alessandrina.com – Page 35 – machine knitting and more

A hand knit stitch tale 2: a bit of cables and lace, charting, hk to mk

For a while, there was agreement on “international symbols” for charting knits. With the proliferation of programs now and methods for self charting and publishing using fonts and personal icons, things can get a bit confusing. Hand knitting in the circular akin to machine knitting results in stitches always worked on one side of the fabric, another consideration. In the last Russian pattern in the previous post, I was unable to get the repeat to work properly regardless of any common meaning I tried to assign to several of the symbols. I have used Intwined for some charting in the past, am finding it problematic again in Mavericks Mac OS, and my go-to for the moment is the latest version of Numbers (3.2), which appears to include changes that make it even more intuitive and easier to use than the previous version. My symbols library includes the Aire river knitting font and an assortment of wingdings and oddball characters found in some of Mac’s built-in libraries.

my hand knit version

Taking it to the machine: chart’s beginning

tweaking it a bit, taking in consideration only the purl side will be facing

flipping it to achieve the same direction transfers as HK

knit on 260 bulky KM

The large hole at the bottom left of the image is not due to a dropped stitch, but rather to yarn breakage. The sample was knit in worsted weight wool, and I found I needed a far looser tension than I would normally use for the same yarn to allow the double transfers to knit off properly. Eliminating the combinations of knit and purl within any one row as seen in the hand-knit version avoided retooling those stitches as well.

A revisit on topic, April 2015

I am back now to once again, using primarily excel to create all my charts. Various Russian, German, and one English pub have offered variations of this particular fabric, some needing interpretation, but consistencies in repeats are easily recognized and isolated.

this image is from knittingstitchpatterns.com, they call it grand-eyelet-lattice, and provide written instructions for its execution

below is another relative, charted in Intwined, with the program’s associated written instructions; repeat is 4 stitches wide by 8 rows tall, border stitches are not represented; cable crosses are reversed after every other eyelet sequence, yet another pattern variable

a chart for same using Sconcho and its built-in stitch library. For software details please see symbols post

4/26/15 a variation found today on knitca, another resource for hand knitting stitch pattern collections; this is their image

1/2/2016 a Ravelry post on the stitch family

A hand knit stitch tale 1

Last year a photo of a model (Jessica Hart) wearing a particular sweater began to appear acrossTumblr and Pinterest. The stitch was interesting, which led me to looking for similar structures, without much success for quite a while

from a sale site for the garment

a published stitch version on russian blog

purling all WS rows produced a very different fabric, I did find a reference in another publication for the dot being a purl stitch on RS, knit on WS, again a different fabric

a translation via ravelry (see credit in chart) led me to developing the charts and directions below

A: shows the offered repeat in symbols; a multiple of 6 + 7 stitches is required

B: symbols and translation

C: all symbol expanded chart showing both RS and WS rows; I find too many symbols confusing

D: choosing colored squares to represent knits on WS rows; arrows show direction of reading chart during knitting

the resulting swatch: knit side RS

its WS

a relative, found on a different blog, chart not yet deciphered

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A lace “shell” want to be, a few ways

I recently saw a semi circular HK shawl pattern that used graduated lace shell motif bands, and went hunting for a possible such repeat with the intent of subsequently knitting it on the machine. Taking into consideration the chart lenght required if using the lace carriage, I began with a “small” hand knit possible repeat

the text (Intwined)

pictured below is a mylar repeat worked out for use with the lace carriage with 2 programming options: A, B. Notations in this instance were made using a free mac program (for my the first time), Skitch, which allows one to work with screenshots and basic image-editing tools all in one place. The middle column of numbers indicate the number of passes required for the lace carriage for each repeat prior to pairs of rows of plain knitting. The transfers are made all in one direction, so the spacing between each set of transfers and knit rows is different from the traditional 2 rows of blanks. I find it easier to have multiple blank rows before selections for transfers as a place to pause, check my stitches, and have clearer starts if knitting needs to be unravelled; this repeat takes that into consideration

option A was knit with a ladder, NOOW set up:

the resulting swatch in acrylic yarn, steamed, fairly straight edges

option B eliminates the ladders, a ridge is created by the transfers highlighting the “shell shape”. The sample clearly illustrates the issue with lace fabrics where transfers are all in one direction: note the resulting bias, which could be a problem or a design feature, depending on one’s perspective. It is particularly noticeable in the area of the color change. The top yarn is a rayon, the ridge created by the transfers flattened with pressing but is still in evidence, the occasional noticeable problems are operator errors (and laziness in changing bent needles), not pattern ones.

shortening the repeat: I found this one a bit more confusing to follow, black horizontal marks on right edge of mylar are a visual cue to rows on which knitting needs to occur; note there are no occurrences of 2 consecutive blank rows, only singles

the fabric is identical, with the same problems in terms of biasing

taking out the swing, moving in 2 directions, and back to a hand technique: the black squares indicate groups of stitches that will be moved to create lace holes. In the boottom segment selected needles are transferred to the right, lace holes will move in a curve, transfers double up on the same needle location on the bed. In the top segment, beginning with the doubled up stitch from the last transfer to right, direction of transfers is reversed, moving toward left, and always beginning with the same needle position. Markings on mylar on the far right indicate direction in which the stitches are transferred. This repeat is 7 stitches wide by 12 rows in height, could be adjusted to suit. Adjustable transfer tools make the work progress faster.

the corresponding swatch, without blocking, much more “straight”

4/11

a mylar repeat for use with lace carriage, 910

in the image on left the repeat is hi-lighted by the green border; in the one on the right there are visual cues for operations. The vertical lines indicate which side of the bed the lace carriage needs to be placed for the next group of transfers, the horizontal lines mark the end of the transfer sequence, when a single row of knit occurs. Respective carriages need to be taken off the bed after most passes to allow use of the opposing carriage and maintain proper direction of moves, a different sort of “hand technique”. Below is a swatch, the red spot is a poorly corrected dropped stitch.

the technique is manageable for experienced knitters, this was my second try at a hurried repeat (weight adjustments and dropped stitches on first) and photo as I get ready to travel to the opposite coast.

Striping in lace fabrics 1

Colored stripes combined with lace patterning can produce interesting fabrics. Many variants may be found in Missoni’s knitwear. At times the lace holes themselves may nearly disappear, while the stripes become distorted by the transfers, the change in gauge, and the creation of the holes, which in combination begin to create a bias direction in parts of the knit. Below is a simple sample illustrating some of the above points:

the working chart (Intwined)

the text for hand knitting created by the program the additional knit rows creating garter stitch in part of the pattern provide added texture in a hand knit, but are impractical in a machine knit

Rather than deal with working out the lace transfers for use with the lace carriage for my swatch, I chose to use a multiple transfer tool, and begin with a 7 stitch transfer as opposed to a larger number one. Below are some of the tools that may be used to hand transfer stitches in larger numbers than with the tools usually provided with KMs, a garter bar may be used as well

The image below shows the fabric as it appears on its knit side. The bottom illustrates the repeat in one color. The red mark indicates where the transfers were made after knitting the first row of each color, the yellow indicates transfers made before each color change. In the former the “twist” apparent as the transfer knitting is completed, has one yarn wrapping around the other. In the latter, the “twist is all one color”. The yarns used were a rayon and an acrylic, on standard km. If a color changer and lace carriage were to be used in combination, only the second option would be possible (more on that in a later post).

the purl side

Below is a hand knit sample with a wider repeat, adding garter rows. The yarn used was a worsted weigh wool on size 8 needles. Of note is the difference in undulation in bottom and top edges

knit side (red mark here indicates garter stitch row detail)

purl side

a possible use for this pattern might be a center or recurring panel in a wider knit

From punchcard to hand technique or hand knit

Emulating the repeat in the post Studio transfer lace knit on Brother 910 and Revisiting use of lace patterns Studio vs Brother machines

here is a chart for reproducing it as a hand knit, generated in Intwinedthe accompanying text generated by the programexecuting ssp from Knitters Brewing Company

I tried the pattern as a hand knit and had difficulty keeping track of the reversals of twists front and back, so I headed back to my more familiar territory, machine knitting, and to the bulky machine to make the number of transfers a bit more manageable. The repeat is 14 stitches wide, outside the range of an effective repeat for a punchcard, but with transfers every row there is another way to use a card that requires no punching. Observing familiar rules, and text or symbols that are meaningful to us for the particular project (ie also for racking sequences), the card is used for notekeeping rather than needle selection. The carriage is set to KC, set for normal knit, no cam buttons in use. Because no holes are punched, there will be no needle selection. The card is locked on row 1 as usual prior to the first row of any pattern knitting , set to advance normally, and in my scribbly version it reminded me of several things. Each pattern segment is 5 rows, with the dark stripe indicating the beginning of each new segment. The numbers on alternate sides show the number of stitches that need to be transferrd with the aid of tools, leaving an empty needle that will create the hole, and overlapping stitches on either side of a center point in part of each motif. I worked with 2 repeats. On rows 1-5 as marked on punchcard, stitches were trasferred beginning on the right, toward the right side edge of the knit, then following the remainder of the partial chart repeat. When the next segment of rows was reached as indicated by numbers appearing on the left of the card, beginning on the right edge again, the first group of stitches was transferred away from the knit side edge, once again following the chart segment. As the lines of holes begin to show, it is easier to see the direction in which one needs to move as is the resulting pattern. The ridges created as the stitches overlap on either side of the center single knit stitch also can serve as guides in keeping track. I used no weights, just the opposite hand to pull and guide as needed. The number of moves is likely to require a looser tension than usual for any familiar yarn.the swatch, knit side, using worsted weight, tension 6its purl side

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Studio transfer lace knit on Brother 910

Eons ago I had “saved” a random copy of a japanese punchcard pattern in the someday I will figure it out pile. I was attracted by its opennes and what appeared to look like ladders as well as holes in the small B/W photograph. I have more experience in knitting and understanding of lace now, and in the process of studio clean up and paper possible recycling I found my “future project” and thought I would “tackle” it

the card

As can be noted in numbered markings, the card is a studio lace card. In addition, between series of transfers there is a single blank row = a single row of knit as opposed to the 2 rows commonly seen in brother’s kms’ lace

my mylar repeat, with notes on R sidebar as to # of LC passes, rows knit

the method: with no repeat adjustments or conversions

I began with lace (LC) carriage on left (OL), knit (KC) carriage on right (OR). Because a selection row is required for the first transfers row to occur, I added one row to each of the suggested lace pass sequences marked on the punchcard. The LC as a result travels an odd number of rows. It will begin on the side opposite from, and move toward the KC. At the end of each of the odd numbered row sequences it will reach the same side as the KC. At that point there will not be any needle selection. The LC is released from the needle bed, and the KC knits only one row to the opposite side and remains there. The LC returns to the bed opposite to the KC, and the sequence is below is repeated:

LCOL 9 passes, release
KCOR knit one row to left
LCOR 7 passes, release
KCOL knit one row to right
LCOL 5 passes, release
KCOR one row to left
LCOR 3 passes. release
KCOL knit one row to right

I used a waste yarn acrylic for my swatch, which became scratchy, flat and stiff, losing any texture when pressed, and shrinking a bit so as to almost looking felted, yet another reminder test small swatches fefore committing to larger pieces. Here is the result

knit side

purl side

a new day, a different fiber, the joy of not noticing dropped stitches

“unblocked”, rayon yarna bit closer, after light pressing

for sample knit on 930 with img2 track please see later post

Hand knit lace to KM: combining different meshes, alternative methods

This is a blog post I actually began working on in November 2013, and never quite completed. A Ravelry thread on a hand-knit lace to machine knit pattern translation made me think of it, so here are my working notes on one approach to charts designed for hand knitting that require transfers every row, with the intent to automate them for possible use with the lace carriage for transfers rather than working from a chart as a straight out hand technique.
The Japanese publication hand knitting chart

the hand knitting chart in Intwined

the HK instructions generated by the program to match the chart

the chart flipped horizontally for machine knitting could be achievable using LC on the right side of KM, which would require the method used in the previous post: elongation X2, 2 passes LC toward KC, followed by one row knit A.

In this chart note the 2 cols representing opposite directions for transfers, not a physical possibility when using the LC

here the chart is amended, keeping like colors together on the same row, starting with LC on right, LC 4 rows of passes followed by 2 rows knit

repeats can be adjusted so spacing matches more closely between motifs after swatching (B); if the first row of transfers is to the left, lace carriage must make a pass to select from left to right, the second pass will transfer from right to left; in row 1 and 4 there are no transfers, rows 2 and 3 transfer selections from the previous rows; row four lets the LC return to its original position

knitting with the mylar: in transfers observed on the purl side of the fabric, facing the knitter: the lace carriage transfers selected needles in the direction in which it is moving on the needle bed; if first row transfers need to be transferred to the right, the lace carriage starts out on right for selection row, and will transfer to right on its second pass, from the left to right

moving things around for a possible brick layout

the mylar markings for selection from right to left: A and B, C from left to right

A is technically an incomplete repeat for continuous use, 2 more rows would be needed

that fabric swatches: CBA

the tuck pattern Passap 1030 using the method of elongation X2 as described

the resulting mesh, with some yarn issues

Previous related posts:
2013/09/19/studio-simple-lace-on-brother-electronics/
2013/11/30/a-bit-of-seasonal-lace/
2013/12/05/lace-mesh-motif-charting_-mac-numbers/
and the previous posts on translating HK patterns for use on punchcard or electronic machines
2013/08/29/from-lace-chart-to-punchcard-6-to-electronic/

A bit of history on my swatches

I try to test any directions I publish in my posts, those swatches vary in size and fiber content, and I often add other pertaining specifics. I also taught in a design studio for a very long time, where the first 9 of 12 weeks were spent exploring stitch structures and techniques, and at least one wall in the studio was covered with new samples knit by me each week. Textured ones were knit in wool, a yarn with “memory”, and many of the larger swatches pictured are from that stash, some have been in “storage” for well over a decade, and they are photographed “untouched” in terms of steaming, pressing, etc. I am not a “photographer”, the shots are casual ones now taken with an i_phone. Keeping images in constant size on the blog page sometimes plays with aspect ratio in terms of getting a sense of the actual finished product’s width or length. As for the colors used: because the knit studios were open to anyone enrolled, yarn was stored on shelves unless purchased by individuals for personal use. I got in the habit of using contrasting colors that were easily identified to avoid my demo cones from being used, and also found this helped define edges in design changes, with lighter colors more visibly illustrating how stitches are actually formed in the hooks of the needles. Any use of “my yarn” was immediately recognizable, and as an added plus the colors used also helped reduce disappearance of samples at any workshops outside the school environment. The swatches were intended as sprinboards for ideas, not to be used as they were for any finished garments or to illustrate completely resolved fabrics.

Ruching 2: more working with stitch groups

Reviewed and in the process of being edited with added charts and photos 12/2022. My working and presentation methods have evolved, resulting from evolving working methods and skill in using the new generations of available hardware and software including new generation iPhones with their built-in cameras. This post will continue as a hybrid of sorts.
The previous share on this topic: Ruching 1, a fern pretender, and more.
An illustration of what part of the stitches to pick up Going straight up: in the 2014 chart color blocks illustrate needle groups that get picked up and transferred onto the same color row on the machine, with no specific references to needle tape or any other markings. When repeating the operation in the same needle locations, having NOOW (needles out of work), thus creating ladders, makes it easier to keep track of groups in configurations.
The yellow lines represent needles taken completely OOW at the start of knitting.
Any of these fabrics may be executed in a single color or varied color sequences. Sometimes changing the color in swatches and using sharply contrasting ones helps one understand the structure of the resulting fabric a bit more easily.
The number of rows knit between picking up stitches can be varied to suit, and not all horizontal stripes need to match in height.
Stripes in plain knit rows in the same color or an alternate one can add interest and decrease the total number of carriage passes in the overall piece.
In a different approach at the same visualization, all blank vertical rows represent locations where needles are in the A position, out of work, and remaining that way throughout.
To maintain equal edges in the piece, this setup is on a multiple of 6+5 needles: The block layout can be varied, along with adding all knit stripes in any chosen color. Variations in picking up sequences may be seen here creating different secondary patterns. The red dots in the first photo indicate a row of additional ruching in the center of solid striping.
Cast on a multiple of 12+4 stitches: In response to the comment on this post, here is a proposed variant of the technique to try on a 40-stitch (36+4) sample.
Visualizing the brick layout single stripe segments: Maintaining the brick layout, each segment may be repeated the desired number of times, creating stripes in extended textures. Varying spacings and rows, the setup is on a multiple of 9+8 needles. Far less dense, a proposed spacing, the bubbles will be more prominent if 2 stitches rather than one are hooked up, with the concept used to form intermittent design bands, ruching partway, gathering one side, using thick and thin yarns working in narrow stripes and very small repeats. Returning to the diagonals previously depicted this way, now with some changes. Repeating the pattern on a wider knit, considering shaping for even side edges Applying the same technique in bands rather than all over
Adding wide ladders: both the number of stitches lifted and hooked up and the number of needles left out of work can be varied to suit, even in the same piece. In this illustration, the colored columns represent knit stitches, the white ones needles left out of work. Repeats are 10 rows in height, with stitches hooked up every 5 rows in alternate columns A swatch utilizing the concept: Ruched Fair Isle: when using Brother machines, to keep the pattern uninterrupted, prior to knitting the row with the completed hooked-up selections, the correct needle preselection for each pattern group needs to be hand selected. Some tips on ruched FI knitting: the fabric will shrink considerably in length, so most motifs will need to be elongated to accommodate that.
Having a pattern that may be tracked easily by watching the floats on its reverse is helpful as may working in bands where the colors swap spaces (changing yarn feeder positions).
In very textured knits, 2 all knit rows could be added at the point of ruching, pushing end needles in if selected by the machine so as not to form floats from one side to the other. One row could serve as well, but then there are decisions about what to do with added yarn ends. The added rows can be left unpunched, will knit color in A feeder, and may not be visible in the finished knit. As always, test before committing to large pieces.
If small groups of stitches are to be picked up and rehung, markers with segments of nylon thread or yarn may be placed on the corresponding needles and be temporarily knit in. In addition, the needle tape or needle bed may be marked with a water-soluble pen to indicate locations for rehanging, or a custom needle tape may be printed.
Varying striping, and segment sizes. Working in a single color, with ruching forming hems in the center of the piece, followed by light felting. Here the hems are 2 in different heights and all on the same edge, also felted. Using unconventional materials: wool and raffia, followed by felting If every stitch is hooked up across a row, the result on the reverse side will form from a roll to a hem depending on the number of knit rows completed at the time

Ruching 1: fern “pretender” and more

Ruched or manual pull-up effects can be created by rehanging stitches at regular intervals in a straight, diagonal, or random arrangement on plain knitting or patterned fabric. The pattern below could be considered a “fern pretender”, but is considerably quicker to knit. Again, for any textured fabric a yarn with “memory” is recommended for texture retention over time or after pressing, washing, etc.
Depending on how far over whether in this fabric, cables, etc or how many stitches are moved on the needle bed, adjustments may have to be made either in tension or in the number of stitches moved. Adding striping and changing its sequences or combining different yarn weights may vary the look of the fabric considerably, and because it is a hand technique, motif repeats may be varied in size, scale, or location of hooked-up stitches. The working charts represent the side that is facing one on the machine, so by default, all stitches are purl. Dark grey represents needles out of work, which will create ladders in the final fabric. All other squares are knit stitches. Green illustrates the location of needles where the stitch’s top purl bar will be picked up (in this case with a 2-prong tool), and where the tool will rehang those same stitches to create the desired texture. Red lines outline the repeats.
smaller repeat the larger. The swatches are pictured below as they came off the machine, with no pressing or steaming. The smaller repeat curls considerably, and the larger lies much flatter. The longer ladder “floats” bear watching when rehanging the marked stitches to ensure free gate pegs and stitches knitting off properly. I prefer to knit nearly all fabrics without additional weight, using my fingers to pull down on what needs it as I move across the knit. The larger swatch required a tension change of + 2, in addition to the longer span of knit rows. The purl side, with notable curling on the smaller repeat sample. In any fabrics requiring needles OOW, unless waste yarn and weights are a necessity, one may simply do a crochet cast-on across the required number of needles, then drop off cast-on stitches where NOOW are needed, pushing them back to A. In binding off using the latch tool bind off, treat empty needles as though they had stitches on them, and the top and bottom edges will match in width.
Working with larger stitch groups and color changes: the pattern stitch is in groups of 5; knit 9, 10, or 11 rows (depending on yarn and tension). Beginning on the left-hand side pick up 5 stitches from the first row, and hang them on the next group of 5 needles to their right on the last row knit. Skip the next 5 stitches, pick up the next 5 with a transfer tool, and hang them on the next group of 5 needles to their right, repeating across the row. After the whole row is hooked up, repeat the process, reversing the direction of hooking up. Starting side may be based on personal preference, consistency throughout is helpful. This pattern may be worked on an inset, resulting in ruffling on either side or on a fixed edge as well, with ruffling on one side.
The groups of 5 colored squares indicate each set of stitches and needle placement, and the arrows show the direction and order in which the stitches are moved. The same technique, used as a band rather than an all-over pattern

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