A wealth of information for owners of Superba knitting Machines includes a blog, and its creator, Patrick Madden, has contributed frequent, beautifully photographed tutorials for owners of these machines on Ravelry, with an extensive photo library on Flickr as well, as P.Madden.
Hound’s tooth FI variations
It appears hound’s teeth are turning up on runways everywhere, along with plaids. There are many variants of the pattern, and excel and other software programs make playing with motifs, literal and not so much, easy and quick studies. History of the particular platter may be found @ http://www.tess-elation.co.uk/houndstooth/history, analysis of the math involved: https://archive.bridgesmathart.org/2012/bridges2012-299.pdf
the Studio punchcard version 
the Brother version 
a more block-like one, similar to some found on woven fabrics
a petite cousin 
playing with the negative space (no longer suitable for punchcard)
some repeats lined up 
some “doodles” of mine 
from an online search 
adding simple shapes 
a weaving draft 
more weaving drafts, scaled for knitting, repeat isolated, and tiled for preview
color reversals
vertical pattern combo with other designs, repeat is 8 rows by 47sts
from a punchcard pattern book 
going large,28X28
48 X 48
going a little “crazy”, a 134 X134 pixel image, followed by tiling of it 
from a 3 color weaving draft inspiration
2024 Software tools have changed dramatically since much of the body of this post was first published, some downloadable pngs and added content follows
working larger scale, planning for an added third color, the starting 16X16 png 
planning a plaid effect requires eliminating touching points, the repeat adjusted to 17X16 
areas adding a third color 
finding the individual 68X64 repeat 
always check tiling before knitting
Going huge, planning a repeat on square 8X8 grid blocks 
the resulting 32X32 file 
tiled to 160X160 
adding another color after removing some pixels, the repeat remains 32X32 
adding a third color in spots, work in only 3 selected colors, not RGB Mode
this particular variation repeat is 128X128 pixels in size 
the palette can easily be adjusted to match yarn colors and help to finalize the color choice 
2024: this pattern was also based on a weaving design, and appeared evocative of shapes in this family 
some of the pattern definition may appear less clear in the transition from BW computer renderings to the actual knit sampling 
Garter bar/ short row trim
A recent MK forum request for a HK trim look alike led me to the following experiment :
the hand-knit trim
There are multiple ways to achieve knit and purl combinations on the KM. Brother garter carriage will do so “automatically” albeit slowly, ribbers may be used in combination with main beds, ladders may be latched up by hand, or one may use the garter bars to turn work over. When large widths are required the options are to use multiple panels, or to knit the fabric sideways letting the width become the length. Some HK fabrics are impractical if not impossible to duplicate on standard home knitting machines, and compromises are chosen. I tried to create a distant relative of the proposed trim, with a bit of family resemblance.
Below the short section to my garter bar is pictured. I mark every 10 eyelets with nail polish on my GBs to help with tracking stitch counts (do same with centers of ribber combs). The photo shows it in the position in which it needs to be held to take stitches off the machine prior to turning them over. The hollows under the eyelets (1) provide room for the needle hooks to slip under the yarn and catch the stitches when work is flipped over. Hollows under eyelets occur on the side with the convex ridge (2). There are many online sources for using the bars, now available in multiple gauges, including an article by Susan Guagliumi.
my working graph
I worked my edging on multiple of 12 stitches. The purl/knit symbols represent how the knit will appear when viewed on the side where the held shape is convex. Work begins by knitting foundation rows and using waste yarn at the start with open stitches on the first row of knitting if the ruffle is to be seamed/joined at its ends upon completion. The magenta/green rows represent respective whole rows to be turned to the reverse side using the garter bar after each knitting sequence is completed. Testing first is required to establish the optimum stitch size for a gauge that will allow for easy stitch movement in transferring stitches on and off the garter bar:
arrows on the blue ground indicate the position of KC at beginning of sequences
end knitting of first “purl” section COR, turn work over (magenta)
COL: knit one row across all stitches, carriage moves to the right (pink). I find it easier after holding starts to move the carriage to the opposite side by taking it physically off the machine and leaving settings alone, results in fewer yarn tangles and problems for me.
COR: set the machine for hold except for the first 2 stitches on right. I tried one stitch at a time first, but the wedge was too deep, so I began working bringing stitches to hold 2 at a time, carriage side first. Stitches could be held opposite the carriage as well, but that created a set of additional holes when one returns to knitting those stitches in the opposite direction, and a pointy edge (segment marked with dot #2, more on a later post on miters and spirals). The number of stitches brought to hold can be varied as needed, the goal here is a symmetrical result.
COR: when only 2 needles at left are left in hold opposite carriage, knit an even number of rows (orange area, I chose to knit 4, then 6 rows in my test)
COR: when the last 2 stitches on right have been knit for 2 rows (green) transfer all the stitches to the garter bar
Get carriage to left, COL: return stitches to needles, knit for an odd number of rows (magenta, COR), turn work over
COL: knit one row across all stitches to right (pink)
COR: begin holding sequence again
I began the sample with 5 rows in between the mitered shapes and then tried 11. This is labor-intensive if produced in significant lengths, so a choice can be made depending on personal taste and patience. Though it could be attached as one knits the item it is intended to trim, there is enough going on I would probably estimate the length, take it off on waste yarn, and hang it onto the larger item. If longer, the trim may be unraveled to suit. If an addition is required it may be added on but at least working with the much larger bulk of materials will not be for the duration. Holding lever may be set to knit for single passes prior to turning work over in sections using holding, or stitches may be pushed into work by hand.
dot 1 rests on “killed acrylic” repeat test, the remaining sample is knit in wool: dot 2 marks the extra holes when the holding sequence is changed as described above
with five “purl” rows between turning and holding
11 “purl” rows between turning and holding
the reverse side
about half the wool portion of the ruffle was pressed, the knit became smoother, the edges less rolled. Those are properties that can become a design choice/decision
If an all stocking stitch ruffle serves the purpose this could be the start of the working repeat for using slip stitch to knit programmed needles selected to patterning position; here the black dots represent areas that knit, white squares stitches in holding. The repeat must be an even number of rows, using it as drawn, the starting side depends on whether one is using a punchcard machine or electronics
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For some hints on how to use the garter bar see later post
Knit QR codes 1, repeats from BW images
A video on this topic. I work using Mac OS 10.10 at the moment. When I first wrote on this topic, I downloaded a then free converter The app, Aztec Code Generator, is now no longer free (11/2015) but costs $ 1.99 to purchase. There is a still free, online QR generator
my beginning code
the original image size was reduced to 60 pixels square, and in turn to 40 pixels square respectively, then magnified to 600 times for superimposing the single stitch grid as described in the video; screen-captured image saves are needed for saving gridded images
the 60 stitch repeat
the 40 stitch repeat
using the Aztec code generator to control output size
saved
X1,000, cropped and gridded
not all units are created equal: areas numbered indicate where some of the horizontal units are 5 wide rather than as most 4, and closer inspection will reveal the same for some vertical units. Reconfiguring the grid ie to 4X4 pixels would be an alternative way to “resize” the image, but fails because of the disparities when the unit is applied overall
trying the same process on this BW jpeg, the resulting repeats require further cleanup and editing along edges of shapes
using GIMP: 40 stitch repeat, no additional scaling, converted to 1bit BW, could use a bit of clean up, I prefer to work with a black grid
24 stitch
as an afterthought: results using img2track to pixelate the same image before gridding
please note these scroll graphs are not accurate working repeats to be knit as they are
it is always a good idea to test tiling for any “surprises” before any actual knitting
11/2015_Knitting’ low resolution is reflected in the number of stitches and rows per inch or per repeat. In this instance, Gimp was again used to scale and process the image
Today’s generated image: happy holidays QR code, Aztec code generator, 300 pixels square including white border
color mode converted to 1-bit B&W; 100 stitch repeat
scaling, gridding for 30 stitch repeat
for 24 stitch repeat: note loss of detail as stitch and row counts are reduced
and happy holidays via the free, online generator 
using the generator options to control available output size
The above begs many questions. Upon investigation, it appears there are 18 2D bar code variants, some static, some dynamic. Qrme is a UK site that provides information on trackable QR codes, forums, and more. Their page shows scaled in size codes modules.
Entrelac pretender 2
This is another fabric combining holding and slip stitch to create shapes. Below is my first working repeat, the colored lines indicate a dividing line that would give me a black square on either side for setting up the second, split repeat to reverse the direction of the knit stitches.
I am sharing not to provide a pattern or specific how-to, but to provide some ideas for technique experimentation by readers with some experience and familiarity with the combined use of patterning and holding.
My mylar repeat as used on the 910 appears in the direction as drawn on the knit side, while punchcard models using suitable width repeats knit repeats in the direction as drawn on the purl side. Later electronics automatically mirror programmed repeats, true of my later model 930. Depending on the model in use this electronic repeat may require mirroring before or after downloading. 
A newer chart of the design, with row numbers requiring actions highlighted on the left of each repeat. 
Machines that automatically mirror would be selecting this 
Air knitting is a good way to test pattern placement on the needle bed prior to any knitting.
When the slip stitch setting is used and segments are worked on only part of the needle bed or with needles out of work, end needle selection is usually canceled. On electronic machines, this is done using the KCII cam setting.
Each 22-row program is used across one full row of “entrelacs”.
The bottom repeat as given above preselects KCII <–, knits left to right, and the top repeat preselects KCII->, knits right to left on the 910.
Each horizontal segment knits on groups of 22 stitches and ends on “half” a repeat.
The half repeats combined with the reversal of the knit direction result in a balanced fabric.
As the direction is reversed, the alternate repeat needs to be programmed. A bit on method:
COR for bottom mylar repeat KCII <- knit all stitches color A,
COL set the machine to slip <->, bring all but the first 22 sts on the left to hold, and knit 20 rows.
The resulting shape is being created from left to right when the top is reached the stitches at the left of the sequence will be in the B position, and the ones on the right will be in work.
COL: at this point push the next 22 sts into work, knit to the right.
COR: return first repeat 22 sts to hold position, and continue in pattern for 21 rows.
COL: bring the next group into work, and knit/move across the selected number of needles.
COR: bring the previous grouping of 22 out to hold. Repeat as needed for the desired width.
When the full row of shapes is completed and the last group of needles is preselected, COR: cancel holding and slip, knit one row on all stitches to the opposite side, and change color to B if desired.
COL: program subsequent repeat, KCII, select ->.
COR: set cam buttons to slip <->, KC to hold, bring all but the first 22 needles on right into work, and reverse the full sequence.
My swatch was worked on needles 34L to 21R and had an interesting 3D texture until I pressed it.
The differences in the size of the eyelets at the tops and bottoms of the shapes are due to the fact that when stitches are brought out to hold on the carriage side, an automatic wrap is created, reducing the size of the small slits usually formed in short row knitting.
I like to press the initial studies to have a clearer definition of the edges of the resulting shapes and the location of color changes so as not to disrupt the pattern. 
There will be yarn ends to be dealt with where color changes occur, some could be knit in with the same color while making the piece. I can imagine that if the 2 rows of all knit stitches are eliminated between entrelac rows, even more variations could be done with added colors, but I personally am not “going there”.
“Automated” shell shapes
March 2020: in attempting to fill a request for a punchcard repeat, I am finding added ways of looking at the topic, will share in a later “revisit” post.
This technique combines holding with the slip stitch setting. When KC is set to slip it is the punched holes/black squares that result in needle selection and stitches knitting. Blank areas in cards or mylars are slipped/ skipped.
my mylar repeats for each segment
the swatch before pressing knit side
the purl side
the dimensional texture is flattened out when pressed
the purl side, flipping the shell shape horizontally
using a yarn with memory and tighter tension would help retain the 3-dimensional quality if that was the original intent
A bit on method: the repeat used for the hand technique in the previous post was changed to an even number of rows, with other adjustments.
The execution was in a brick configuration 
. all knitting begins on and moves right to left; needle bed may be marked to help track repeats
. for straight side edges program second mylar repeat first; I knit my sample on needles 22L – 34R
. some needles will need to remain OOW, cancel end needle selection = KC II
. COL: first selection row is done L to R with the yarn color used for the next shell sequence in A feeder
. COR: the machine is set to hold non-working repeat groups, and the KC is set to slip <->; in the half-repeat working the first half-shell takes place on the first 7 needles on right
. COL: when the top of the repeat is reached the orange row will be selected left to right
. COR: after needle selection of previously held stitches happens on that row, bring the total number of stitches for the next repeat on the left into work manually, knit one row across the 21 needles
. COL: stitches in the yellow area will be in B position; bring all stitches to their immediate right to hold, then the “yellow group” to work by hand, continue to knit in the same process across until the horizontal row of shells is completed
. COL: program machine for full, alternate pattern repeat (bottom of mylar) for a row of all whole shells
. COL: depending on personal preference, holding may be canceled for the first selection row, or stitches may be pushed back to D position and carriage kept set to slip <-> before knitting back to right and resuming working on each pattern unit
. COR: repeat process, working on groups of 14 stitches at a time from left to right
. COL: on completion of the row of full shells return to the first program, continue the process until the desired length is reached
To match casting on and binding off I often start with waste yarn, make the decision as to how to end the piece in a way that I like based on my test swatches, then rehang the stitches from the first row and treat them as I did those in the last row of knitting.
Thinking of modules: a shell “diary”
This is the beginning of a thread on modular shapes on the KM. Much is published in the form of both how-tos and patterns for hand knit modules. One of the critical differences between HK and MK as in mosaics is that in HK garter rows may enrich the surface textures. Unless a G carriage is in use, frequent travel between opposing needle beds or turning the work over on the single bed is required on the KM to create the garter rows, which may be considered tedious and impractical rather than impossible. A question from a friend led to my beginning the topic by trying to sort out shell shapes. In the samples below two different weight yarns were used, first because they were conveniently the closest to my yarn mast, and second because contrasting colors are helpful in defining what is going on at the edges of the shapes. The irregularities in spots are operator error, the repeat pictured is sound. This is not a step by step “how-to” for those who have no experience with holding techniques, but rather a starting point for anyone who would like to play with a similar shape
the swatch immediately off the machine has a bit of 3D going on
knit side after pressing
the purl side after pressing
the working repeat: dots represent stitches knitting, blank squares needles in hold for each individual segment
For forming a straight edge at the sides of the finished piece, the first horizontal row of shells must start and end with half a repeat. Set up is on a multiple of 14 stitches. I began working with COR. Stitches are brought into hold consistently on the side opposite to the carriage, when 1 remains at top of half repeat (2 for full repeat), the remaining six of the recently worked repeat and subsequent 14 for the following repeat are pushed into work (21/22 sts), one row is knit across all needles, COL, the 7/8 remaining stitches from the previous group are brought out to hold, the carriage travels back to the opposite side once again on the grouping of 14 stitches, COR, holding pattern resumes opposite carriage, and from right to left. The contrasting color in the second horizontal row of shells begins on left, working on a full 14 stitch repeat, reversing the shaping. I am considering automating the process with slip stitch. The latter would have to occur on an electronic if repeat is to be used as-is since on a punchcard the width would need to be adjusted. If a brick repeat such as above is desired, two different cards or programmed repeats would need working out for the alternate shapes to occur on the same location on the needle bed after completion of each horizontal shell sequence.
It can be helpful to mark up a needle tape or even the needle bed with water-soluble markers to keep track of the repeat’s locations. I used a separate color for each repeat set. A bit of denatured alcohol on a lint-free cloth piece easily removes them. Markings on needle tape pertain to some of my other projects.
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An entrelac pretender
“Automating ” normally labor-intensive hand techniques cannot truly duplicate them. Below is one effort to produce an “entrelac-like” fabric using the slip stitch setting. The biggest advantage of this is the knitting speed as opposed to creating the individual cells using holding and picking up stitches. Some drawbacks: slip stitch floats on the reverse make for a dense fabric, and may be an issue in a garment. There are elongated stitches along the edges of the shapes at the color changes, these cannot be avoided. I am not a fan of the Brother single bed color changer so I opted for changing the color by hand. “Air knitting” helps one sort out where to set up the pattern on the machine. The fabric is knit using the slip setting, so I chose placement on the KM where I had needles selected on each side of the knit on my first row.
The pattern is begun on row 8, card locked, COL.
The first-row preselection is to the right.
COR, card to advance normally, KC set to slip in both directions, change color after 8 rows of knitting, then every 14 rows.
As in any slip-stitch design, punched holes will knit stitches, unpunched holes will skip them, creating floats on the purl side between knit stitches. 
The green dot on the right of the card indicates the starting row for the first repeat, row 8, subsequent lines are reminders to change color before knitting across that particular row, taking into account the fact that the card reader is reading below the line of sight on the machine’s exterior. 
Note that before the color change the yarn in use will create a float in the area that will be skipped by, and knit in the same area as the subsequent color will; at first, this may seem counter-intuitive, but it is correct, and the effect may be seen on both sides of the swatch.
If changing color by hand, remember to “close the gate” after each color change to avoid dropping the knitting off the machine if the yarn in use moves too far forward to be “caught and knit” by the appropriate needles.
With necessary adjustments in starting row and settings, technically this fabric may be knit on any KM brand.
The yarn in this test is the same alpaca/silk blend used in my shawls, at tension 6. If a color changer is used, the KC row must be from right to left with knitting rows moving left to right and back to the color changer.
2023
The same repeat may be used double-bed as well, using single or multiple colors, with the potential for variations in striping.
The minimum electronic size repeat is 12X28 pixels.
The red cells in the chart indicate the greatest number of rows, 12, that any one stitch will be held until a black pixel knits that same now very elongated stitch on the next pass. 
The main bed is set to slip in both directions, and the ribber is set to knit in both with the first and last needle in use on the ribber.
The skipped stitches get quite long, thin yarn may be used but watch for any breaks or issues with gate pegs, adjusting the tension as needed.
Hand to machine, symbols 4: cables
The following begins to address cable translations. I posted some content on cables in January 2012, but this content follows the present vein.
Blue dots continue to represent the hand-knit symbol, below them the fabric is illustrated as viewed on the knit side.
The pink dots and the images on either side of them the machine knit, or fabric as viewed from the purl side.
In the column on the far right, the green dots and the images below them represent the opposing twist in HK and are illustrated only on their knit side.
To execute combinations in knit-purl on the same side of the knit on the machine, a ribber is required (or a Brother G carriage). Purl stitches are on the main bed, and knit stitches are created by the opposing bed. To match the hand-knit here, crossings are actually made in the same direction in both HK and MK
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HK pattern, software charting.
I have reached the point where decades old (89 and earlier) magazines that got “saved” are now being peeked at, and if not given away, then recycled. There may be some bleed through here from pages I have “saved” once again. Browsing through I found some designs not appropriate for machine knitting for one reason or another, but still creating interesting surfaces and the chance to explore using intwined’s other features. The program will create text from a chart, or chart from typed text with some limitations. One of the latter is a very large cable as seen in the attached document. PDF exports can happen within the program if one is specific in the sequencing of creating its documents. The 1989 pattern had only text for the repeat; I typed it, and had the chart pretty much created for me except for the problem row 5. Here is the resulting Intwined created PDF with some of my comments: cable_diamond. The following is the graph I edited, with my illustration for the execution of row 5
the blue line separates the slip stitch section, which can serve as a border on each side of the cable panels, the red lines the edges of the 12 stitches involved in the cable. The green stitches are put on a cable needle and brought to the front of the work, the next 6 stitches are knit first, then the ones from the cable needle to complete the crossing.
the swatch: knit side
the purl side
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