alessandrina.com – Page 27 – machine knitting and more

Single bed slits aka horizontal “button holes”

Related blog posts:
2022 More buttonholes and slits with illustrations including ribber variations.
I have previously shared posts exploring assorted meshes including some with large eyelets.
The formation of eyelets is sometimes offered as a buttonhole option in publications, a review of the stitch movements involved and the associated symbols: The first knit row will form a loop on the empty needle, while the second row knit with the next carriage pass completes the stitch
A larger eyelet, with directions found in most manuals, is not really the best option if used as a buttonhole. That said, these 2 methods render round, clean-edge larger eyelets This version is from the Brother Knitting Techniques Book, begins to address wider openings in knits

Many hand-knitting patterns are published, often in garter stitch, using slits that one may think of as larger “buttonholes” to create a range of interesting fabrics. Trying to produce such slits single bed, without the use of additional strands of yarn and in turn, having yarn ends to weave in, leaves few options.
This method may also be used when creating multiple slits across a row. Holding is used to break the knitting into segments. The drawn illustrations show steps are taken, not needle positions.
COR, for the bottom of the slit:
1. transfer the first stitch in the buttonhole group onto the adjacent needle to its right 2. transfer the pair of stitches together onto the now empty needle to their left. The knit carriage, holding the yarn, will be on the right3. push the needle forward until the first stitch (green) passes over the needle’s latch 4. push the needle back to the work position5. the forward stitch (red) is now knit through the one behind the latch This essentially binds off a stitch.
Repeat steps 1-5 until the number of bound-off stitches required is met; the last stitch in the group is then transferred onto the adjacent needle to its left. The bottom edge of the “buttonhole” is now complete. To make the top edge of the buttonhole/ slit bring its corresponding needles out to hold, and cast on the desired number of stitches with the latch tool from right to left. In order to best accomplish this with COR set KM for holding, push empty needles back to A position, knit up to now empty “buttonhole” needles bring empty needles out to hold insert latch hook from back to front through below the last stitch now knit on the right twist tool clockwise bring empty needles out to hold come up between the first 2 needles on the group’s right continue with latch tool bind off, the last loop in the chain is hung on needle already holding 2 stitches from the last bind off transfer tighten up the loop
return “buttonhole” stitches into needle hooks, back to B position
COL: set KM to slip in both directions and move to right COR: cancel holding, adjust tension, knit across remaining stitches to LCOL: cancel slip <–>, continue knitting This version is from an ancient Brother manual, always test techniques on swatches using the yarns intended for the final piece

A hand-knit response to a Pinterest request: variations in rib with holes

Thread Lace on Brother KM

This post originally did not offer repeats for the design, they are presented here in a 2024 review of content.

Thread lace has also been called punch lace over the years. The “lace holes” are formed by knitting a fine thread with a significantly thicker yarn as the “second color”. When the fine yarn knits (B), a larger stitch in it alone is formed, with the thicker yarn floating behind it. The thicker yarn goes in Brother’s A feeder, the thinner in B. In FI patterning, the unpunched holes/ blank squares/ no pixels are knit in the yarn in feeder A, and punched holes/ black squares/ pixels are knit in B feeder yarn. In thread lace both yarns knit the unselected needles, corresponding to blanks in the card or blank squares/ unmarked pixels. The tension may need to be adjusted due to this fact.
Test swatches for tolerance to pressing/ steaming to make certain the final garment will bear blocking and cleaning. I had a sweater front finished using an industry “clear” thread, thankfully tried to iron it before finishing starting other pieces, and discovered a lovely melting quality to the clear “thread”. In theory, clear serger thread should be safe to use, there are 2 easily available manufacturers. YLI brand (nylon) is stocked at most chain stores that carry sewing supplies. One “light / clear” is “whiter” than others; there is a “smoke” version as well, sold on cones. Both produce a bit of a sheen on the surface of the knit fabric. Sulky (polyester) clear is sold on spools and is superior for sewing pieces together, zippers, etc with no “sharp” when the cut ends poking at the skin, but at a different price point and quantity.
This was my garment’s test swatch, the black is a wool rayon yarn.punchcard repeat:the associated 24X72 png The fabric is much quicker to produce than traditional transfer lace.
Cards can easily be drawn by filling in solid shapes over a mesh ie the repeat seen in the 1X1 card.
Double length may produce an interesting fabric as well.
End needle selection needs to be canceled. If end needles are selected because of the pattern repeat, push those needles back to the B position manually before knitting the next row. The latter step ensures that both yarns will knit together. On electronic models one can program the number of repeats planned and add blank rows on either side of the repeat prior to downloading for all knit borders on both sides of the piece.
Either side may be used as the “public side”, depending on personal preference. The thread lace option is also available in the 260 bulky machines. Here a very thin acrylic was used as the “thin” at the start of the swatch, monofilament for the remainder (bulky KM) punchcard: 24X54 png A floral repeat card

the 24X80 png The thin rayon is noticed especially over a dark ground in the finished piece, not as much as in this view. The fabric will lie flat when pressed, here it was steamed lightly A closer look The old sample, knit with monofilament as color 2, the repeat is suitable only for an electronic, even if only half is used Uncertain as to the repeat in the present time, here it is reconstructed to a 52X48 png. A new proof of concept swatch, knit in rayon yarn and a shiny sewing cotton Taking it to a garment (standard KM): color 1 = wool/rayon blend, color 2 = sewing thread. Note the difference in color where there is no needle selection for pattern, and how one color is more prominent on one side than the other. Sometimes the latter may be used to advantage when the goal is a plaited fabric, but no plaiting feeder is available. Simply program in a blank row, and position threads using the thread lace setting to produce the knit.The card: the 24X56 png some needle selection was eliminated in the knit piece to allow for a transition to the new, smaller design repeat The chart for the small repeat used in the upper body A larger, electronic repeat found on an ancient 560 mylar of mine to play with
32X40 32X80
64X40 I knit on a 910 electronic, with no option for such fabrics built into the knit carriage. I was able, however, to modify and use my punchcard carriage with the intent of producing yet another “unconventional”, ribbed fabric. Added tips: the tension dial usually ends to be a bit tighter than stocking stitch. The fabric produced is also thinner and shorter than stocking stitch, as is fair isle. The finished fabric tends to elongate with rest after blocking.
The setting may be used instead of plating. A plated, solid fabric is produced by non-selected needles. The thread lace thread tends to appear on the knit side, as opposed to the plating yarn, which appears on the purl side. The color mix may appear less even than in traditional plating. Simply lock the card or needle selection on an all “blank” row.
If the “lace” thread is too thick or too contrasting in color, the eyelet pattern may be lost.
Simple geometric shapes are best.
Some knit weaving patterns may also work well.
In terms of altering the repeats using the buttons on the electronic models, double length or sometimes double wide as well as vertical mirroring may produce interesting results.
Sewing or serger threads may serve as the thin yarn and match yarn color well if that is desired. A sort of “sock” may help with more even feeding, the mesh used here was from a florist, netting from supermarket products ie unusual fruit can come in handy as well On the select/memorize row both yarns are fed into the same feeder (A) as the thick yarn, and the “lace” yarn is then removed and placed in the second feeder (B).
An option for drawing your own patterns: shapes can be superimposed on mesh designs as described in “filet crochet” posts, with no elongation of the motif.
A sample of a floral on a transfer lace mesh, one of my one-off scarves from eons ago Punchcard machine owners may use tape over sections of card number 2, or card 1 which in turn gives the option of testing the design elongation X 2 for both eyelets and motif as well. The tape may be moved to suit, and once the pattern is satisfactory, the final pattern design card may be punched.
Both Brother and Studio offer the cards in their standard punchcard assortment with the purchase of respective machines. A later blog post on the topic with additional information on yarn placement, settings, and more: 2019/02/25/tuck-stitch-meets-thread-lace-repeats-and-vice-versa/

Knitting in pattern with 2 carriages, Brother punchcard KMs 1

I touched on knitting with 2 carriages in some previous posts:
2011/03/30/knitting-with-2-carriages/
2011/03/29/lace-meets-hold-and-goes-round/
2015/03/31/combining-tuck-stitches-with-lace-2-automating-them/

If 2 carriages are in use for patterning extension rails are a must. For this discussion we are excluding the lace carriage as the #2, the intent is to use 2 knit carriages with each set to desired cam functions. As one carriage is put to rest and the other one is set to move from the opposite side, the card does not advance, so the last row selected is repeated one more time. In one of those lightbulb moments today (any excuse not to do laundry) it occurred to me that starting out with an odd number repeat pre-punched card, coming from the opposite direction at the end of each odd row repeat, an even-numbered repeat would actually be knit. The card below is a Brother issue with all standard knitting machines. Card number (2 in this instance) may vary, depending on the year of purchase. Color changes here as well would have to be planned for every even number of rows, so respective carriages can travel to and from each side.

The swatch below begins with locked selection row on punchcard row marked #1 (standard location); tuck setting is used in first 2 segments, FI on third; pattern produced is “OK”, but not actually tucking for 4 consecutive rows; note how much narrower FI is than tuck. Tuck tends to be short and fat, slip and fair isle short and skinny when compared to plain knit in same yarns

Since Brother preselects for the next row of knitting, setting the first selection row one locked below the usual spot on in this case #48 got me what I wanted, each color now tucking for 4 rows

Then something a bit more exciting occurred to me; one is an odd number, so any card where single rows are punched could be executed in theory, changing color every 2 rows (remembering to start with first selection row one row below # 1-row mark on the card). This sample was knit with 2 carriages, using a maze card, illustrated in a previous post, in which each row had been punched only one time, requiring for the repeat to be elongated X2

the image from the previous post

Using 2 carriages allows for combining yarns using different tensions, cam settings, fiber content, or sometimes using materials that the single bed color changer is not “friendly” with. Also, there is no pushing the wrong button, causing errors in sequence, or dropped knitting if no yarn is picked up.

A punchcard carriage may be used on electronic machines. I work on a KH892, and a 910. The 910 is from a much earlier model year than the punchcard machine. The back rail for the KH to travel on, is a different shape, with slits as opposed to smooth, and a bit more raised. The electronic carriage set on KC locks on the belt and advances the card appropriately, but the fit is quite snug, making it hard to push, while the 892 behaved well on the 910. If borrowing carriages and sinker plates from different model years or one type of machine to use on another, proceed with caution and listen to your machine. Sometimes the span of time between model issues is irrelevant, even if model years are only a year apart, and the swap is not the best for successful knitting, may “work” in one direction, but not as well in the other.

sample back rails: 910 892

Dec 7, 2018 Knitting studio simple lace with 2 lace carriages transferring stitches

A bit of holding 5: intarsia and more 2

So you have some shapes you love and know: wanting to go large, mixing them up, requires thinking things through. Testing on small swatches will help determine holding sequences and whether the results are predictable or even liked. I no longer have access to Adobe Photoshop or Illustrator, so some of my image editing is now achieved in Gimp. Labeling below is with Skitch, and charting is with Excel.

A starting freehand swatch experiment and some observations: shape variations in red areas occur by altering sequence for knitting first and last 2 shapes in the holding position

Planning possible sequences out in charting can be confusing. The image direction will be reversed on the knit side. Approaching the technique like intarsia with individual yarns or bobbins eliminates the need for some of the concerns where 2-row sequences or specific starting sides are necessary to keep yarns continuous or for the execution of the desired shape. Trying to imagine the shapes that create the larger one together in a simple 2D drawing can get one started, but then shapes need to be rearranged. I usually began by “playing”, trying to figure out steps needed, and follow that by trying to produce an executable chart. Making the process as easy as possible to track is always a consideration.

possible stitch counts and adding a center-line “stem”/ stripeits knitting sequence a resulting swatch, stitch counts not consistent with the chart

In the chart below the design is worked with 2 needles brought out to work or pushed back into work at any one time, making tracking changing numbers in hold unnecessary. Pink rows indicate starting and ending knit rows, orange “stitches” are cast on and bound off in turn, creating a shape extending out from the edge of the knit. Arrows indicate where shapes meet to create forms. knittable_marked

Holding sequence for each shape may be worked begin with carriage on either side; with experience, this may be planned at times to eliminate some of those cut yarn ends that later must be woven in. Getting back to arrows indicating carriage moves, using the center shape for illustration purposes and beginning with COR direction if beginning with COL, simply flip the image horizontally

600_078 The yarns used were “throw away acrylics” in white and red. The green is a rayon chenille, which required a looser tension, resulting in the other colors looser than I would want in a piece of the final fabric.
An idea for a larger image in the process of being editedA possible sequence in knitting if it is to be executed as shown. The arrow marks rows that knit all needles across the width of the piece. The piece segments are numbered to create a starting line for later joining.
If the goal is knitting as close to a flat circle as possible, eliminating rows will create a smaller center hole as well after the form is completed and seamed. Knitting segments 1-6 should be adequateLarger pieces ie shawls, adding knit rows without adding stitches can be done by altering #8, 1, 6, 7. The red line indicates changing angles. Blue and green lines below indicate increasing rows knit at the center of shapes as a result. Knitting and cast on sequences flow around left purl edge, straight or diagonal edges on a chart such as above may become foundation rows that are later seamed. Sort out your sequence and preferences on smaller swatches, keeping notes as you go. Additional shaping can happen along the edges of any plain knit rows between shapes by increasing or decreasing on either or both sides to create crescent shapes or triangle variants.

Now a quandary if gauge matters: knit stitches are not square. One option is to generate a grid appropriate graph paper. In holding sequences happen in 2-row sequences. Graph paper cells may be created at twice the height desired. Each rectangle will represent a single stitch, 2-row sequence. To create your own knitting graph paper in excel please see post as a place to start. A common knit ratio is 4W X 6H. An editable workbook in 2W X 6H ratio that takes into account the following outline in 2 row holding sequences: landscape2X6. Links for designing knit graph papers online:
http://www.tata-tatao.to/knit/matrix/e-index.html
http://www.theknittingsite.com/knitting-graph-paper/
http://sweaterscapes.com/lcharts3.htm
http://www.thedietdiary.com/knittingfiend/KnittersGraph.html
http://incompetech.com/graphpaper/asymmetric/

Using the 4X6 model reduced to 2X3 this is a sample generated using excel, with borders in a 2X6 ratio, so in execution, every single cell represents one stitch and 2 rows knit. The shape is one from the shape menu in the program, easily resized. The yellow bars show the gradations in holding. These cells are too small for adding text within the program itself. The math can be double-checked: there are 70 stitches, 34 rows in the rectangle at the center of the shape. Holding happens over 5 chart units (10 rows actual knitting) at the top and bottom of the center shape; 70/5 = 14 X5, matching the drawing The accompanying, editable workbook Excel 2008 landscape2X6

So the goal is a shawl or garment, graph paper is becoming impractical to follow? Time to pull out your knit leader. Draw out each wedge or piece full size, number segments breaking sections into knitting sequences, and let the KL guide you. For consistency, if the same shape is to be repeated many times and accuracy matters, it may be worth “air knitting” it while noting shaping as you go, keeping a row by row flow chart. An editable workbook to help track holding patterns, increases, decreases, etc. as a starting point for your own preferences: tracking knit.

Gauge or shape does not matter? time to scrumble it all and be surprised!

A bit of holding 4: intarsia and more

Picture knitting/intarsia may at times be achieved using holding techniques. As in any such knitting, supplies include extras such as bobbins, clothespins, or weighted clips, but no separate carriage. If the ribber is in use and one is working on a large piece, ribber covers allow the yarns to hang in front of the ribber bed.

Some of the rules for accomplishing this using short rows: it is helpful to work from a chart. Two-row sequences are required, so having the working chart double-length makes the process easier to visualize. “Follow” knitting directions with any tool to determine that the pattern is executable, with no long floats or slits.

The bottom of any diagonal line is always knit first.

Needles are brought out to hold on the carriage side, and pushed back into work opposite the carriage; one exception to this rule is if “automatic wrapping” is used. In the latter one, fewer needles are brought into hold than needed opposite the carriage, the row is knit, then with the carriage on the alternate side the first needle in hold next to stitches just knit is brought out to hold, resulting in a “wrap” and correcting the count to the desired number. Any number of needles may be pushed back into work at any time. More than single stitches brought to hold on the carriage side will produce floats.

When knitting shapes the only needles in work are those being worked to create that shape.

Base rows of knitting, whether in waste yarn or as part of the pattern, are needed prior to working in the holding position.

Remember that you are working on the purl side, so any image will be flipped horizontally on the knit side. Reverse the chart horizontally before working it if direction matters.

Begin with a simple shape. Letters indicate the knitting sequence for short-rowed sections. Patterning in these charts begins with COR, bold lines separate areas of plain knitting, letters indicate the order for executing short row segments. The fabric produced lies flat, with no noticeable 3D protrusions.

marking sequences with numbers is easier for me to follow; color changes help define segments, but do not reflect final colors in the design

a supermini swatch: holes are typical both in intarsia and in short rows if no wrapping occurs be prepared to weave in a lot of yarn ends going larger, note the wider “steps” created more complex geometry: line drawing on “graph paper”the start of color placement sequence for executing segments at the completion of the design in actual knitting the pattern must be elongated X2

I find it helpful to use familiar yarn and to work variations of a familiar shape prior to taking on more complex patterns. Below is a cousin of the first shape illustrated in this post, with a pattern worked beginning COL, repeated across the row, increments in the number of stitches worked in short rows but mirrored on both shape sides (shown in the first swatch segment).

filling in to produce a flat fabric, with straight sides: the bottom segment the top segment the amended chart

Some of the same shapes may be placed on a shaped edge. The repeat will likely need some editing; arrows indicate the direction of knitting for that row. If the background color is used for casting on and binding off, then the isolated shape floats on the ground, and the horizontal line of contrast color is eliminated.

creating an outline of shape with Color 1 horizontal rotation to achieve “leaf” shape melding shapes don’t like wrapping? for smaller holes offset the return to work position upper half of the shape by one less needle at the start, added at the end.
A first look at knitting direction and at stacking shapes, with bound-off stitches

combo_2935 The start of a smooth shaping sequence for those “leaf shapes” on the machine

The yarn used is acrylic, so pressing helps to make the shapes lie flat. Once again, using wool or any other yarn with “memory” will result in considerable curl at the side and at the top and bottom of the knit piece, so that is a consideration in putting in the effort. The more striping, the more yarn ends to weave in and row counts to watch. Using space-dyed or sock yarns may produce pleasing though unplanned stripe patterns in any of the shapes. My samples are not resolved final fabrics. There are many inspiring patterns available for purchase or at times free on the internet for hand knitting, usually in garter stitch as well as holding, resulting in a nearly square gauge, flat-lying knit.

Taking it to garments: accessories are easiest, since the gauge may not be significant. Shawl shapes in HK are often knit on circular needles, without the constraint of the fixed number of needles on any particular model KM. Sometimes, with adjustments, the same shapes may be rotated sideways on the KM. Segment sizes may differ due to the resulting change in gauge. Sampling techniques and shapes in smaller versions help work out the kinks.

Sources for inspiration: large-scale shapes

http://www.garnstudio.com/pattern.php?id=7365&cid=17
http://www.garnstudio.com/pattern.php?id=7543&cid=17
http://www.garnstudio.com/pattern.php?id=7375&cid=17
http://www.garnstudio.com/pattern.php?id=7099&cid=17
http://www.garnstudio.com/pattern.php?id=6729&cid=17
http://www.garnstudio.com/pattern.php?id=6333&cid=17
http://www.garnstudio.com/pattern.php?id=6001&cid=17

more details, varying concentration, and placement: free pattern
http://www.garnstudio.com/pattern.php?id=7606&cid=17

for purchase on Ravelry
http://www.ravelry.com/patterns/library/endless-rainbow
http://www.ravelry.com/patterns/library/rigoles
http://www.ravelry.com/patterns/library/dreambird-kal
http://www.ravelry.com/patterns/library/scarf-with-flames
http://www.ravelry.com/patterns/library/phoenix-wing—phoenix-flugel
http://www.ravelry.com/patterns/library/spring-plumage
http://www.ravelry.com/patterns/library/hundertwasser-neptunia
http://www.ravelry.com/patterns/library/swingtrelac

A bit of holding 3: shape variations and more

Hand-knit spiraling shawls and shawlettes often involve shaping on every row. Increasing essentially requires casting on one or more stitches. Below are cast on illustrations from varied sources I used in handouts in my intro to knitting classes

A simple decrease occurs when the last stitch on either side is transferred moving away from the carriage, the empty needle is placed out of work, and the row is knit.

This illustration shows a fully fashioned version, which gives an edge that makes seaming easier and more attractive, and eliminates the small bumps usually seen along decrease edges, the process adds to knitting time involved in finishing the piece. Decreases may be made on every row.

Simple increases: a factor that is often first noticed when approaching seaming is that the carriage side creates loops, while opposite the carriage one gets what looks like a knot, both alternate as starting position of the carriage swaps sides. To speed things up for single increases, one alternative is to bring an empty needle into work on the carriage side. This creates an elongated loop rather than a full stitch. Unless intended as a design feature, the edge is not the best one for seaming. A better-looking increase is created by putting a needle into work opposite the carriage. For a “good edge” two rows minimum of knitting need to occur prior to the next increase. Continuing on the thread begun in the last 2 posts, I experimented with every row increases and came up with what I consider a reasonable compromise. The method for increases on the right edge:
*COR: bring an empty needle into work on the carriage side, knit a row. Insert transfer tool into the loop created as shown, turn toward carriage (in this case clockwise), essentially creating an e wrap, hang on adjacent empty needle hook.

increase every row

COL knit to right*, repeat * *
In the previous 2 posts’ samples I did not wrap any needles. Wrapping in both directions can create an interesting line along the center of the “leaf” or “other” shapes, seen in the photo below

Interpreting hand knit patterns for use on the machine requires translations of some of the vocabulary and directions are given. If an edge stitch is made in garter or slip stitch variations, disregard and simply add it to the total number of stitches on the segment of the needle bed that is being worked on. Wrap and turn is executed by wrapping the yarn around the adjacent needle in hold prior to knitting back to the opposite side

2: knit <- 1: wrap COR 1: wrap COL 2: knit ->

pw2: picking up wraps and knitting them together happens when needles with wrapped loop and stitch behind it are brought back into work.
The terminology may vary in self-published patterns, some are accompanied by very good tutorials. Ravelry HK searches can provide inspiration for many holding technique variations. Other terms to look for in image and pattern searches include swing knitting, and on occasion, tapestry knitting.

A bit of holding 2 / moving shapes around

There are many handknit patterns floating around the internet, placing shapes similar to these, with many variations, along with a variety of locations in accessories and sweaters. The same shape discussed in the previous post is shown here placed near and then at the edge of the knit. There are many things to consider in addition to the choice of shape. In hand knitting these patterns are usually knit in garter stitch, a fabric that does a good job of lying flat when completed. Short rows are used in both hand and machine knitting; the Brother G carriage produces it “automatically”, but is not short row friendly. The more practical solution is to try a plain knit version. Edges of the knit are still going to curl toward the purls side. Some of this can be averted by using acrylic or other fiber yarn that responds to being “killed” with ironing/ steaming, and will lie as close to flat as possible after the fact. Section A shows the shape knit with no color change and close to the side of the knit, note the vertical edge remains fairly straight. In section B stitches were cast on, and at the end of the holding sequence all stitches are knit moving from right to left. An increase in the number of stitches cast on is now reflected in the total width of the fabric. The result of multiple repeats would appear as a sort of “ruffle”. In section C the same number of stitches are bound off as cast on. The bind off is critical for shape retention. I prefer a latch tool cast off for most knits, here I used the *transfer over one, knit one* method, note: the turning point sharpness is lost and the bound-off edge is very different from the cast on one. In this instance, because the number of stitches increased and decreased stitches are identical, if repeats were executed and no other increases were made anywhere, the width of the final piece would remain constant. If the goal was to achieve a triangular shape such as in a shawl, increases would have to be made along the edges of the plain knit sections, prior to the color change for section C. In testing repeats I do not wrap any needles. Evaluate whether the extra step is needed when swatching in your final yarn choice.

the swatch

planning the shapes, arrows indicate the direction of carriage moves

cast on stitches are knit as part of the last row

cast on stitches are bound off prior to last row

The last sample was also knit using the same yarn, followed by pressing. Again, I did not do any wrapping, and holes created along the edges of the holding sequences are more visible. The swatch was knit from the bottom edge up. The cast on used was a weaving cast on. Both the bottom and the top edges show some of the distortions in the knit caused by the extra rows of knitting that occur in the shapes. Striping is added to the now-familiar sequence, additional colors could be used, with shapes and stripes varied in the placement along with a wider, longer piece of knitting to create interesting repeats. The top shows the start of a larger shape that could be altered to resemble leaves, etc.

for a larger shape

for a striped surroundknit side purl side

A bit of holding 1

At a seminar during a visit to California in mid-April just prior to the joys of downsizing and moving I showed this swatch and was asked for instructions for duplicating it.

I have moved, and I finally have a machine set up to prove my ideas. The images below show plotting out repeats in excel odd number of rows knit between shapes

movements of carriage to create each shape If an even number of rows of color 1 is knit between shapes, the yarn is cut at the end of the holding sequence with color 2 (which is made up of an odd number of rows, begins on right, ends on left), a free pass is then made to return carriage to the right, there picking up color 1 for the plain knit sections. even rows between Some cut and paste following the direction of the arrows to work out knitting several shapes in any one row: in this instance the first row knit with color 2 is from left to right, as is the last row. Even-numbered rows in color 1 would start and end on the same side, COL. If changes of any 2 colors in any technique are for an even number of rows, yarn ends will occur on the same side. cut and paste My original sample was made knitting single shapes with an even number of knit rows between them. A reminder: Studio needle positions are A,B,C,D, Brother needle positions are A,B,D,E. Holding position for Studio = D, for Brother = E. Upper work position for Studio = C, for Brother = D. Settings for both are indicated below, for Studio, then (Brother)

color 1 cast on 60 stitches, knit 20 (or X) rows, end COR
first shape: COR color 2 knit one row, end COL
COL on the right, bring 27 stitches to hold D (E) position. The rule is usually to always wrap taking yarn around the first needle in hold D (E) position, then to knit one row. I found in my samples the holes created were so small they could hardly be seen, so I did not wrap.
COR on the left, bring 27 stitches to hold D (E) position (6 stitches now in work), knit one row
holding sequence for each “shape”
COL at right, push 2 needles to work position C (D), knit one row
COR at left push 2 needles to work position C (D), knit one row
COL at right, push 2 needles to work position C (D), knit one row
COR at left push 2 needles to work position C (D), knit one row
COL at right return 2 needles to hold D (E) position, knit one row
COR at left return 2 needles to hold D (E) position, knit one row
COL at right return 2 needles to hold D (E) position, knit one row
COR at left return 2 needles to hold D (E) position, knit one row
COL return needles to right of shape to work position C (D), knit one row
COR return needles to left of shape to work position C (D), knit one row
COL cut color 2, make free carriage pass carriage to the right
COR change to color 1, knit the desired number of rows (20) end COR
COR for the second shape with color 2 knit one row, end COL
COL at right bring 40 needles to hold D (E) position, knit one row
COR on the left, bring 14 stitches to hold D (E) position, knit one row
“Always wrap taking yarn around the first needle in D (E) position, knit one row”, repeat shaping as directed above
COR change color 1, knit the desired number of rows (20) end COR
for the third shape
COR with color 2 knit one row, end COL
COL at right bring 14 needles to hold D (E) position, knit one row
COR on the left, bring 40 stitches to hold D (E) position, knit one row
repeat shaping and /or wrapping as directed above
change to color 1, knit the desired number of rows (20), bind off

Charting shapes for automating short row knitting and programming

In machine knitting, stitches are usually brought out to hold opposite the carriage. If multiple stitches are brought out to hold on the carriage side, floats are created. Triangles stacked vertically as seen in the previous post will create a spiral curve along the line where stitches are held. The carriage needs to get to the opposite side and back after each ‘decrease’ or ‘increase’, so pairs of rows are used to execute and reverse angles in short row shaping. When multiple rows are knit independently from the rest of the knit, slits are created. In two-row sequences, these are generally similar to holes created in lace, in longer sequences much larger slits are produced. The latter are often used as planned design elements. The small holes being visible may not pose a problem for the knitter. If they do, wrapping the adjacent needles can help eliminate them, but the doubled yarn in the wrapped needle may create small, sometimes visible bumps on the knit side of the finished piece, creating a secondary pattern.

Reducing eyelet size: in traditional wrapping required needle(s) are brought out to hold, and the yarn is wrapped under and around the last needle in the hold position on the carriage side before knitting the next carriage pass

COR COL

The “automatic method” for wrapping

Decreasing: if COR (COL), 1 stitch to the hold position at a time, set the machine for holding. Bring one needle on the same side as the carriage into the hold position. Pass the carriage to the opposite side. COL (COR) repeat if shaping is 2-sided, or if shaping is only on the starting side, knit back to it, and with COR (COL) repeat process. Increasing single stitch: bring 1 needle always opposite the carriage into the work position.

Decreasing: more than 1 needle or stitch at a time: if COR (COL), place 1 fewer needle than required into hold on the opposite side as the carriage, knit 1 row to left (right), toward the needle in hold. When COL (COR), bring into hold the last, additional needle. COL (COR) repeat the directions if shaping is 2-sided, or if shaping is only on the starting side, knit back to it, and with COR (COL) continue decreases on the single, opposite side.

Increasing: to remove stitches from holding, COR (COL) place the desired number of needles into the working position on the side opposite the carriage, knit one row, repeat with COL (COR) if shaping is on both sides, or knit back to starting position COR (COL) and continue increases on the single, opposite side.

Charting out shapes knitting or programming stacked equal triangles/spirals: the wedge illustrated in the previous post “Air knitting” is often used to think out fabric issues before swatching using yarn. Drawing lines to follow the carriage movement direction required to keep the knitting continuous, whether on graph paper or within software programs can help sort out shapes that will work in short rowing. Holding needs to happen in 2-row sequences. Below, black lines and arrows indicate the direction of knitting for each row, in this instance beginning with COR. Blue = knit stitches, yellow = all knit rows at the completion of each wedge (2 or multiple of 2, depending on planned design). This repeat is suitable for knitting a continuous strip with ruffling/spiraling at various degrees, not for ‘pie’ shapes.

Working out the repeat: the red line represents the starting, selection (KC), knit row, the numbers at the bottom the width of the repeat, the numbers to the side its height. The first repeat A results in the fewest punched holes, drawn squares, or programmed pixels, requiring being knit double length. The remaining repeats (B, C) are drawn double length, standard card rotation is used. Eyelets form at the held edge. C takes automatic wrapping to decrease eyelet size at the held edge into account. When any sequences are programmed for knitting using slip stitch, the end needle selection is always canceled by using KCII or turning non-needle selection cams in punchcard models.

A B C the start of a miter shape: blue repeat, extra knit rows in yellow, auto hold on the bottom right

Going 3D: in many designs, the original repeat may simply be mirrored to be executed. If this is done here, one can see there is no longer a continuous knitting line, directional arrows are moving in opposite directions or toward each other from the center point

restoring continuity and shifting rows around to create a workable repeat one shape knit 3 different ways: red row = KC II, all knit

An executable 24 stitch, 26 rows repeat: black arrows alone indicate movement of carriage on the first row of the repeat, black arrows on red line indicate starting point and direction of movement of carriage for KCII rows. A begins to knit repeat with COR, B with COL. The triangle’s vertex can be squared off, the height of the repeat shortened, to make 3D shapes much rounder

Not just for electronics: some punch card repeats to try (also suitable for any machine). End needle selection is canceled. Selection rows are always toward the first pair of rows knit in a holding pattern, so for the first 2 cards, they would be from right to left. Single rows are punched but 2-row sequences are needed, so cards must be elongated X 2; miter shaping repeat is shown on the left, spiral on the right. Narrower shapes may be created and knit on the appropriate segment of the 24-stitch repeat needle positions. Use needle tape markings as guides for placement. The preselection row is from right to left, the pattern repeat begins with COL. All punched, extra series of pairs of rows of knitting may be added at the top. Note: just a few rows may not be added with a small segment of an additional card with clips, the whole repeat may have to be split into sections to allow for the extra rows and their smooth passage through the card reader. As an alternative, more rows of all holes could be added to the original card when first punched, tested, and then trimmed if not needed. It is useful to try out the repeat as a hand technique first in any of these instances, to determine personal preference.

Going 3D: punch only actual holes (black pencil marks were originally used to mark squares that needed to be unpunched for the auto wrap on right, not the best choice for B/W scans). Two-row sequences are punched, so no elongation is needed for either repeat. Miter shaping is shown on the left, spiral on right; mem <– indicates the direction for KC row; decreasing angles are auto-wrapped, increasing angles need not be as seen in the top of miter on left, where needles are returned back to work to create the reverse shape.

Some ruffle possibilities: all knit rows were added to the card on left with snaps, and are composed of all punched holes. The number of all knit rows between held segments determines the spacing between wedges and the degree of spiraling of the final fabric. KC row needs to be R to L for A, left to right B. Holding sequences are now staggered, changing the angle of the resulting curves. A short float is created where 2 stitches are brought to hold on the carriage side.

A: elongate X 2 B: use as is

The recommended minimum for punchcard length is generally stipulated to be 36 rows. Card A without the added rows is 28 rows high (the last 2 rows are for card overlap when adding snaps), so the repeat below, with the extra segment removed, would need to be punched twice

eyelet pattern reflects shaping

B: dotted lines outline segment: yellow dots on the purl side, the 1 needle floats one possible card revision: red dots indicate punched holes, stitches in hold as the carriage moves from the left to the right any difference in the swatch, in this yarn, was almost imperceptible; results would vary depending on yarn thickness and fiber content.

the swatch as a “ruffle”

Revisiting miters, spirals, going square, round, and more

There are times in knitting when math becomes a necessity. With online libraries, tools, and fairly intuitive software, drafting angles and shapes is now much easier. I will be teaching a class that includes miters and spirals at a seminar next month, leading me to revisit the topic. Most published pattern instructions will give starting carriage locations, but shapes may be constructed counterclockwise or clockwise depending on preference. With an understanding of how the shapes are formed and stacked, they may in turn be automated (depending on their size and the type of km) using the slip stitch setting. Stitches that are to be knit on each row are programmed as pixels, black squares, or punched holes.

Miter shaping may occur on the side or in the center of each triangular shape; a minimum of 2 knit rows usually occur at designated spots. Adding more knit rows and playing with angles of triangles will create ruffling effects, other angular shapes, pleats, and more. I have returned to using Mac Numbers, their shapes, and charts to generate most of the images below. Here the colored areas represent knit stitches, white negative (white) spaces stitches in hold. Red lines represent all knit row(s)/ spots for seaming at the top and bottom of sequences. Seaming is easiest when done by joining all knit rows. Stitches are always brought into hold opposite the carriage side and returned to work on the carriage side. In the shaping guide, COL= carriage on the left, COR= carriage on right.

knitting each segment

COR COL

Yellow triangle segment: bring all needles out to hold, and push them back into work on the carriage side at the determined rate until all needles are back in work. Green triangle segment: with all the needles in work, begin to bring stitches into hold opposite the carriage at the determined rate until all the needles are in hold.

If seaming is desired in miter shaping with resulting eyelets at the sides of the triangle, the full wedge is split between the top (yellow segment) and the bottom of the piece (green segment). Knitting always starts with at least one or 2 rows of knitting (depending on whether the finished shape is to have a grafted seam. For the full wedge: * yellow segment, bring all needles out to hold, and push them back into work on the carriage side at the determined rate until all needles are back in work. Reverse shaping with green segment: with all the needles in work, begin to bring stitches into hold opposite the carriage at the determined rate until all the needles are in hold. End with knit rows (red line) across all stitches*. Repeat from * to * for the desired number of full segments, end at the top with a yellow segment if needed, followed by a knit row(s) (red line) before binding off or seaming.

shaping with resulting eyelets at the sides of the triangle: the final shape CORthe knitting sequence with top/bottom 1/2 triangle segments shown

COR COL

For miter with shaping and resulting eyelets at the center of the triangle: begin with all knit row(s) (red line) at the start. To shape a full wedge: *green segment is worked bringing stitches into hold opposite the carriage at the determined rate until all the needles are in hold. Shaping is next reversed with the yellow segment, pushing needles back at the determined rate until all needles are returned to work. End with all knit rows (red line) *. The sides of this miter are all knit rows, an easier place to seam/ graft joins if needed.

shaping with resulting eyelets at the center of the triangle: the final shape CORthe knitting sequence

COR COLa tiny test shaping at side shaping at center

In the following images, the red or blue lines indicate seams or joins

segments composing a square shape
adding squares or rectangles to alter the square
adding triangular segments: hexagon expanding it with rectangles, shaping at sides
shaping at the center hexagon extra_seams going 3D: triangular pocket with the point at the center

combining shapes: this one is often seen in tams (hats); bottom shaping is on only one side, and at the top, it occurs on both sides

tam1 tam2 adding rectangles or squares to alter the shape
tam3

bringing needles out to hold opposite the carriage

Spiral stack 1/ green full triangle: knit row (s), *with all the needles in work begin to bring stitches into hold opposite the carriage at the determined rate until all the needles are in the hold position, end with all knit row(s) (red line).

COR COL

Spiral stack 2/ yellow full triangle: knit row (s), *bring all needles out to hold, push them back into work on the carriage side at the determined rate until all needles are back in work, end with all knit row(s) (red line).

COR COL

3D spiral

If the object is to construct a circular shape, the greater the number of panels, the smoother the outer edge of the piece. Some of the pie-bilities:

In all instances above the radius and therefore 2 sides of each wedge remain equal in size, and therefore are composed of the same number of stitches. The triangle knit to achieve these shapes are isosceles triangles, where 2 of 3 sides are equal in length and in this case, the number of stitches. The 2 equal sides are usually referred to as legs, the remaining one as the base. The 2 base angles are equal as well. The remaining angle is the vertex one. In knitting, this will be the pivot point for the wedges, the center point of the “pie” shape. In the illustrations below the vertex, angles are marked by blue dots. Its angle value is the first represented in the numbers immediately below each shape, with the other 2 numbers indicating the remaining, equal 2 angles. The sum of all 3 should equal 180 degrees. Taking it to a shape: octagon (half the total # of wedges shown). In colored shapes spiral, stacking equal triangles is shown on left; full triangle, divided into 2 segment shaping for miter on right.

Oh, yes, the math! The desired shape may be drawn to scale using any number of tools. Wedges may in turn be shaped following the scale drawing on any charting device such as knit-leaders, or stitches and rows required may be calculated on actual full drawing measurements. In knitting, the equal sides (AC, AB) of the triangles are formed by stitches and the height of the triangle (CB) by rows. If the finished size matters, an accurate gauge is required. One approach to calculating the base (CB) is to think of the whole shape as a complete circle, in this case, divided into 8 “pie” wedges, with congruent sides (radius) measuring 10 inches each. To find the circumference of the circle, multiply the diameter (20) inches by pi 3.14 = the total in this case, of 62.8, rounded off to 63. Divide that number by the number of sections (8) = 7.85, rounded off to 8 inches (rows). If the stitch gauge is 6 stitches and 8 rows per inch, each triangle would be 60 stitches wide, and 64 rows high. Holding happens every other row, opposite the carriage, so the total number of rows is divided by 2 = 32 for knitting a spiral. The stitches are distributed along one edge over a total of 64 rows in height. The goal is to reduce the shape down to the next to the last group, followed by two rows knit over all the stitches at the end of each section. This will cause a small hole at the center of each completed pie due to extra rows knit. For a miter 2 triangular shapes are required for each wedge, so holding sequences are recalculated with shaping now occurring over 16 rows for knitting a miter.

An online calculator is available to help calculate the number of stitches brought into hold opposite the carriage or into work on the carriage side, sequence preference should be tested on swatches where the gauge is significant

spiral miter

Magic formula (X represents times)

In the photo below I chose to start with all the needles out to hold, pushing them back into work across the knit for the spiral. For the miter again, I began with all needles in the hold position, pushing back the required needles into work; for the top half of each wedge needles were returned to hold opposite the carriage at the same rate, forming the upper half of the “pie slice”. The swatch is not worked at the same rate as the shapes calculated above. It is shown on its purl side with color changes to highlight the intersections where wedges begin to repeat. The yarns used are random acrylics, in different weights.

A previous post on short-row knitting with links to other online sources 2013/12/18/holding-stitches-short-rows/.
A category search in my blog roll for miters and spirals will link to blog posts including pies:
2011/06/18/knitting-math-and-pies1/
2011/06/22/back-to-that-pie-a-bit-of-holding/ breaking and mixing up pie wedges:
2014/07/21/miters-and-spirals-visualizing-charting-and-more-3/ .
A garter bar short row trim:
2013/02/28/garter-bar-short-row-trim/.
Charting shapes: using Gimp and Mac Numbers:
2014/07/14/miters-and-spirals-visualizing-charting-and-more-1/
Executable charts and shapes, automating them with slip stitch:
2014/02/24/holding/ short-rows-hand-tech-to-chart-to-automating-with-slip-stitch-1/
2014/02/20/wisteria-cousin-revisited-holding-using-slip-stitch/
2013/01/21/automating-pleating/ 2013/12/28/short-rows_-balls-tams-3d-rounds/ 2015/09/07/a-tale-of-2-donuts/
2011/03/29/lace-meets-hold-and-goes-round/
2011/03/29/the-doilies/