More GIMP charting 3

These are quick notes from some of my continuing experiments, not explicit how-tos or item patterns. Possible lengthening of designs dependent upon knitting technique is not considered; the “charts” were created keeping the aspect ratio of the original motif. The initial images are copyright free.

from scanned B/W source, 200 pixels X 227

open document

Image_Mode_B&W 1 bit indexed_ Convert

Image Scale 200 wide down to 50

areas were “cleaned up” using single-pixel pencil, when satisfactory capture window with grid enlarged for working graph,  or remove the grid, export in format for download

this is a partial repeat of a large black and white .png image

working with a smaller, random selection

Open image

Image_Mode_B&W 1 bit indexed_ Convert

enlarge, show grid, decide on the accuracy of repeat,  when OK, graph or export and knit, no clean up required for this one

Filter_Map_Tile_magnifying result  will test the accuracy of the repeat

the motif was a random crop, with obvious issues, more work would need to be done with the original image to isolate the proper section for tiling accuracy to occur

a multicolor image 143 pixels X 112

Image_Mode_Indexed _3 color (manual change from 4 to 3)

Image scale to 100 pixels wide

Enlarge for viewing grid and/or cleaning up; result yields 2 repeats that could be used 50 sts wide each, leaves could use a bit more detail

a partial image grab, pre any “corrections”

if color separations are needed for software that can superimpose colors and do the necessary color changer manipulations cues a link on color separations for screen printing provides some ideas. Another method

Tools_Selection Tools_By Color Select

Edit_Copy

Create new document the same dimensions

Edit_Paste

repeat for each color

the results: the flower is actually in the “wrong place” even with what appeared to be the same document settings

easier and “on the spot”:

Tools_Selection Tools_By Color Select

Click on color one (flower)

Edit_Cut

Fuzzy select, click on the screen outside of the image: the result

Re-open original image

Tools_Selection Tools_By Color Select

Click on color two (leaves)

Edit _ Cut

Fuzzy select, click on the screen outside of the image: the result

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Double jacquard separations 4_ making them “work”

Working back to the repeat from post # 3 on this subject, I returned to the drawing board and edited the separations.  Tetris is a tile-matching puzzle video game originally designed and programmed by Alexey Pajitnov in the Soviet Union. The objective of the game is to manipulate tiles, by moving each one sideways and rotating it by 90 degree units, with the aim of creating a horizontal line of ten blocks without gaps. The principle at use for the separated “squares” shapes is to achieve the same result for each of color separation groups (highlighted by dark borders in the charts), by moving them up and down, or changing their positions in the color sequence. The first method (beginning with only one row of ground color) has eluded me in terms of an “error free” result. More than one version consistently in a missing single stitch of color. The latest method shows the problem color “tiles” marked in dark ovals. The column on left is the original separation, A shows the juggled colors, B the pixels, squares, or punched holes for the repeat, and the far column on the right shows markings that may be used to track the color change sequences, which may be transferred to punchcard, mylar, or for any cues in change of sequence your program can provide. The swatch approaches the original intended design far more than any of the previous attempts. It is expected that the background color will be the majority or main color of the design; it gets separated out as first color. By splitting the knitting of most of the needles to the beginning and the end of the sequence (japanese 2 color default) this way, one supposedly eliminates the chance that the needles knitting the second row of each color will knit over, blocking a space yet to be knit in the first row of the design by a color that has not yet been knit. In this small pattern no colors knit more than 3 consecutive stitches at any one time. With some motifs the final alternative is to redesign the motif.

the test swatch (striping was the result of forgetting to set the KM for slip <—>)

Using the alternative method for decreased elongation of motif upon knitting, here are the working charts for beginning with 2 rows of color 1

the swatch: got it!

my mylar sheet markings

A&B show my marks corresponding to color positions in the color changer, the first 3 repeats on left are the ones used to knit  the swatches. Separations are suitable for DBJ, but I chose to knit trials in single bed slip stitch.

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GIMP software 2

This is the method I used to achieve the “color separations” in the previous post:

File new: create in canvas size for a knit repeat: deleting the default 0 gives a working surface that is 64X40/ OK for small motifs

Change magnification to 1,000, hit return

GIMP Windows_Dockable items_ navigation will provide an easy slider to adjust sizing as needed

View: show grid, snap to grid

RGB mode

Draw test motif repeat, using the one-pixel pencil tool in B to draw, W to erase

The program allows for combining all items in one window, I prefer not to

test motif

Save the file in native format .xcf  for backup and future changes

Use color markings to outline repeat

Adjust magnification with navigation slider if needed for easier editing

With crop tool, crop area within colored markings; menu_image_crop to selection

Use filter, map tile to view repeat in multiples- adding a 0 to both x and y pixel number values is an easy way to achieve that. The tiled image is in turn easily gridded if such a graph is required- simply go to view, highlight show grid, grab the resulting image, and save

If the repeat is satisfactory: back to image cropped screen, click within the window, go to file export menu, choose the file format, and save as png, BMP, etc for download, or simply screen grab the image in an easy to see size if punching a card or requiring a single repeat chart. I do not own Dak; GIMP does have a .pat read and save, but I have no way of testing whether files are in any way compatible between the 2 programs.

Most electronics are able to take the motif repeat and separate it automatically for a 2 color DBJ knit. If a separation for 2 colors DBJ is required for use with a punchcard, or for any of the fabrics already discussed one needs to return to the .xcf magnified document.

For the simplest DBJ separation, each row will break down into 2 colors, which in turn need to be knit with 2 passes for each color. This method is the one that is most likely to increase the lengthening of the knit image, but one that “always” works.

To lengthen the repeat X2, cropped repeat area needs to be converted to 2 colors or  go to image, mode, click on convert

Gimp 2.8.22: Image, mode, select Indexed 

Open Image Scale window; use image scale tool, clicking once again on selected repeat areaGIMP 2.8.22: highlight number you wish to keep constant

To break the aspect ratio and control one of the 2 values, click on the chain like symbol on right, it will appear “broken”

change the second value

Click on scale image. If the intent is to continue editing by using the pencil tool, the image mode needs to be returned to RGB before proceeding with editing.

Adjust numbers to the desired scaling, height doubled for the original repeat would be 18 pixels in length, here is the result

To separate the rows revert to RGB mode, unselect repeat area by clicking outside its parameters.

row 1/color 1 in DBJ needs to knit in the largest number of “squares”, so my color inversion will begin on design row 2, for color 2; because these are individual pixels, numbering is not possible; I use color guides for the row that need to be inverted and repeat outline, and use the navigation bar to enlarge for easy selection individual rows with the crop tool

After selecting the desired row with the rectangle select tool go to colors_invert, seen here for the first row of color 2, repeat for the length of motif. The result is suitable for use with double length KM built-in features and using the color changer. The black squares represent programmed pixels in download, or what is drawn on mylar/ punched in the card.

If the double length of the separation is required: image _mode _indexed removes red and yellow squares, repeat process described above: select motif, use scale tool over the same area, scale image to 8X36. The caveat here is that one needs to be in the original canvas area: with a beginning canvas that was 64 X40, there is enough room for doubling length once more. Undo scale, use scale tool again, dragging upper and lower corners, keeping an eye on changing numbers in the window for scale tool, type correction to numbers if needed, click on scale,  autocrop to selection for export in the desired format or screen grab and print to the desired size

working with more colors, toward similar goals

adding colors: 3 colors per row motif, drawn in RGB mode

to make it the required triple length

resulting image when scaled to triple pixel height

the still manual color separation: whiting out unwanted colors in each row

double the length again

colored squares represent pixels in download, square in mylar, punched holes in the card

GIMP software 1

GIMP (GNU Image Manipulation Program) is an image retouching and editing program released as free and open-source software. There now is a Mac OS Mountain Lion compatible version. The downloads may be found here, and more links for features, supported file formats, help tutorials. One limitation is that for “color separations” to work by inverting colors one needs to reduce images to 1 bit B/W images, a definite advantage is the speed relative to working in spreadsheet programs. Another drawback is that one is using single-pixel designing, so adding numbers for rows and stitches in a particular format is not possible. My June 10th post on illusion knits illustrated an example in creating repeats for them, here are sample results/charts

quilting double bed (for more on the topic see May 30th post)

MOSAIC PATTERNS

the accompanying swatch, which shows the difference in width resulting from using tuck setting <—> (top) and  slip <—> setting (bottom)
double jacquard

images of working settings and gimp windows for my separations

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Illusion /shadow knitting DIY designs_HK

I have played with excel (and Numbers) before to create charts for various fabrics requiring color separations. My latest efforts relating to this knit group have gone in a different direction; I have also attempted to simplify the technique in terms of following the instructions for knitting them. This sample began with the use of Intwined to create the document and graphs. The first chart is set up with alternate row color striping, color 1=dark, color 2 = light. Blank-colored squares are used as knit symbols, and horizontal dash for the symbol for purl stitches. Beginning on light-colored, even-numbered rows, the design is marked in purl stitches. On odd-numbered rows beginning with row 1, mark all empty squares in the even-numbered light-colored row immediately above it with purl symbols. All unmarked stitches throughout the design are knit, whether, on the “wrong/right” sides, all dashes are purled, patterning occurs on the second row of each color. To visualize the full pattern one may use the add row below feature to expand the graph (the chart below is missing the very first row). Now add the second row of each color and grounding stripe (s) at bottom of the repeat. Most patterns will start the illusion immediately after casting on with dark color, row 1 above. I was interested in my sample having a border of sorts on its top and bottom. The resulting knit swatch shadow sideIntwinded had the capacity for building row by row written instructions for patterns, but there were discrepancies on some rows for these charts, and I opted not to include them.
Note: the program quickly became buggy, unsupported, and unusable on the Mac during the remainder of 2013.

Another program I have just acquired and begun to use is GIMP; it is free, and now also available for use in Mac OS Mountain Lion. Both Gimp and Photoshop make it possible to design using single-pixel pencil and grids to build motifs from scratch as well as gridding of preexisting images. I have a different method for these fabrics using GIMP, which is easier for more complex, overall shapes. The same series of steps may be used for mosaic knitting (the color inversion sequence is different). Below are images generated for a different illusion pattern, I will share my “how-to” for designing the motifs later, referencing mosaics and mazes. To achieve such motifs one is drawing in magnification of multiple hundreds and more, there is no way to number within a one-pixel space, so these charts as generated are lacking numbers for stitches and rows, one drawback. Another is that this color inversion works only in black and white. One advantage: the proper repeat may be cropped and saved with the grid removed in various formats that may be used to import to various machine knitting download programs, and gridded may be used to establish punchcards or mylar repeats.  Screengrabs of magnified charts were saved, and are shown below. Black squares represent purl stitches in the second row of each color. The first row of each color is always knit, not represented in these charts
The red squares are guidelines for no color inversion rows, the yellow ones isolate the repeat the actual repeat color inversion begins on row 1 and follows every other row (if numbered these would be odd rows)  testing the repeat through filter/ map/ tile a working chart that can be printed to suit with dark/light row markings and blank squares for tracking knitting rows in the execution of the pattern A larger version with stitch and row counts marked. The chart represents half the rows in the actual knit. The cast on row counts as knit row 1, color 1, and following the chart beginning with row 2 knit the black squares and purl the white squares. *Change color, knit one row (odd#), on the next row follow the chart, knitting the black squares and purling the white (even#).** Repeat from * to **. the knit swatch: “shadow side” its reverse side for online tutorials, patterns, and inspiration see Woolly Thoughts

Feb 18, 2017, I have recently become curious about creating illusions such as these in crochet, am developing ideas, and returned to this chart. The image below is intended to have symbols and notes superimposed on it. It shows the tiling in a different way, so I thought I would add it to this post as well. Repeats are highlighted with darker borders. The repeat on the right needs to be trimmed if the goal is to achieve matching edges. Row counts on the right would differ in knitting, the plan is to execute this pattern in Tunisian crochet, which handles rows in a very different manner than knitting or standard crochet. Follow up: 2017/03/06/illusion-DIY-patterns-in-crochet/

2/2019 from the first in a series of posts on geometric shapes on ribber fabrics using tuck settings, a mock variation with the ribber set for knitting in both directions throughout, and the main bed set to tuck in both directions:

Multiple downloadable pngs for optical illusion designs may be found in the 2023 post on Developing tiled repeats suitable for multiple stitch types, including tuck

2024 the process described in More separations for various knits using Gimp, color to alpha was used on this file, beginning with the 24X28 PNG The initial separated design, also 24X28,  tiled X6, rendered double length to 24 X56 for knitting with color changes every 2 rows   tiled X6 Developing a circular design using the same approach a 24X24 repeat color separated 24X24 double height 24X48 A single row height brick repeat, developed in ArahPaint, also 24X48 double length, 24X96   its half crop companion, 48X24 double height, 48X48

Not all parts are created equal: sinker plates

A recent forum discussion brought up the possibility of exchanging sinker plates between models. This is often possible, with some adjustments at times being required. The images below show the one sinker plate I know of with truly distinct parts, made for the 892E, 894, 4.5 mm Brother punchcard models that had a thread lace capability like that seen in the bulky 260 machines.

the illustrations on operation and parts from the manual

The bottom view in the first photo shows the distinct brushes and their white plastic “arms” (for lack of the technical name). The red line on the right shows the span and “nub” that may not align properly on the knit carriage if there is a huge disparity in model years. I knit using a lot of “fussy” yarns, substitute tuck wheels for the brushes usually on far right and left of image as viewed here to avoid problems sometimes caused by the bristles getting damaged and worn with use. Some people actually remove the same brushes altogether, but I have not had good results doing so. The three screws above the wheels on each side are used to adjust the space between the sinker plate and the gate pegs if needed. When the gap is too small yarn may get caught, when too great stitches may not knit off properly. Generally loosening the only the 2 side screws is enough to allow movement of the sinker plate in relationship to the gate pegs. It is helpful to have an old credit card or other “tool” to help hold the correct spacing while screws get tightened back up with carriage in its knitting position on the main bed.

This view shows the front of the sinker plate; the white plastic “arms” may be seen at the top of the image, 2 other distinct features on this model were the 2 metal pieces marked on the right

BTW: though some compatibility charts online list the 910 series as having thread lace capability, they indeed do not. I will try to find information on later models, and share here.

Quilting on the Brother KM 2, solid color back DBJ

Quilting books may give inspiration for varied shapes. The illustration below is a diamond variant, another may be found in the brother ribber technique book p. 33, different color and KC knitting sequence.

On orange rows, the main bed knits lots of needles, selects sealing stitches for the next row of knitting, on green rows the ribber does most of the knitting and will select the stitches the main bed will knit on the subsequent row, and so on
The first preselection row direction does not necessarily matter in single color fabrics as long part buttons in both beds are set appropriately, unless double length is used, in which case KC row needs to be toward the color changer and the design needs to be in 2-row “color” repeats whether as actually punched, “drawn” and programmed, or with elongations used. The above repeat is suitable for punchcard machines as well. If knit without elongation one may use the same carriage settings as the previous sample above. KC –> with card/pattern locked, knit one row to right, set card/pattern to advance, opposite part buttons in use, results in knitting tubular for nearly square diamond shapes. The “stuffing” below is small cut-up pieces of waste knitting.

For longer diamonds or 2 color knitting, KC<– row is toward the color changer. Settings on the ribber need to be changed manually every 2 rows for both single color and 2 color patterning.

When lots of needles are selected on MB, knit 2 rs using settings pictured on left, the ribber slips for 2 rows. If only a few needles are selected, knit 2 rs with settings pictured on right. The ribber will knit all needles, MB only those providing the outline of the shape in the front of the knit, sealing the layers. All ribber carriage slip setting changes happen with carriage on left, prior to the next pair of knit rows, before or after the color change. Errors are less likely if a sequence of the steps involved is developed and followed.

settings, col 1               settings, col 2

The sample below was knit in 2/48 cash wool at T 3/3 using the above repeat. The fabric is sheer, and the joined sections of fabric are lacey.

This method allows for knitting large shapes without the distortion resulting from many double bed techniques. A series of swatches using the technique:

front view rear view

Once the principles are worked out, very thin yarn or monofilament in front may be used with a thicker or contrasting color in the back, with viewable inclusions against the ground. A wool backing and a non-felting front can achieve interesting blister-like looks without some of the issues of double bed blisters and patterning, large shapes of plain knit could be contrasted against all rib backgrounds, and so on

a few more experiments

a monofilament cocoon with paillettes in its pockets

It is also possible to use an altered knit carriage to knit rows on the main bed only, while leaving the couple carriages on the left instead of changing ribber settings from slip to knit and back with color changes, see later post on ribber-fabrics-produced-with-2-knit-carriages-selecting-needles/

A Ravelry question raised the possibility of knitting a flat tube with a different solid color on each side. This may be achieved using the same principle as quilting. The programmed pattern is for 2 rows of punched holes or black pixel rows followed by two unpunched or all blank rows. When all main bed needles are preselected, the ribber is set to slip for 2 rows, only the main bed will knit. When there is no preselection on the main bed, the ribber is set to knit, no stitches will be formed on the main bed, so each surface remains separate. The knit carriage is set to KC1 to ensure the sides of the tube will be sealed. If two knit carriages are used to select needles, then it is possible to easily adjust tension for the alternate color if that is deemed needed.

Knitting again, more block stitch, color changes

Two more of my scarves, rayon chenille, knit single bed

still working out the last repeat, now double bed

more studies

the final scarf detail for fabric on bottom left knit in tencel and Nomi Lee, 8″ X 63″, + 4 ” i-cord fringe; a detail shot

and yet another variant, knit in alpaca/silk blend and Tencel, 9″ X 58″ + 4 ” i-cord fringe

A recent Ravelry post brought up the use of the brother double bed color changer, which may actually be used on both bulky machines and on standard ones. The placement for the setting plate needs to be swapped when switching from one gauge to another

The knob on the left under my text is what screws into place to anchor the setting place in either spot. There is no single bed color changer for the bulky. This color changer may be used to knit single bed fabrics as long as they are weighted enough (ribber cast on comb through waste yarn single bed), since there are no wheels and brushes on the ribber sinker plate. There are limits to the amount of texture one may create, and having the ribber engaged reduces visibility, but the trade-off is speed. The 2 carriage trick on the 260 is a problem because the punchcard machines do not advance a row when the opposing carriage makes its first pass in the opposite direction of the last row knit.

Quilting on the knitting machine 1

SINGLE BED QUILTING for straight-edged pockets, hand technique only: leave needles OOW creating vertical ladders in location to correspond to side edges of pockets, have a loose tension row (at least 2 numbers higher, more if possible) to mark their tops. Both will serve to pick up stitches, loose rows help for the turning of any hem when joinings begin.

Knit half the length of the fabric required (create a small hem that will, in turn, be at the lower edge of the finished piece if preferred), continue knitting, picking up ladder loops closest to bottom turn prior to each pass of the carriage, continue until the loose tension row is reached, pick up all stitches as in a hem to seal the knit pockets, repeating the process throughout.

Hand technique combined with punchcard: slip stitches are a familiar tool in marking rows for picking up hems such as at the top of knitted skirts. They can also serve to create pick-up bars, and the slightly narrower, shorter lining for a quilted fabric. Nearly all stitches and rows in the card need to be punched, empty spots (non-selected needles) will skip, creating marking “floats” for rehanging after completion of the first half of the piece. KC pattern selection is on, part <—>. Non-selected needles on the second half of the piece will give a clue as to where to hang the floats, in turn bringing selected needles out to holding if desired. KC: needle selection is left on, no part buttons, the carriage is now set to knit every row throughout. The fabric will be knit together in those spots on the next pass of the carriage. Decisions can be made as to whether to do this every row or every other. A self-drawn possibility is below on the left in which instance all white squares would need to be punched out, a possible factory pre-punched on right. Not to be forgotten is appliqué, where separate shapes may be knit and joined onto the ground (knit in any desired stitch) technique by a seam as you knit method.

DOUBLE BED QUILTING: carriage settings on brother are for circular knitting. Cast on for every needle rib with a familiar yarn, knit one or 2 rows, and to make a trial piece, set the main carriage to slip to right, ribber carriage to slip to left. The ribber tends to knit tighter than the main bed since large numbers of needles will be knitting side by side, the tension should be loosened at least one or 2 numbers while on the main bed the tension used should be closer to that used for the same yarn when knitting stocking stitch. Bring every X needle on the main bed to hold position, knit 2 rows, and repeat to the desired length of the pocket. When the latter is reached, lower the ribber slightly, “stuff” pocket, bring all needles to hold position, the needle set up is with needles at halfway between each other (racking handle H as for every needle cast on ), so main bed may be brought to hold as well, knit 2 rows, and repeat process adjusting cam settings. The same principle applies here whether patterning is used or not. With slip setting non-selected needles (B pos) slip, do not knit, and needles in D position or holding in hand tech, will knit and in this fabric seal the fabric. In the chart, the symbols represent the stitches as they are formed on each bed to create a tube. The carriage icons show that opposite part buttons are in use on both beds. The ribber (odd-numbered, white rows) knits left to right, slips right to left, MB (yellow rows) slips left to right, knits right to left, creating a tube.

Automating the function brings us to another color separation of sorts. In single color quilting using simple tubular setting: Knitmaster machines work a bit differently than Brother, so cards/ mylars would have to be designed accordingly, Passap has some built-in techs that can help with this. The settings below are for brother, and the card, for narrow vertical tubes. The width between punched holes could be adjusted to any factor of and up to every 24. Every row or every other row can be marked. Cast on for every needle rib. In this repeat when rows with no needle selection occur at its top, set both carriages to knit 2 rows (or bring all needles manually out to hold) to seal pockets. MB is set to slip in one direction, will knit on even rows,  to slip on odd rows as punched. The ribber is set to slip from right to left and knit from left to right. With carriages at KM’s left insert the card, lock on row 1. KC –> knit 1 row in rib from left to right, release card, and continue knitting. In Brother machines, the tucking lever must be in the down, N position as well. When possible, the tension on the main bed should be as loose as it will allow, if stuffing the pockets is planned. Without wadding, the face can have a crumpled look with a smooth back.
A small test with a 15 stitch wide pocket

Going further in automating the repeat: this card portion includes the sealing rows (1 and 2): extend repetitions of rows 3 and 4 until the length of the desired pocket is reached for your DIY repeat. The ribber is set to slip from right to left and knit from left to right, the main carriage to knit from left to right, and to slip from right to left (opposite part buttons). With carriages at right insert the card, lock on row 1. KC <–, knit 1 row in rib from right to left, release card (or mylar), and continue knitting to the desired length. Make certain there is an even number of rows between each pair of sealing rows in your own design. It takes pairs of carriage passes to complete each circular round. To use the repeat below as a continuing pattern, one row in its height would need to be removed or added. A test  of the repeat

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Vertical striper backing on Brother KM

I reviewed and edited this post in mid March 2019, with plans to add a part 2 post on use of llili buttons when I am able. The content here explores one of the possible lili settings, where slip stitch is used in both directions for every other needle pattern selection on the ribber.

If one chooses to hand manipulate needle selection on either bed, bringing needles to be knit out to hold with the carriage in use set to slip, one can make knit stitches happen wherever one chooses. Automating any part of the process speeds things up, but comes with built in KM limitations. lili buttons enable every other needle selection on the Brother ribber carriage, behave in the same manner as when using the following card single bed.

Another way to look at it, showing the isolated smallest repeat bordered in red on the right side, and action on needles in work on the ribber, K for knit, S for slip. Movement of the carriages shown is from left to right and back to left, the color changer side

The usual rule when working with lili buttons and slip <– –> setting is to have an even number of needles in work on the ribber bed. The markings on the corresponding needle tape consist of dashes with spaces between them. For an even number of needles, if the first needle is positioned over a dash, then the last must be positioned over a blank space.
The charts below take into consideration duplicate rows, knit first away from, and then back to the color changer resulting in striping every 2 rows. Patterning is fixed, beginning with the second needle from the left when traveling from left to right, and the second needle from the right when traveling from right to left. The second needle in each instance knits. This is true whether one starts on a “blank” or “dash” needle tape position. With an even number of needles in use, needles in work begin and end on opposing symbols in pairs ie dash and blank, or blank and dash

Dashes and spaces on the needle tape are shown in the yellow row in the chart with the first needle on a “dash”. Needles (colored squares in repeat) are numbered reflecting the sequence in which they are knit as the ribber carriage moves in the direction of arrows. 

If an odd number of needles is in use, the same needles will slip/knit respectively. Grey squares represent the needle location for which the ribber carriage thinks it is selecting, including the missing needle location to keep the number of stitches even. Unless settings are changed patterning is fixed on the same stitches.

To create vertical stripes using slipstitch, this would need to be the repeat, not “automatically” possible on the ribber

The card that is being imitated is card one elongated X2, here shown in the studio version  “Fooling the machine” into thinking a continued number of odd needles are in work is achieved by bringing an extra needle in work on the ribber carriage side on left, and then right in turn on the carriage side, or one empty needle on each side at the same time. The knitting happens on the needles represented by yellow squares, but the carriage thinks it is knitting the pink repeat

Odd needle setups begin and end on the same symbol ie. Dash or blank on the needle tape, in this case, the “dash”

If knitting begins with an even number of needles in work, extra needles are brought into work with a starting even number of knit stitches, each 2 passes produce a single row of knit with alternating slipped stitches, resulting in a narrow stripe alternating with small checks, or plain stripes in each color on the fabric backing. Again, the movement here is away from and back to the left side The overall design is interrupted by knit stripes, depending on whether one or 2 extra needles are brought into work, here is one sample.  Working with an odd number of needles on the ribber

2023 :
Repeat steps between * and **.
To test the technique choose easily identified contrasting colors.
The main bed will be set to simply knit every needle, resulting in stripes in 2 rows of each color.
Cast on using the light yarn on an uneven number of needles on the ribber, with the first and last needle in work on the top bed. Set the ribber to slip with the lili buttons set for both directions.
COL, dark color: the second needle will be knit in it. Do nothing, knit 2 rows
*COL, light color: the goal is to fool the machine into thinking the light color will knit on the second needle. Bring an empty needle into work on the ribber on each side, shown here on the right. Knit to right.  COR: do nothing, knit to left.
COL: there is now a pair of empty needles, they need to be taken out of work so as not to add new stitches. Change to the dark color and knit 2 rows** A sort of tune: light yarn cast on, follow with dark yarn, knit 2 rows
*light yarn: empty needles up, knit 2 rows
dark yarn: empty needles down, knit 2 rows**
For wider stripes, release the lili buttons.
Set the ribber to slip in both directions on an even number of needles.
Pairs of needles will need to be hand selected on every row on the ribber and brought up to E so they will be knit. The remaining needles will be skipped. Beginning from the same side, I chose the left,
*COL: bring up the first needle pair, #1 and 2, for color 1, continue across the row, knit to the right
COR: repeat the same selection, knit to left
COL: change color. Begin selecting pairs with needles #2 and 4 from the same side, and continue across the row. Knit to the right.
COR: repeat the same selection, knit to the left. **
The yarn used is thin, thicker yarns will fill in. Because alternate colors are slipped for 2 rows, the stitches that are skipped are elongated compared to those that are not. These methods may cause distortions on the knit side if used in patterned DBJ, seen slightly in the horizontal stripes. 2013 To knit:
*COL (carriage on left): color 1 knits to set up the base in pattern for 2 rows, ending on the color changer side.
Before knitting with color 2 COL, bring an extra needle into work before moving from left to right. Knit one row.
COR: drop the extra empty needle on the left OOW, and bring an extra needle on right into work. Knit to the left, return to the color changer, drop the extra needle on the right OOW, and change colors*
Repeat the * *process throughout. Check regularly to make certain that the extra needle does not become an unintended increase.
Having an extra needle in work on both sides of those on the ribber on the main bed will insure end stitches knit off and side edges are cleaner, with less noticeable elongated stitches on each side.
If loops are formed on needles brought into work, they need to be released before knitting the next row.  This did not occur in the samples knit using the method described in 2023.
The fabric swatch from the original post illustrates the vertical striping. The thin yarn clearly shows the lengthening of slipped stitches, and why some DBJ fabrics are referred to as “long stitch” ones, with color bleed or grin through from colors traveling behind them.
The plain rib at the bottom is significantly wider than areas where slipstitch is used, an issue if plain rib is to be combined with DBJ created with slipped stitches. On the knit side in this instance, the fabric is knit stripes.
When using the color changer starting with waste yarn and testing yarns, gives one the opportunity to make any adjustments necessary including on occasion doing a bit of metal bending where needed.

A subsequent proof of concept for inclusion in the later post It is also possible to work with the same approach, using tuck settings. A first experimental test lili buttons may be used with needles out of work when using thicker yarns, or for the resulting effect on that side of the fabric. A vertical stripe in that instance produced with hand needle selection on the ribber bed.  Lastly, here is a tiny swatch in an arrangement beginning to explore the odd number of needles in work on the ribber in conjunction with the use of lili buttons, and adding needles to “fool the machine” as described above