alessandrina.com – Page 36 – machine knitting and more

Wisteria cousin 2, also called fern leaf, hand technique

In seminar days this was referred to as a “fern leaf” pattern. Holding groups in these sequences givea a bit more swing to the side of the finished piece. Directions for this fabric may be found in the post

The difference between the fabrics below and the ones that look like this swatch is that when the row of held sequences is completed from one side to the other, at least 2 rows are knit across all stitches before reversing the holding direction and moving toward the starting side to complete the repeat.
In addition, there is often a tension change between the groups that pull the fabric inward and enhance the texture. In my sample, the held segments were knit at tension 6, and the tight rows at tension 3.
The pattern in this swatch is executed on a multiple of 8 stitches
To knit: cast on the required number of stitches, the first four rows are tight, so waste yarn and ravel cord followed by the cast-on and tight rows are recommended.
At T3 knit 4 rows, COR. Set the machine to hold stitches.
T6: bring all but the first 8 needles closest to the carriage into hold.
Knit 12 rows.
COR: on the side opposite to the carriage but closest to the needles in the working position, bring a group of 4 more needles into work. Knit one row.
COL: on the side opposite the carriage bring 4 needles into hold.
You will now again be working on a group of 8 needles. * Knit 11 rows.
COR: on the side opposite carriage bring 4 needles into work, knit one row.
COL: on the side opposite carriage bring 4 needles back into hold.*
Repeat *to* until the last set of 8 needles are in work on the left-hand side, knit 12 rows, ending COL.
T3 knit 4 rows.
Reverse the process, moving in the opposite direction, beginning with knitting 12 rows on the first group of 8 stitches on the left.

If the goal is to retain the texture, a yarn with “memory” ie wool is recommended; if a yarn such as acrylic, which has the capacity of being “killed” when pressed (sometimes the desired effect) is used, the result may be seen below

lacing up a sample with knit i-cord

I had previously shared other images of this type of fabric, they may be found in my previous post, described as “horizontal cables“. The sequences there illustrate the use of other results from varying the number of stitches and rows in each held group, as to the biasing that results when all rows of groups move in a single direction. A bit on the possibility of automating such fabrics using slip stitch.

Holding/short rows: hand tech to chart to automating with slip stitch 1

These directions apply to Brother Machines; designs could be used as they are and programmed into Passaps, other brands would require some adjustments. In these samples, the holes resulting from holding for 2-row sequences are considered part of the design. Vertical strips in different colors could be knit and later joined. The final result is a “zig-zag” pattern. Written directions may read: to begin, cast on, and knit 2 rows. **COR: set the machine for holding. Place in hold all except the first 2 needles on the right (carriage side). Knit 2 rows. Return to work the next group of 2 needles on the left to work, knit 2 rows. Repeat until only 2 needles on the far left are in hold, return them to work, knit one row (color 1 in the chart below). COL: pull the first 2 needles at far right to hold, knit 2 rows, repeat until last 2 are left in hold, knit 2 rows (color 2). COL: bring next 2 needles into work, knit 2 rows, continue until the last 2 stitches are returned to work on the right, knit one row (color 3). COR: pull first 2 needles on left into hold, knit 2 rows; repeat until last 4 stitches at right are put back into work, knit 2 rows**, and repeat from **. Knit 2 rows at end of the desired number of repeats bind off.
The sorting out hand tech sequences to achieve the desired shapes sample: When producing my charts for using slip stitch to automate holding I like to draw what I would actually be knitting for each row, each stitch and row being a filled square, so the colored areas below represent knit stitches/rows on each row, the blank squares the stitches in holding. I test the repeat as a hand technique first, before in my case marking the mylar, then essentially fill in the knit stitches with color, keeping in mind the location of the knit carriage and the direction of the knitting. The colored squares are then programmed as punched holes, black squares, or pixels, and the pattern may be knit using slip stitch <—>. Needle selection needs to be canceled, otherwise, the yarn will be knit on the side of non-selected needles on that last stitch, creating a long float. The selection row needs to be toward the first 2 knit rows sequence. Here they are knit beginning on the right for 2 rows, so the selection row is made from left to right. Odd rows move, knitting, from right to left, even rows from left to right. At this point, I prefer mac numbers for charting.

the final repeat, working chart the mylarthe swatch

The above repeat could be considered composed of 2 pairs of stacked, mirrored triangles, here is an instance of playing single “triangles”

the mylar repeat its accompanying swatch

“wisteria” cousin revisited (“holding” using slip stitch)

My previous post on the related topic.

I revisited the above fabrics in another experiment recently. This first sample was produced as a hand technique after casting on with 2 needles in work, 2 out of work. In the bottom half, there were variations from 8 down to 4 rows of knitting before additional groups were introduced, beginning on the right side of the machine, with the first group on right taken out of work after bringing the second on left into work and one row knit on both groups, so sequences are always on single groups of 2 except for the one row where the new pair is brought into work and knit. When proceeding in this manner the single long float will appear between the lines of knit stitches. The top of the swatch was knit in a manner similar to the method described for the second swatch series in the above post. The yarn is acrylic, barely steamed.

Automating these fabrics is limited if only a punchcard or mylar were available. In the repeat below if all “holes at edges” were wanted to match the size of those in the remainder of the row, the single 4 stitch segment areas would need to be redrawn, double their present length. Though the width of the fabric may be limited in terms of a garment or shawl, an inset is possible, or if turned sideways, the fabric may serve as a trim. Having an interface that allows programming the width of the needle bed and “infinite” length, gives one much greater leeway also in terms of segment widths. Here I am basing the repeat on groups of 4. The grey markings are ghosts from a previous test repeat.

The resulting fabric was 32 stitches wide, centered on the machine; in the bottom segment all needles (in my case 16L to 16R) are in work, KCII (cancel end needle selection) row is from left to right, with knitting beginning from right to left, with the machine in turn set to slip <—>. Adding NOOW creates 2 more variants. In the middle the fourth stitch on the left of each group is transferred to its right, its corresponding needle is taken out of work, so knitting will be on groups of 3 stitches, with a single needle ladder between them; in the top the third needle on left of each remaining group of stitches is transferred to its right, now having groups of 2 empty needles between each pair of stitches, creating a wider ladder. This swatch was lightly pressed, flattening it considerably: a consideration when choosing yarn type.

Simply doubling the length and width of the repeat on the mylar, which in theory should give a larger repeat, does not work for these fabrics: the transition row as each new group is brought into work needs to be a single row event or floats will be created on the second pass of the carriage, so this in one instance of draw exactly what you want to knit unless you wish to manage the floats created by changing those needle selections manually when needed if doubling motif length.

From Stoll Trend Collection Europe Spring/Summer 2012 a sample fabric utilizing the floats between repeat segments as a design feature

a how-to video on the above fabric http://www.youtube.com/watch?v=EBrW5wddgbg

Some notes on machine knitting color changers

One double-bed example, the Brother 900 E DB changer for use on both standard and bulky

The Studio/singer YC6 may be used either on the single or double bed simply by repositioning one piece. It includes a 4 color tension unit, a special sinker plate, and a set of cards that are for use only for DBJ. It has a 4-button yarn changer, which can be set for automatic 2-color changing.
Brother/Knitking comes with a supplementary two-color yarn mast, a special sinker plate, and a four-button changer. A button must be pressed manually for each color change.
To color change on Studio, the next color button is pushed/selected when the KC is on the right, in Brother machines, the button for the next color selection is pushed after the KC is in the yarn changing area after the audible “click” is produced when the carriage has traveled far enough.

The wires and tension units exert more tension on the yarn than standard tension units, which affects gauge so if one is knitting garments, the units should not be changed while working on the same piece, nor should calculations for gauge be used if they were produced in the same yarn, but using the alternate tension unit. Tension may have to be raised by at least one number or more to prevent dropped stitches and obtain the desired feel/drape.

If a carriage jam occurs, the sinker plate needs to be removed before using the release lever for KC.

If using changers for fair isle: in cards punched for FI knitting single bed, normally the contrast color, corresponding to punchcard holes (black squares on mylar, or pixels, depending on machine and programming) is placed in the B sinker plate feeder, and background yarn in the A.
When using the color changer, the manuals will state that the main color is normally in B while the contrast color is in A, where it can be changed automatically. However, that depends on which part of the design is to include the color striping. If it is to occur in the motif, the card needs to be modified by being punched in reverse. If the striping is to occur in the background, a standard card and position may be used. If one wishes to alternate, both ground and motif may need to be punched separately as for use in 2 color slip stitch.

More than 2 colors per row require color separations of the original design for knitting with slip stitch setting, carrying one color at a time, in 2-row sequences.

The double bed color changer is used often for DBJ with color-separated cards though other fabric options are possible. It may also be used for single bed work, but the ribber must remain raised and the ribber connecting plate is used. This means that single-bed fair isle knitting is not possible, because there is only one feeder in the ribber connecting plate.
Using the changer is a viable option for knitting striped patterns on bulky machines. There are no brushes to help anchor the knitting like the ones in the single bed sinker plate, so even though the fabrics may be worked only on the top bed, careful choosing of repeat and adequate weighting is required ie in color tuck/slip mosaics, etc, knit with color changes every 2 rows.
I have read that Toyota did not have a color changer due to its built-in simulknit/automatic DBJ, with only 2 colors knit in any one row.

Sometimes metal parts/wires get bent in storage or handling even on ribber sinker plate, and may need a bit of bending and tweaking if colors are not getting properly picked up. Some Brother color changers have small adjustment screws under the arm that may loosen, and change their alignment to the needle bed, which is easily solved by adjusting/tightening the screw. Sinker plates should be cleaned and may be adjusted if required, just like the standard ones.

Some references: Studio YC6, Brother manuals

The set up as described in an early Brother Fashion magazine

from the KRC 900 manual

High tech version: 1 set up 2 in use Automatic knitting system based on the Brother KH-970, consisting of a knitting machine Brother KH-970, set for the ribbing attachment KR-850, KE-100 motor drive, and automatic color changer KRC-1000E (6 color changer).

The Brother single bed changers are the only ones I know of where the yarn remains in the changer after the color change, never leaving it.
A later post including some single bed color changer info: https://alessandrina.com/2017/05/01/knitting-in-pattern-with-2-carriages-brother-punchcard-kms-2/.
Excerpts from the 820 manual: The auxiliary yarn tension stand was eliminated when later models introduced a place in the machine casing for the extra mast, my 930 actually offers 2 spots

It is possible to cast on while the color changer sinker plate is in use, making certain the yarn is used and retained in its proper placement in its roller. I prefer to cast on with the standard sinker plate, knit some rows, weigh the piece, sort the required tension, place the yarn in its position in the changer with COR, and then continue.
It is always a good idea to test color-changing sequences on some waste yarn rows prior to the permanent cast-on of the finished piece.
A common cause of color-changer crankiness is simply not moving far enough to the left before changing colors, a step that definitely requires using that “lace” extension rail.
The use of waste knitting is shown in the directions found in the manual as well.

An added difference between brands, the Studio changer uses letters, and the Brother uses numbers for yarn positions in changers

At the opposite end of the spectrum, the image below shows a low-tech “color changer” marketed beginning decades ago, and still available online. It is not practical to use in DBJ knitting because of the issues involved with removing the yarn from the ribber sinker arm in order to switch colors but can be an alternative for working single-bed on multiple gauge machines. It provides a way of holding the yarns that is easier and more successful than some of the other “creative” options for knitters who do not yet own a color changer accessory appropriate for their machine. An improvised “color changer” for knitting multiple color dbj by Chris Burdge, shared in the Ayab FB group.

Pretend/ mock cables 2

I had begun this post eons ago, and somehow it became a UFO. A recent discussion on Ravelry re using elastic yarns brought this swatch to mind, and here is the start of a return to the cable pretender category.

Big Pretender: this fabric is thread lace, using elastic for one yarn, and very fine mohair for other: a useful fabric for tightly fitting garments or garment sections, without the hand transfers or the rigidity of an all-over cabled item. The positions for the 2 yarns are reversed, so they both will knit the unpunched areas of the card, and where there are punched holes the elastic will create floats, pulling on the knit only stitches in the alternate yarn, creating the surface blistering.

the punchcard

Some suggestions for working with elastic yarn: the nature of the fabric created when knitting with elastic ie in FI is greatly affected by the yarn used, the elastic used, and the pattern being knit. Larger swatches than usual are required to estimate gauge for use of the resulting fabric in garments, at least 100 sts by 100 rows. If using a pre-drawn motif, doubling width and height may be a quick way to make up for “shrinkage” of the pattern. As with all fussy yarns make certain the elastic flows freely and is not getting hung up on the bottom of the cone. Sometimes if loose tension is not enough to make it manageable, the upper tension dial may be bypassed completely. Edges of fabric will be cleaner if the elastic knits on the end needle at least every other row. This is one fabric that benefits from the use of weights. Steaming helps the elastic to spring back after finishing the piece, test small areas, and best temp on your own iron.

A series of publications using a technique published much earlier in Japanese books as swatch samples “magic cables” by Ricky Mundstock, tuck stitch, and hooking up / ruching stitches combine to create the illusion.

more to follow

Short rows_ balls, tams, 3D rounds

These forms involve bilateral shaping. 3/4/16 Note: the charts below were produced using the program Intwined, which has been unsupported or updated for Mac since June 2013. At that time I encountered major problems using it, and after being restored the program has remained unpredictable, missing functions that influenced my choice to originally purchase it. The first row knit needs to be toward the first 2-row sequence in the design.

16 stitches, 6 rows, 8 repeats

28 stitches, 12 rows, 8 repeats

17 stitches, 8 rows, 12 repeats

28 stitches, 10 rows, 12 repeats

The samples were knit in “waste” yarns, and seamed on the machine; if turned purl side out the latter is acceptable, or work could be flipped over and joined on the machine, bringing the join to the purl side; of course Kitchener stitch is always the least visible but most time-consuming option. The green forms in the photo were knit using 8 repeats, the white ones 12)

Back to charting in Excel: knitting tams

tam 1: 6.5 sts and 9 rows per inch, 12-inch diameter, 12 gores, 38L, 30R

adjust for gauge: mine below on bulky machine tension 3, ap 5 sts , 5.72 rs per inch, 10 gores, 26L, 20R

test swatch, if fewer rows are needed for head circumference formed on rt, first 2 rows may be skipped every third round or as needed, extra red rows on top may be added if additional width is needed to fit head comfortably

my hats in 2 different fibers, sizes M and L

going bulkier for an “urchin”: 2.5 sts, 5 rs per inch, 8 gores

step 1, HK, W = wrapped st

a way to size up, adding rows and sts

gauge may be hard to match even eon on bulky. HK version, flipped so as to knit increasing angle, no wrapping required with any of my yarns in this series, test swatches suggested

looking at it another way

in the above, the black represents knit stitches, arrows indicate the direction of knit/ reading the chart, the yellow the unworked stitches in each row, no wraps; my sample was knit in garter stitch on size 11 needles, brim circumference = 21 inches

…

Programming for use of repeats on knitting machines (there are limitations based on gauge and machine model): black/colored squares represent knit stitches. When the machine is set to slip, those squares/punched holes will knit, while blank areas/non-selected pattern needles will not, emulating holding techniques. Knit rows need to happen toward 2-row sections of charts so that needles are “brought to hold” opposite the carriage; KC (II, no end needle selection) row needs to start the carriage on the side opposite to the first such sequence. For example: in the charts, for the balls, the KC row would be from left to right, the first knit row from right to left, with the first set of needles to be “held” opposite the carriage on the second knit row. The principle is considered throughout, and the last row knit across all stitches will get the carriage back to the required position for beginning the sequence for the next segment. When knitting on the machine, if the row counter tripper is turned off, the RC may be advanced manually as each wedge is finished. Tracing on the charts for such stitches, pretending to be knitting, and following with a writing instrument the direction/movement of the carriage to each side helps to clarify the process and find possible errors or more needed rows prior to actual knitting.

If Kitchener stitched together, finished hats will be reversible, may be worn in a variety of ways, and takes on a slightly different shape depending on which side is worn on the outside. An excellent series on Kitchener stitch may be found on the TECHknitting blog
http://techknitting.blogspot.com/2007/05/easier-way-to-kitchener-stitch-also.html
http://techknitting.blogspot.com/2012/11/step-by-step-kitchener-stitching-with.html
http://techknitting.blogspot.com/2012/11/kitchener-stitching-grafting-with.html
http://techknitting.blogspot.com/2012/12/shaping-in-kitchener-row-useful-for.html
garter grafting video
http://www.youtube.com/watch?v=BAEIogIli6o
if blocking of hat forms is required, plates may actually come in handy
if the brim is too loose, work one or 2 rows of crochet or of knitted rib to gather it in a bit

Holding stitches/ short rows

I am planning a thread on motifs and miters, here is a brief review of holding stitches in preparation: short rows are just that. Instead of going the full width of your stitches across, you knit only a portion of the stitches on the machine, turn, and go back to the beginning, which results in one portion of the fabric knitting more rows than the other side of the fabric. It is also referred to as partial knitting. It is used to create many angles and curves. The machine’s knit carriage needs to be set appropriately; needles pulled to the furthest position (E_Brother_holding lever, D _ Studio _Russell levers, Passap will need pusher adjustments) will not knit. To return stitches to work in increments push stitches back into the upper working position (C or D depending on machine brand). In patterned knitting, stitches must be returned to the proper position for patterning with a transfer tool. In Brother machines needles need to be arranged manually in the proper location for the pattern to knit correctly, Studio machines will do it automatically since they select and knit on the same row. When using holding with the lace carriage held stitches are knit back to A using ravel cord and returned to the needle hooks in work position when they need to be knit. Because knit row sequences are in pairs (or more) there will be slits or “holes” perceived at the edge of the held knitting, these can be considered a design feature or nearly eliminated by “wrapping” the first adjacent held needle before knitting the second row, or knitting one stitch less than the required amount toward the held stitches, and then bringing the remaining needle into work before knitting back. Bringing more than one needle into hold on the carriage side will create “floats, so multiple stitches are usually brought out to hold opposite the carriage. Knits often tend to stretch more in width than in length, so in garments such as pleated skirts, it is likely the piece (knit sideways) will grow in length and tighten in width, with tension and garment weight providing 2 more factors. Large swatches and having them rest in the position in which the knit in the final piece will be worn are a necessity in calculations. Some references:

Settings and images of wrapping to avoid holes: this site is now down, the information may be found in webarchives , will take a little bit of time to load content
http://www.getknitting.com/mk_holdposition.aspx.
Calculating frills and triangles online http://www.getknitting.com/mk_0603frilled.aspx http://www.getknitting.com/ak_0603triangle.aspx

Short row one side only http://needlesofsteel.blogspot.com/2008/10/short-rowing-part-1-one-side-only.html.
Diagonal corner http://needlesofsteel.blogspot.com/2008/10/short-rowing-part-2-knitting-diagonal.html.
Short rowing 2 sides at once http://needlesofsteel.blogspot.com/2008/11/short-rowing-part-3-both-sides-at-once.html.

Shaping shoulders and necklines (Studio) Knitting: site no longer exists http://www.guagliumi.com/free_stuff/downloads.html for PDF download info Machine Geometrics – Susan Guagliumi – Threads magazine, April-May 1987, pp 66-71. The Studio knitting tips series of articles were originally published for dealers only, may now be found in http://machineknittingetc.com/catalogsearch/result/?order=date&dir=desc&q=studio++tips

A Ravelry post on the topic with hints for hand knitting by Rox Knits http://www.ravelry.com/twir/86/ask-a-knitter-26

TechKnitting on HK topic http://techknitting.blogspot.com/2009/10/basic-short-rows-theory-and-method.html
http://techknitting.blogspot.com/2009/10/short-rows-method.html

Using the Brother knitleader: some tips

I recently brought my knitleader out of mothballs after a long period of no use, tend to use the magic formula for most of my simple charting
oh the math! Magic formula
online generators in includes a variety of calculators and methods for designing knit shapes

When using the knit leader you do not have to match the given yarn or gauge for a published patterns, they can be adjusted for size and for the type of yarn used in the specific project.
See Intro to knitting: gauge swatches for added guidelines and tips.

Manuals for 6 different knitleader models may be found for free download online at sites such as machineknittingetc.com .
KL-116 model, and a beginner’s guide to using the knitleader
Measurements are in mm, and taken with the ruler provided with the accessory or a substitute if the original is missing or lost.
Drawing on the sheets should start with a reference line at least 2 inches above the bottom of the sheet.
The midpoint dotted line represents the center of the piece.
The sheet is divided into 5 mm X5 mm squares and by thicker lines every 5 cm. The drawing space measures 63 cm (app 25 in) X 103-5=98 (app 38.5 in)cm allowing for starting line position.
The desired shapes are drawn on the sheet in actual size, using any water soluble pen. Multiple garment pieces may be drawn on the same sheet, it is easier to follow the respective lines if they are drawn in different colors.
Sheets may be used again and/or cleaned for next project. If the drawing happens on the reverse side of the sheet for some reason, take care in cleaning it off, the blue grid may be wiped off and lost in the process.
Do not bend/ crease mylar sheet or stitch measure scales.
Waste yarn and ravel cord are used prior to any permanent cast on to allow for knitting to begin on the starting drawn horizontal start guide line and with the yarn for the project.
When shaping narrower pieces on one side ie at neckline to shoulder or in holding techniques, be sure to move the carriage until it passes the feeding lever, so as to advance rows accurately.
These pages, from my own knitting KL-116 model, show some of the basics related to KL use Parts:

From a manual for a different model, shaping suggestions: Check ruler markings against the gauge swatch after the initial selection. Each ruler offers 4 options in terms of stitch markings, sometimes rotating the ruler or flipping it over to its opposite side is needed for a closer match. Bulky knitting machines use a different set of rulers. Besides the obvious difference in the distances between stitch markings, the standard rulers are identified by the same number on both sides, 1-20, while bulky rulers advance by single numbers on each side, are numbered 1-24.

Standard machine:
Vertical control: before you can shift gears you must depress the clutch. Tripping the feeding lever will usually release it.
Video on cleaning and lubricating the knitleader offer hints on maintenance or repair.
Testing for accuracy: set the row regulator to 150 mm and turn the knob 20 rows. The mylar should move the distance between 2 heavy lines, 5cm or approximately 2 in.
After measuring your swatch: draw a small horizontal line on the mylar sheet, followed by a vertical one to match cm +mm measurement for 60 rows, and a small horizontal one again.
Air knit 60 rows, beginning at the bottom mark, and at their completion, the top mark should be reached.
For ruler accuracy: there should be exactly 40 stitches between 0 and 40, lining up the tape on your swatch stitches and corresponding lines should match. If they do not, select another ruler close in range, until they do.
The pin is usually set in the feeding lever in the hole on the left.

The hole on the right is used when the length of 60 rows is less than 6.0 cm, which can occur in textured stitches such as tuck and slip, or fine gauge. In such cases, the row measurement is doubled, and the pin is inserted in the right side hole.

Single motifs may be placed anywhere on the drawn garment shapes, which in turn may be rotated to any angle required for the specific piece. Using the knitleader on the bulky:
A different set of rulers for the lower stitch/inch gauges is supplied with the machine purchase.
Make swatch as directed. Swatch guidelines from the manual (pp 45-47): I prefer to measure the full width in more than one place, then dividing the chosen result by half rather than relying on 2 single points as shown for the width measurement.
The bulky machine included stitch rulers when purchased new.
There are 2 gauge numbers on each corner instead of 1.
Every 20 stitches and 30 rows should match the numbers used for measurements.
With the pin placed on the left hole of the feeding lever, the arm will be tripped twice with each pass of the carriage. The shorter tripper on the back left of the knit carriage trips it once, the longer row counter tripper on the right also trips it on the travels from one side to the other.

For ribbed fabrics with high numbers of rows per inch: illustration from Brother ribber techniques book

Using half-scale patterns on brother’s full-scale knitleader.
Make the usual 40 by 60-row swatch (on the bulky 20 X 30 rows), or your preferred size and adjust measurements accordingly. Measure swatches with any centimeter ruler.
The stitch gauge: 1: follow outline but double the number of stitches indicated at all times, or 2: purchase a set of studio half-scale rulers and the accompanying “green ruler”. The S side of the ruler is used to measure stitch swatches over 20 stitches. The number just inside the right marker corresponds to the number of the correct stitch scale to be selected from the set. Each mark indicates one stitch. Measurements are based on 10 cm (4 inches).
Plastic rulers need to be taped into position. If there is a handy copier, paper rulers can be printed and placed/adjusted to suit, after checking on the accuracy of the reproduced scale.
For the row gauge: On the knitleader, the central peg is normally put in the left hand of the 2 holes on the plastic fingers in the front. If you put it in the right-hand hole, however, the chart only moves every 2nd row, which balances out the 1/2 scale in length. Program as always, setting cm and mm after pressing the clutch, but drop the connecting pin into the right hole of the feed lever.

Every other needle knitting: measure the swatch in the usual way, divide it by 2, and count every other line as a stitch, or use a ruler that factors in the number of needles as “stitches” before needles were put out of work. If the row count is higher than the highest number available on the regulator, divide the total by 2, and draw the outline half scale.

I like to measure a large swatch and get my final measurements via math to the second decimal point. It is possible on my model to shift tape to change the center 0 position. For sideways knit or wide pieces tracings of rulers can be made with 0 marking at the far left or right as needed. My math starts out with measurements to the second decimal point, rounded off up or down at the last possible minute.
The mylar sheet may be turned over, shiny side down for use in asymmetrical shapes that need reversing/do not have a central axis. Again, take care in cleaning it, the blue grid may be wiped off and lost in the process.

Drawings on mylar may be followed for colored intarsia or intarsia weaving.

Altering the scale of pattern drawings: the studio half-scale ruler was quite handy, pictured

Studio gauge rulers: depending on your machine, there are different numbers of stitches and rows marked. For 4.5 standard gauge you need to isolate 40 stitches and 60 rows; mid-gauge needs 30 stitches and 40 rows, and the bulky needs 20 stitches and 30 rows. To use the rulers: one side has an “S” and the other side has an “R” marked on it. Place the gauge ruler with the “S” side up to measure stitches. Place the cut edge of the ruler is against your chosen markings for stitches. Where the edge of the yarn marks lay, note the number, this is the value for the stitches in 4 cm.
Flip the gauge ruler over to the “R” or rows side and place it vertically to measure rows. Place the cut edge and the bottom of the first stitch in the main color yarn. Look up to the top where the main color yarn meets the contrasting yarn row, This is the value for rows in 10 cm or 4 inches.

tt-30-stitch_scales / Studio tips and techniques #30, now available for free download online from multiple sites includes more information on their stitch scales

scale and technical drawing; instructions for creating printable rulers

Water-soluble markers are helpful for colored cues for garment segments, multiple drawings on a single sheet, etc. I use template marking pencils may also be found in colors

It is possible to use various sources for the pattern drawings. If measurements are given in a diagram they can be drawn as given in inches or centimeters, and matched.
Sewing patterns may be traced, generally the seam allowance is eliminated since knitted pieces are joined by as little as half stitch on each side.
When attempting to match hand knit instructions, match the given gauge with the settings and ruler on the knitleader.
Load a mylar, with a horizontal line 2 inches above the bottom of the sheet as a starting guide. The shape will then be “air knit”.
Begin with the row counter set to 0.
Using a water soluble marker place a dot on the sheet at the original width and then every time shaping in or out is performed.
Marking with an added small line when a row count is reached ie at the start of armhole or neck shaping provides a roll back to point if marking becomes confused or needs to be double checked for any reason.
When all shaping is complete, remove the mylar and connect the dots.
Change the knitleader settings and ruler to match the swatch gauge for the planned piece, insert the mylar, and knit.

Lace mesh motif charting_ Mac Numbers_ a touch of Excel

October 2021: I periodically return to old posts and find much has changed since they were written in terms of software or in my thinking on the specific technique.
Rebuilding the working 24 stitch repeat from the colored chart here is now quick and easy. More detailed instructions on using both Numbers and Gimp may be found in my posts in subsequent years.
In summary, the expanded colored image of the repeat was cropped to 24 cells wide, 92 cells high. A table with cells measuring 20 by 20 points, 24 units wide, and 92 units high was created with a red grid. The image of the repeat was sized to match the same width and height as those of the table. The table was then arranged in front of the image, and black was filled in cells over the colored cells below. The new table was then screengrabbed with all interior cell borders removed, but with a thin border around all content, opened in Gimp, changed to indexed mode. Because lace has so few black dots I find scaling to punchcard size is more accurate if colors are inverted first, and again after scaling to the 24 by 92 required repeat, shown on the right. the associated png Previous content:
The symbols here were disregarded in building the repeat here, but they matter when developing designs for use with the lace module in DAK.
This lace “separation” was based on a mesh technique, created using Mac Numbers, for use on a Brother knitting machine, with the Lace Carriage operating from the left side. The final design requires 4 passes by the lace carriage followed by 2 rows of plain knit throughout.
Hand knitting: a brief list of symbols, and a few of their associated directions The hand-knit motif inspiration and symbols remain unchanged in this post, The colors were assigned for coding the direction of transfers to maintain the mesh transfer sequence splitting rows, is an option eliminated by apple in later versions of numbers copy and paste the above in a “blank” part of spreadsheet creating a new table; resize cells by selecting all in the new table, and clicking/ dragging on the bottom line of any of the grey, numbered row cells on left to number/ measurements of cells in the original document. Release the mouse, and all cells will be uniform in size.
In later versions choose the round symbol on the top left of the table to select the whole table or select all cells in it, in the table menu on the far right, cell size may be adjusted to any numbers one desires. If the final file is for scaling in other programs, it is best to have both numbers match. I have grown fond of 20 by 20 as I continued to work between numbers and Gimp. Note: after elongation, on first and all odd-numbered rows colors occur, but no symbols. On even rows, there are both colors and symbols. On odd rows (no symbols) now “erase” the green, on even (symbols) erase the red, results below, on the right

mark the outside of motif on the above right with a third color, beginning on the second row; cut and paste complete motif in a “clean area of your sheet so it is surrounded by blank space, this will save a lot of “erasing” (technically this creates a new table)select and copy blank rows as wide as your motif (blue outline on left)click on 3rd color square beginning at the bottom left, use the insert copied rows command, adding 2 blank rows between pairs of rows that will become markings for lace transfers, moving up the design, ending with 2 blank rows as well the resulting “separated” mesh repeat is now 92 rows long: spacing between repeats and number of knit rows at its top may be adjusted to suit preference/ taste. Red and green squares are what is punched, or black squares on mylar sheet, etc. Note: red containing rows have no symbols now, while green ones still do, another visual check with repeats this long, it is worth marking up the final template like that encountered on the card or mylar as described in previous posts: a pdf tree_lace for downloading and marking to suit, depending on mylar sheet or punchcard use. Each colored square represents a punched hole of a black cell. The resulting swatch:

the full repeat could be used singly, to create a border, or to become a part of a much larger one …

the same motif created in Excelany change to repasted motif affects the whole document in that area, unlike as in creating a new table in numbers as I recently “discovered” (a very convenient difference)
to elongate the design, so far my solution has been to mark as above, click on third color cells on the left, beginning at the bottom, then using the insert row command. Doing so yields results that can be seen in the partially expanded chart below the remaining process may be carried out, using slightly different tools to achieve the same results.

HK trim as MK edging

The link to this trim has often appeared on Pinterest but was later deleted.
I knit it as directed, and in turn, slipped it off the needle and onto the bulky KM

a closer look