I finally “discovered” actually using formulas in Excel! The video that clearly and quickly helped me learn how to: https://www.youtube.com/watch?v=QFVkSnGgZZclooking at the flow in table form for the first 2 medallions

These formulas do not take into account changes in gauge or stitch type within bands. For similar shapes to be achieved in machine knitting, the number of transfers would be prohibitive. In order to achieve similar shapes, one begins with the radius of the finished circle and the shapes in the family may be knit sideways, using holding.

Hand knitters can work with 4 double-pointed needles, one or 2 (or more) circular needles, and crocheters can follow similar shaping methods. The advantage to long circulars is less bunching up as the work grows, and if you like working flat or want to try the garment on while shaping it, you can use more than one long needle, making the piece or the try on manageable. Working from the top down when knitting such shapes may give one more control over the size of the finished piece i.e. on length of body and sleeves, height between bands, extending a yoke into a shoulderette or cape. Stitch pattern size and repeats add to the math calculations. Garter stitch is the only hand knit stitch that approaches a square gauge, could be used in combination with patterned bands.

The charted patterns above rely on M1 to increases. Yarn overs may be used for decorative holes at increase points. If preferred, the hole may be diminished by twisting the stitch when picking it up on the next round.

When knitting in stripes, the “jog” at the color change in knitting can be eliminated by slipping the old color purl-wise and starting to knit the second stitch. TECHknitting provides more alternatives in her posts: http://techknitting.blogspot.com/2007/01/jogless-stripes.html
http://techknitting.blogspot.com/2011/03/jogless-stripes-pretty-picture-version.html. For a method using yarn ends and a needle when the yarn is cut http://imgur.com/a/NREsH.

For shawl shapes and their geometry using YO increases, see the posts and publications by Holly Chayes.

To start it all from the center out: I am used to doing the magic loop cast on with a crochet hook, and then moving on from there, Kitty Falol shows it worked with DPNs.