Using lace transfers to form horizontal waves

IN PROGRESS

I rarely hand-knit, but still browse patterns that seem challenging and visually interesting to me, i.e., brioche designs, fox paws, and lately, my eye was caught by this again, a piece by Kieran Foley, his great shawl of China, leading to my pondering making waves by using lace transfers combined with FI, whether with hand transfers, or with automated repeats. This is a grab of part of the shawl, which, of course, is not reproducible on a home knitting machine, but can inspire cousins. Working in Mac Numbers, with the plan of starting on the easiest to track series of transfers, and then automating needle selection to guide movement of stitches and fair isle patterning.
Green cells mark eyelet locations after transfers to the left, magenta ones eyelet locations after transfers to the right.
Yellow cells represent knit stitches/ rows, and the other colors represent the fair isle striping.
For the Lace segments, the carriage is set to needle select, but no cam buttons are used. Needle selection is to guide the transfers, 3 to the left and 3 to the right.
Row 1 knits, row 2 hand-transfers the selected needles, and knit
Row 9, all needles are selected; it is the last row in the lace repeat stripe.
Rows 10-17 change the knit carriage setting for fair isle knitting.
Row 18, all needles are selected again, change the carriage function to knit, and begin another lace segment.
The repeat needs to be 34 stitches wide for the fair isle pattern to line up properly, ie, 17X17, 34X17, 6 eyelets per completed transfer row.  Retaining the yarn and tension used for the lace segments and working on the same number of stitches, now adding transfers in the center of the knit blocks in the above swatch, plotting it out first in a spreadsheet, again marking left and right transfers.  A tentative repeat to help with needle selection was developed, 28X19,  but abandoned in favor of working the design strictly as a hand technique.
Custom needle tapes can be useful, and if a color printer is available, they can be designed with added colors before printing them.
Any tools used to help track actions can be marked as little or as much as one desires or finds helpful.
The next swatch in development on the machine:
Begin by selecting the same every other needle every row with the carriage set for fair isle using chosen colors for X rows.
With the carriage set for plain knitting, knit a row with the lace yarn.
1-2: After transferring the groups of 3 needles in alternate directions on a center stitch that will hold 3 stitches, the needles were brought out to E position to make it easier to spot the places for the next series of eyelets. Their transfers mirror the triple transfers to the right and to the left; there will be a center needle between them that remains undisturbed throughout the piece.
3: When lace transfers are completed, at 11 rows, check for proper transfer stitch formation or dropped stitches visually, and that no needles were accidentally pushed back to the A position during transfers.
Bringing all needles forward to E will ensure that they all will knit with a last pass using the same yarn.
The knit carriage ends up on alternate sides. The convention in machine knitting when planning frequent color changes is to work with pairs of rows to allow travel to and from the changer or to manually change colors, always from the same side.
An 8-eyelet per completed transfer row design. A habit with years of traditional transfer lace: transfer left, knit 2 rows, transfer right, knit two rows. There are many possibilities in changing colors: here, first every two rows, then every 8 (full repeat segment). 
With a repeat established, it is easy to explore adding or changing colors or techniques for different looks. Bands of plain knit (or FI) make the knitting grow more quickly. To eliminate the eyelets being divided between color changes, a shift to working with repeats containing odd numbers of rows was considered and briefly tested, but, as often happes inDIY, sometimes it takes a while before a lightbulb moment to occur, such as looking at that transfer spacing again in each 8-row segment, and noticing that the series of transfers can occur within a single row before being followed by any number of knit rows.
Hints:
Use light colored yarns at the start, making it easier to check for proper stitch formation.
Knit 4 rows. Check that all latches are open before making transfers.
When making transfers for each segment sequentially in single rows, the stitches become stretched, a consideration in choices for yarn and tension. A view after the completed transfers, emptied needles out to E for illustration purposes. Bringing all stitches out to E before any knit rows provides an opportunity for a last visual check of stitch formation. Feel behind knitting to make certain loops/ stitches are not hung up on gate pegs.
In this swatch, 4 rows of hand-selected FI are added. Knit row placements for color changes every 4 rows, and with centered eyelets. A smaller horizontal movement using a first automated repeat: the LC makes 8 passes, followed by two knit rows (or more). Using contrasting colors aids in viewing the degree of movement.
Repeated in width X2, 48X40, pairs of eyelets in each completed transfer row, the design required mirroring on the 930.
These repeats for automated patterning are found in Kathleen Kinder’s Machine Knitting: The Technique of Lace.
Fantail, p. 120, 24X24, 4 eyelets in completed transfer rows, half repeats are slightly staggered, required mirroring on 930.
In the test swatch, each 12-row LC transfer sequence is followed by 6 rows knit.
Transfers occur before the all-knit color change/ stripe.
Because yarn changes are made manually with the knit carriage, remember to close the gate in the Brother after the change to avoid dropping the piece to the floor on the next carriage pass.
Yarns can be cut or carried up the side.
Knitting through the first stitch on the right with the next color before knitting with it keeps the yarn lengths between rows even without added weights.  Feather and fan, reversed on 930, p. 58, 24X24, 6 eyelets in completed transfer rows. With 24 passes of the lace carriage before any knitting occurs, using a friendly yarn, and considering as many knit rows as possible between series of transfers, a two-color study is a start before either changing or adding colors, and perhaps FI stripes. Peacock plume, p. 58, 24X22, 8 eyelets on completed transfer rows. The negative spaces do not relate to shapes secondary to the transfers, as was seen in some of the mesh transfer lace. The 22 LC passes occur before they are followed by two or more rows of knitting.
This was the fussiest design to swatch.
It is an exception to having no selection on the last LC pass to the left. Instead, the needles preselected on the last pass to the right are now transferred to the left as the LC returns there.
There are multiple transfers where pairs of stitches are moved, and stitches in transfer areas become stretched, requiring tension adjustments.   Fifty stitches measure only 5.5 inches in width. The striping reminds me most of the inspiration hand-knit pattern, but both my machine and my eyeballs/brain need a break from this technique for a while.
This swatch uses Brother card 426. The results evoke the multicolor hand-transferred swatch with 6 eyelets on completed transfer rows.

To mesh or not to mesh 11, combining large and standard eyelets

To mesh or not to mesh 10: more large eyelet variations provides a review of information in some of my previous posts, and links to information to achieve the combinations shared by others.
The direction of transfers is marked in many of my charts with cyan cells for transfers to the left, and magenta for those to the right.
In these knits, large eyelets are created by side-by-side transfers.
Two empty needles in standard transfer lace may indicate an error, or that the repeat needs to be mirrored, while here, if in testing these patterns, only single stitch eyelets are produced, they indicate the same.
The transfers resulting in side-by-side needles on which loops will form with the next knit carriage pass are circled. The next group of transfer selections will anchor the side-by-side loops.
The repeats mentioned as used on the 930 may need horizontal mirroring, depending on the machine model or the download software.
The 32X24 design produces a vertical column of small eyelets on a field of larger ones.  The eyelet placements are planned this way, but the full repeat, 32X24, needed mirroring horizontally for use on the 930The work on the machine: after the side-by-side transfer in opposite directions is made, there will be a loop on each empty needle hook. The usual second pass with the knit carriage repeats the loop formation, and the first pair of loops is dropped. The choice can be made to keep the dropped loops, forming visual ladders, or to lift them onto the hooks so that when they are secured by the next pair of transfers, the edges of the eyelets form cleaner rounds.
Here, the dropped loops are undisturbed.
A potential troublesome spot is those loops getting hung up on gate pegs, so a light color is useful when first experimenting. As the return to transfers is made, the transferred stitches will anchor down the side-by-side loops as new double transfers are executed.   Vertical columns formed by small eyelets on a large eyelet ground, mirrored for use on 930 to this 32X24. Vertical column formed by large eyelets on a chevron ground, for knit side borders of any size, cast on a larger number of needles than in the width of your programmed lace repeat, here a 24X32 repeat is centered on 32 stitches, as used on the 930. Creating shapes: in Seasonal knits inspired by published repeats 2_hearts, 36X88,  used a combination of large mesh and single transfers to create the heart shape. 

 

More on brioche, geometric shapes knit with tuck setting

Most tuck patterning is based on designs with lots of black pixels serving as background for white pixels in bars that are generally a single cell in width, and on Japanese machines, no more than 4 rows in height, followed by black cells above them to knit tuck loops and the last knit stitch in the same location together.
One random sample, 24X48, to match a repeat suitable for a punch card. Several fabrics visually break that pattern and are knittable.
Such instances may be found in single-bed “floatless” FI, aka mosaics and mazes.
This is a large-scale sample, 40X40.To knit it using the tuck stitch setting, the original design is color separated by color-inverting every other row in the original image, starting with row 2, and then doubling the result in height to 40X80. To knit as a tuck or slip stitch pattern, the last PNG was again color-inverted,  programmed, and test-knit on 80 stitches, and for 120 rows.
The pattern section of the swatch, knit using the tuck setting, measures 11.5 X 9.75 inches and is reversible. When working in every needle rib, if the ribber is set to knit every row, the stitches on the ribber will help anchor tuck loops formed on the top bed, which makes tucking many side-by-side stitches there, again meeting limitations in terms of the number of rows in Japanese models, dependent on yarns and design choices.
As in the case of single bed mosaic/ maze work, when using more than one color, each design row repeat must be repeated twice, and is knit with color changes every two rows.
The swatches are knit with the end needle selection on to ensure end stitches are knit on both beds; the result is the beaded appearance in the side edges.
The first and last needles in work are on the ribber, with it set to half pitch.
These fabrics have good drape and are very stretchy, so cast-ons and bind-offs in the final pieces must be considered.
A recent FB question on brioche knitting to achieve horizontal lines of color rather than vertical, prompted a return to sampling with a new repeat, 18X24. The process is fully automatic, while the brioche with designs formed by shifting vertical lines of color to create shapes evoking the far more complex hand-knit versions requires hand transfers as often as every fourth row.
In horizontal patterning, each color is present on each needle with each carriage pass, whether as a knit stitch or a tuck loop, so loop and stitch colors will mix.
The work on the machine: after the first carriage pass is completed with either color moving from left to right, needles that are pre-selected forward will knit stitches, the ones in the B position will form tuck loops.   After the carriages move to the left, repeating the same selections and preselecting for the next carriage pass, the color is again present in every needle hook as a stitch or a tuck loop.The needles that are preselected forward to form knit stitches with the next carriage pass now hold the last stitch knit in the previously used second color, and 2 tuck loops from the recent, dictating limits on the yarn thickness used. The pattern was test-knit on 36 stitches.Introducing small diamond shapes in a brick arrangement, separated by solid color stripes, 16X80. The test was knit on 42 stitches.
Those dropped stitches, noticeable on the bottom right, were missed as can happen when knitting ribbed fabrics, where they may not be noticed until after several inches of work on the machine, or even after completion of the piece.  This left me wondering about other geometric designs and how to make the process easier in DIY design development.
This 16X18 design was used frequently in previous posts on color separations.In color separation for mazes/mosaics, alternate rows beginning with row 2 are color inverted, then the result is doubled in height to 16X36, twice the height of the original.   The repeat was tested on 32 stitches. To color-separate for DBJ, where each color in each design row knits twice, multiply the original X2 in height to 16X36, color invert every other row beginning with row 2, and multiply the result by 2, to 16X72, 4 times the height of the original. Seeking a visual break from the yellow, the blue was the third yarn tried to achieve a predictable stitch formation.
The same tension was used as in the red and yellow swatch, tested on the same number of stitches, 32, with a resulting pattern area 1.25 inches wider.
The design is more recognizable, and the separation method, automated by some download programs for 3 or more colors, may be worth a test run.

Returning to the skull shape slightly different from the one first explored in the 2022 post, planning to decrease the height of the overall repeat by color separating as for a mosaic or maze, the 58X82 starting PNGwith every other row beginning with row 2, color-inverted 58X82,  with rows of pixels added at the top and sides for more pattern surrounding the skull shape,70X90,  doubled in height to 70X180, sampled on 70 stitches produced a more rounded skull than the repeat sampled in DBJ. The DBJ separation would begin with the initial 58X82 file doubled in height to 58X164 before beginning the color inversions. Some of the related posts, in reverse chronological order
A review of brioche patterning 12/25
More shapes on ribber fabrics with tuck patterning, fantasy fair isle 2/22
a more challenging size, with horizontal striping, the knittable separation, 98X384 Geometric shapes on ribber fabrics with tuck stitches 3   9/21
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages 3/19
Geometric shapes on ribber fabrics with tuck stitches 1 2/19
Fisherman and English tuck stitch rib 1_ checks patterns_ Brother, Passap 10/18

Ladders meet slip and hold, go around to form new shapes

The concept for this post began in 2022, and as so often happens, I got distracted by some other rabbit hole and came across its draft while looking for another previous post.
In November 2025, a similar approach was used to produce modified hexagons to achieve automated star shapes.
The basic steps
1: Put in hold the number of needles planned for the radius, cast on with waste yarn, and knit several rows in the planned needle arrangement.
2: Set the knit carriage for plain knit and holding, and with the project yarn, knit one row.
The outer edge of the final shape will be on the side opposite the starting side, where only one row is knit across all needles in work before short rows start.
The remaining rows are worked in pairs, bringing needles first out of and later back into work position, and when the desired number of segments is reached, knitting ends with a single knit row as well.
Visualizing composing a variety of geometric shapes,    and with the addition of ladders and increasing numbers of segments to form shapes other than larger triangles,which requires some practice and patience. The printed 64-row repeat chart can prove useful in tracking the required hand techniques. It is intended to be followed with the first row executed from left to right, and then with holding pairs of rows from right to left. The chart can be mirrored horizontally and followed for operating from the opposite side. Grey cells represent needles out of work forming ladders and eyelets. Eight segments form a square with sides that, depending on yarn choice, may bow toward its center and move away from straight lines.
Although the small ladder spaces add interest, they add tracking complexity in knitting and can be eliminated.
A yarn that can be blocked flat is a better choice than one that will spring back at the edges and curl.
Omitting the smaller shapes, in the bottom angle, as stitches are brought out to hold, to maintain a constant 4 needles in work, bring an empty needle into work on the left, and transfer a stitch on the needle to the right, with the last transfer on row 17.
To make a sharper turning point, 4 rows rather than 2 on single stitches could be considered before the return needles to work sequences.
On row 38, transfer stitch to the left, taking the needle out of work, forming a ladder. Repeat until 3 empty needles are reached, and maintain the ladder space size by transferring a stitch to the left, bringing an empty needle back into work on the right until the starting needle arrangement is reached, then reverse shaping.
To bind off, take off on waste yarn, rehang stitches, knit side facing, for both bottom and top edges, use your preferred bind off.
Steaming at least the top and bottom of the swatch before joining to make the stitches more visible when picking up may be helpful. I did not. Other bind-offs, including grafting, may improve the join.
Triangular versions in differnt color and yarn choices,  and an attempt at going square. In a last try at forming a square, the new, taller repeat has more constant stitch counts, making transfers and held stitches easier to ID.
The yarn used is a wool rayon, knit at tension 6, resulting in very small stitches around the outer edge, even with the use of weight on that side. This would become a consideration if one chooses to block the individual results or when joining multiple pieces together.
The revised 70-row repeat chart can be printed and marked as desired.This swatch was the first ever that I blocked to coax a more permanent, final square shape, using ribber comb wires. The base is an old, bulky felted swatch, my go-to when steaming/ pressing swatches. The result after resting, perhaps needing a few more small tweaks.

Historical posts
Lace meets slip and hold,  goes around, ruffles, and edgings  
Automated shapes across rows of knitting using slip stitch only  10/20
From automated lace edging pattern to doilies and ruffles  7/20
Lace edgings on Brother machines- automated with slip stitch 2 7/20
Lace edgings on Brother machines- automated with slip stitch 3/18
Return to circles, knit and crochet “pies” 1  2/17
Doilies: Lace meets hold and goes around  3/11
The “doilies”_swatches  3/11
Short rows meet circular shapes 
Return to circles, knit “pies”, miters, and spirals 4  3/17
Return to circles, knit “pies” 3  3/17
Return to circles, knit “pies” 2 (round yokes and more)  3/17
Return to circles, knit and crochet “pies” 1  2/17
Revisiting miters, spirals, going square, round, and more  2/16
Return to circles, knit “pies”, miters, and spirals 4  3/17
Miters and spirals: visualizing, charting (and more) 3  7/14
Miters and spirals: visualizing, charting (and more) 2  7/14
Miters and spirals: visualizing, charting (and more) 1  7/14
Short rows_ balls, tams, 3D rounds  12/13
Back to that pie: a bit of holding  6/11
Knitting math and pies 6/11

To mesh or not to mesh 10: reviewing mock filet designs

One of the many differences between automated machine-knit transfer lace and hand-knit lace is that the alternate direction of transfers in machine-knit lace occurs after the first is completed and followed by knit rows separating the eyelets, so there is always a slight shift in horizontal lines formed by them.
In hand-knitting or when stitches are manually transferred in both directions on the machine before knitting any additional rows, the appearance is noticeably different to purists and closer to hand-knit.
To truly match some of the transfers, stitches need to be removed from their respective needles, and other stitches are placed on the empty needles before the removed stitch is restored to its place. That is not an automatic function, but an added hand technique.
Changes in aspect ratio are often accompany knit structures and are seen in lace as well, more noticeable when one begins to use representational motifs, as in these recent cases, flowers.
There are so many sources available for designs, one need not necessarily build motifs from scratch, and they can be made more personal with modifications.
After choosing the base mesh, math may be used to change the scale of the superimposed shape.
Using small designs to test differences in results, one way to simply change the result is to multiply the height of the original shape by X3, with or without also doubling its width, thus approaching the 4X6 ratio often attributed to knit stitches other than garter.
The designs are programmed as fair isle in electronic models, which often automatically mirror the design horizontally.
Ways to modify electronic and punch card published transfer lace designs 6/26 returned to a partial image of a card used in 2011 as a mock filet mesh with traditional LC operation from the left side.
For the bse mesh, the LC makes 2 passes for transfers to the left, 4 passes for transfers to the right, each sequence is followed by two knit rows using the knit carriage operating from the right.
With the punchard located, the repeat was rebuilt using Mac Numbers, and a combination of ArahPaint and Gimp to reproduce the 24X162 file as a PNG. A 24X84 segment was, in turn, isolated, drawn in brick repeat, 24X168.  The swatch, tested on 60 stitches, helps to determine whether other DIY arrangements, i.e., widening the repeat or altering the edges of the shapes for use only on electronic machines, should be made.
For some reason, the yarn used, which had posed no problem in recent swatches, was particularly cranky in transfers. The swatch has several dropped stitches.Using a random flower design from a published source, 18X20 multiplied X2 in height and width, 36X40 4X6 brush fill to use as a background on a 60X60 canvas offers 2 choices, one can be to copy and paste the enlarged flower onto the mesh grid with the white color to alpha,  the other to lock the magenta color, and superimpose copy and paste the 60X60 mesh ground file onto it, not anchoring it in place until the preferred position is found.
36X40 The magenta shape is then bucket-filled with white.
Either method will require some cleanup to reach a programmable, final file size. In this case, for a 60X60 BW PNG.
When tested and drawn in repeat, followed by the decision to bring flower shapes closer together, cropping the design to 44X60 with a couple of shifted pixels in the center of the flower to keep the direction of all transfers the same across horizontal eyelet rows, and then tested.  Different distribution of the shapes: an untested brick repeat, 44X120,  and a half drop 88X60.  Changing the aspect ratio of the flower, an 18X20 slightly different design is multiplied in width by 2, in height by 3, to 36X60,   and superimposed on the 60X60 mesh ground with magenta bucket filled with white,  the tested repeat cropped to 48X60, produces a slight change in overall appearance,  adding the change in scale to the list of potential choices in DIY designs, if larger repeats are preferred, this previews the brick version, but the half drop needs work. Early Brother electronic machines, i.e., the 910s, used mylar sheets.
Any programmed design was automatically mirrored horizontally to avoid having images, i.e., text, appear in the wrong orientation on the knit face. When looking at images that accompany files, the direction of the motifs in the program is the mirror of those shared in the accompanying swatch.
The charted image is what appears on the purl side, facing the knitter.
Some download programs will automatically mirror any file, adding to confusion as to whether that is required in some instances.
A way to test whether mirroring is again required in your software/machine model is to program the desired mesh, knit a small swatch, and there should be no side-by-side needle selection.
A simple button selection on electronic models can flip the image horizontally if needed. My preference is to alter the PNG and save it before programming it, to avoid errors in larger pieces, or later returns to the design, since I am not always the best note keeper.
From Brother Electroknit Lace Patterns 3, two larger-scale patterns that are published on a rectangular grid show the mirroring of the design in the final knit and the change in aspect ratio.
Conversions to BW PNGs

60X132120X132
The appearance of the edges of the knit stitch shapes takes on the more familiar look of their edges as seen in my own shared designs. 
60X120
120X120 Ancient magazines are easily found online for browsing and inspiration.
Now tired of flowers, this Knitking magazine published a pattern that included a sailboat design, which caught my eye. Visually, the card offered clues as to a possible problem with the mesh ground, but initially, the only change that was made was to the starting row, as seen on the BW chart on the right.Additional clues are also in the tiled 24X56 PNG, and here are those knit stripes breaking up the ground behind the sails. It is not possible to know whether errata were ever published for the card, or whether the outfit may even have been knit on an electronic model.
If there is a fondness for the design, the background can be adjusted to maintain a consistent mesh while keeping the punch card 24 stitch constraint.
A close-up of the garment’s texture. The new 24X54 mirrored design attempting to duplicate it.  The result allows for a closer look at eyelet placements and further editing based on their distribution if desired. Some of the historically related posts:
To mesh or not to mesh 15/11To mesh or not to mesh 2 5/11

To mesh or not to mesh 3 5/11

To mesh or not to mesh 4 5/11
To mesh or not to mesh 5 7/17 a collection of mesh design repeats To mesh or not to mesh 6: chevrons 6/20

Lace knitting tips, to mesh or not to mesh 7 7/20
To mesh or not to mesh 8: more Numbers meet Gimp 5/21
To mesh or not to mesh 9: more on mock filet design 12/21

Unconventional uses for punchcards 2: thread lace cards for “filet” mesh 8/17



Revisiting adapting Studio punch card simple lace cards for use on Brother.

Ways to modify electronic and punch card published transfer lace designs looked at some ways to achieve lace designs on Brother models with single knit rows between transfer segments, which influences the number of total knit and lace carriage passes, changes the appearance of the spaces between the resulting eyelets, the height of the finished piece, and the aspect ratio and gauge of the original pattern executed as intended.
This post revisits a source of pattern inspiration for such knits that explores cross-brand patterning repeat development.
Links to historical blog posts on the topic are listed at the bottom.
There are so many sources for free, published volumes of all sorts of brand-specific knitting techniques, that finding inspiration in them for execution or DIY designs is endless and production-ready.
That said, as with punch card volumes for Brother machines, in Studio equivalents, not every type of possible stitch type is represented, and names for each may vary not only between brands but sometimes within the same brand, depending on the time of publication.
Testing techniques using simple geometric shapes and knitting with light-colored yarns makes it easier to understand what happens in the process and how stitches are formed, informing the choice as to whether to invest in DIY variations.
Perhaps not ideal to pursue in large pieces, some of the working through of issues to translate designs cross brand can increase understanding of how stitches are formed, and aid in developing personal preferences and patience limits in seeking out something specific or “new and different”.
The method for charting out the transfers by assigning colors to the left and right transfers aids in translating hand-knit charts for machine knitting.
Of note is that the yarn lines formed between the eyelets can take on multiple appearances.
The first exploration below uses a triangular motif taken from this hardbound edition, which is still readily available for purchase and offers a section for lace carriages that transfer and knit in single passes, as seen in Studio simple/plain lace patterns. Repeats are the standard 24-cell width, but row counts are not provided. A 24X52 repeat, IX.8, and its associated PNG. The arrow markings on the left of the cards do not necessarily indicate the direction of the transfers, simply the direction of the movement of the carriage, able to knit and transfer in a single pass, or plain knit.
The punch card advances with each carriage pass.
Blank rows on the card result in rows with no transfers, only knit stitches,
which can vary in numbers.
In traditional transfer lace on Brother, only the lace carriage passes are programmed. The knit carriage does not advance the card, unless for some reason, its cam is set for needle preselection in it as well.
If multiple knit rows are to be planned between lace segments, it is for the knitter to track where to place them.
If extra blank rows are present, they are usually intended for the lace carriage to advance the design before changes in direction, i.e., following the ins and outs seen in diamond shapes.
For proper needle selection, the lace carriage electronic trigger must move past the turn marks on either side. When testing on a small swatch, if the carriage is replaced on the opposite side inside the mark, there will not be proper needle selection.
A reminder, although these repeats may remain 24 stitches in width, the adaptations are suitable for use only on electronic models when operating carriages from both or alternate sides.
Punchcard models repeat selection with each carriage side change.
Electronic models with patterning engaged, i.e., using the LC, or the knit carriage set to KCI or II, advance a design row with each respective carriage pass.
These repeats do not require mirroring when programmed.
These spreadsheet-generated charts identify the direction of left and right transfers by assigning cyan to transfers to the left, magenta to transfers to the right, and the repeat is expanded to use the method described in the previous post, with the LC making 2 passes in the direction of the arrows, followed by a single knit row and a move of the LC to the opposite side for the next pair of rows.
In this instance, knit and transfer rows alternate with all white knit rows throughout the design.
24X52 (L), an increase of 4 rows to 24X56 (R)

The lace shapes are quite compressed. The same, 24X56 repeat, a different approach, analyzing the carriage actions on the single repeat height, 24X28.
T&K = Transfer and Knit. Noticing that each transfer/knit row is followed by a second, plain knit row, so that 2 knit rows follow each row of transfers, until the point is reached where 4 transfers have been made at the top of each triangle, resulting in 4 empty side-needles,   remove the lace carriage, knit only one row to the opposite side, and place the LC on the opposite the knit carriage again,  beginning transfers followed by two knit rows until the next set of 4 transfers at the top of the mirrored shape are made, then knit a single row, begin transfers once more from the side opposite the knit carriage. Comparing the purl sides of both for scale and similarity to the swatch image pictured in the publication. There are other arrangements of transfer and knit rows in the published sources.
Here they are staggered alternating transfer and knit, T&K,  to the left, followed by T&K to the right, up to the all blank row, which is an added plain knit row between repeat segments.
The repeat, expanded into a chart using Mac Numbers, adds lines marked in red for the execution of 2 consecutive knit rows.
On those rows, the LC remains on the same side, the KC makes its 2 passes, and the LC moves toward it again, alternating sides followed by single knit rows, until the next 2 knit rows sequence, and the process repeats.
The 24-row design is easy to track for the paired knit rows. If preferred, or for longer repeats, some machine models allow memos to be set, with beeps reminding the knitter of locations for specific actions. 12X24tested on 36 stitches.  A design with no blank rows, with the initial plan to move the LC again to alternate sides, followed by a single knit row after each LC pair of passes, IX.16. The original repeat, 26 rows in height, expanded to 52 rows. 8X52tested programming on 32 stitches made for an interesting design, but very different from the original.
Looking at the related expanded chart, each T&K row is followed by a knit row, so there are pairs of rows for the alternating to the left and the right transfers, requiring a different row expansion.
On the Brother, the LC and KC remain on their respective sides, with the LC making 2 passes for transfers to the left, four passes for transfers to the right.24X78 is also suitable for punch card machines since the respective carriages both travel away from and back to the same side of the knit bed.
The resulting swatch was tested on 32 stitches.  The difference in yarn thickness can make the match harder to recognize; here, the result is compared to the working repeat for the original. This last design is from an electronic Studio pattern book.  There are no blank rows; the left and right transfers alternate, offering an opportunity to treat the repeat in yet another way. The starting 28X24, rendered double height, 56X48, takes on a structure similar to thread lace designs, except that the eyelets are not placed in straight horizontal rows; they alternate.
Patterning begins with KC on the right,
LC on the left makes 2 passes, is removed to be brought to the opposite side,
The KC makes a single pass to the left,
LC makes the next two passes from the right and is removed,
KC makes a single pass to the right; the steps repeat.
With each second pass of the LC needle selection of stitches already transferred, repeats, and empty needles are brought forward before the next KC knit row pass.
The test swatch: So many machines…lace punchcard knitting  4/11
Lace punchcards_use on the Brother 260 Bulky 5/11
Studio transfer lace knit on Brother 910 3/14
Studio multi-transfer lace punchcard use on Brother punchcard machines  3/15
Studio simple lace on Brother electronics  9/13
Studio simple lace punchcards used on Brother  3/13
Revisiting the use of lace patterns Studio vs Brother machines 2/19

2D, 3D shapes and more on their possible automation

IN PROGRESS

Revisiting “wisteria” 3D shapes and their possible automation, reviewed a collection of blog posts, including repeat options that formed open, highly textured knits, with ladders, eyelets, and sometimes added patterning.
This repeat forms a more compact, textured surface with none of the large, open spaces in those knits, only the eyelets that form when short rowing designs in two-row sequences.
The chart could be followed in hand-selecting short rows, and can be expanded in height for wider stitch counts. The single repeat is 50X90. Depending on your machine model and download software, i.e., with my 930, it may require mirroring horizontally.
The first preselection row is from right to left.
Claw weights will be needed as each shape forms to keep stitches from jumping off.
This sample was knit using 2/8 wool, aiming for maximum texture. Even with a switch to thinner yarns, the attempt to introduce a second color did not get far with yarn and stitches “refusing to cooperate”.

 

 

More fabrics with knit bed tuck patterning 2

Tuck lace knits require specific needle arrangements to form properly.
Tucking on needles intended to be empty will keep building up loops in fixed locations, potentially resulting in interesting carriage jams and yarn formations.
End needle selection is canceled.
The following are typical published illustrations as found in punch card volumes.
The same repeats intended for tuck lace may be used in double bed work.
Cast on every needle, transfer stitches in the OOW locations down to the ribber, and proceed in pattern.
The reverse process, using patterns already established for double-bed work, can be tried for a more open single-bed tuck-lace knit.
Depending on the electronic machine model and the download software used, the pixel repeat match to the published punch cards may need mirroring horizontally.
Air knitting can be useful in determining needles to be taken out of work; they will not be selected in the same positions continually. Cast on every other needle, i.e., by chaining on every needle and dropping the chains in OOW needle locations, cancel end needle selection.
If the goal is to evaluate what happens with frequent color changes, a start can be made with the first preselection row from right to left toward it.
An alternative way to plan the designs is to repeat/ mark the same selections once more aside them in all blank needles out of work columns, making their use independent of needle placements on the machine bed. The smallest, altered repeat, tested every other needle on 48 stitches, and produces a fairly dense, reversible knit. Any of the following arrangements can be planned for asymmetrical or random arrangements of all components as well, once the stitch structure is understood.
Returning to one of the repeats shared in the post on more fabrics with knit bed tuck patterning (1), which originated with the starting published design, 24X48,   then modified by adding blank cell vertical columns for an isolated 10X24 repeat, the related chart and PNG. A chart with the intended transfers down to the ribber represented by magenta cells, and the tested 63X48 PNG.  The yarn used is Merino wool. This is a modified needle count and arrangement with tuck columns 7 stitches wide to accommodate ladders represented by cyan cells in the chart; extra black cells were added for knit stitch side edges. The 62X48 test PNG, used in the top swatch below. The repeat, adjusted for 5 stitch tuck columns, and its 61X48 PNG, knit-tested in the bottom of the image.  A repeat knit test of both, showing the transition in the needle arrangements in a different colorway. This yarn is a 2/18 alpaca and silk blend.
The part of the swatch with stitches transferred to the ribber measures 2+ inches wider than the ladder sample following it, 9.5 inches, as opposed to 7.25.Previous blog posts with added single-bed-related techniques and repeats:
Tuck trims 4 and other edgings
Tuck lace trims and fabrics 3
Tuck lace trims and fabrics 2
Tuck “lace” trims and fabrics 1
“Crochet” meets machine knitting techniques: tuck lace trims and fabrics 1
“Crochet” meets machine knitting techniques: tuck lace trims or fabrics 2

 

Ways to modify electronic and punch card published transfer lace designs

Recently, in the Machine Knitting Facebook Group, a post by Jeannette/eKnitter describing her method with an associated YouTube video on Transforming a Brother Stitch World Lace Pattern sent me down a new-to-me, what-happens-if-rabbit hole.
Results for any lace designs vary considerably based on the yarn used and the number of rows of plain knit planned between design segments.
My opinion on the altered lace patterning is in the closing comments.
The appearance of the yarn crossing the open spaces created by eyelets can vary from single strands to twisted double ones.
The blog post Revisiting the use of lace patterns, Studio vs Brother machines includes a range of samples, including this very early analysis of the differences, and associated links.
The method of using any carriage engaged with the belt to select from opposite sides will not work in punchcard models, as the carriage switches sides, the same needle selection repeats.
The process for achieving the new repeats can likely be AI-assisted vibe-coded for ease and speed in altering the original repeats containing an even total number of multiple pairs of 2 blank rows, alternating between transfer segments, adding 1 row to one pair for a new total of 3 rows, while removing 1 row from the next pair, reducing it to 1 row. The convention for commands is to start in reverse order from the top, with the conventional two blank ending rows converted to one, and progressing, changing sequences moving toward the bottom of the design.
My tables, visualizing the steps required, are worked out in a spreadsheet using Mac Numbers, adding and deleting single rows alternately in the body of the table where needed.
The total number of rows programmed remains the same.
My first effort began with the same SW 121 repeat in the video.
Working out the changes that need to happen in the design itself in a spreadsheet, things to notice:
The repeat is 44 rows in height, an odd multiple of 4
The LC in the original, 12X44 design, moves for 4 passes from and back to the left, followed by 2 rows knit using the KC from the right throughout, an easy-to-track sequence.
In this method to alter the original, passes of the LC still happen in 4 row sequences, but they are followed by single knit rows rather than pairs with the knit carriage, and the LC is moved to the opposite side for the alternate groups of 4 passes.
When no cam buttons or KCI or II are used, the knit carriage does not engage the belt, and the pattern is not advanced with its passes.
The technique shortens the height by half the number of knit rows, compressing the finished pieces in the number of passes to the finished height ratio.
In the top half of the 44X2/88 row repeat, there is a shift in the LC starting side that results in a change in the knit structure, seen in the chart with only the altered rows shown on the far right.
The first pair of blank rows between lace repeat segments is changed to 3 rows, with the next pair reduced to one row, repeating the process.
The height of the original repeat does not change. The samples were knit using 2/18 wool. Not paying full attention to the task at hand resulted in the extra knit vertical columns in the test of the original on the left, along with the joy of dropped stitches that can occur in lace knitting.
The amended design, 12X44 pixels, was used on the right and knit for 132 rows, checking the vertical alignment.  A new repeat, SW 128, 18X64, again is intended for operating with the LC from the left,  with two knit rows using the KC from the right, following each repeat segment. The sample from the pub is shown on the left, and a cheated copy and paste X2 in height of the new knit repeat is on the right.
The 64 row height is an even multiple of 4, resulting in a more symmetrical arrangement of eyelets and threads traveling between them. The design is tested on 36 stitches, twice in height.
On one side, the transfers were made close to the edge, while on the other, a several-knit-stitch border was taken for a test run. Side edges are another consideration when planning finished pieces or seams. A planned try at another SW design, my last on this topic. It is 13 stitches wide and 44 rows in height, as published, another odd multiple (11) of 4 again, the spreadsheet manipulation,  the new file, also 13X44, knit-tested on 39 stitches.The side-by-side comparison. There is a degree of unpredictability in the final result in DIY pattern drafts; one must trust the process, and progress in the actual knit length is slow.
All these samples in this post used original design repeats with recommended 4 LC passes followed by 2 rows knit throughout.
In theory, the technique should apply to other Brother transfer lace with variable numbers of LC passes between knit rows.
Brother published electronic patterns do not require mirroring, while if starting off with a punch card design, mirroring may be required, depending on the machine model and download software.
Users of knit from screen programs have the added advantage of clues as to when to change carriage sides.
Without the benefit of such clues, remove the carriage from the machine as soon as the 4 rows are completed to avoid making another set of transfers from the same side.
Check needles with 3 stitches on them after transfers, making certain that they have knit off properly after the single knit row, and periodically also check that no loops or stitches are hung up on gate pegs.
If a second row is knit after the LC passes, it can easily be unraveled.
It is possible to add beeps in some models, or to generate DIY reminders on switching carriage sides, i.e., for an 88-row repeat or more.Before committing to using the technique in finished pieces, knit a large swatch to test whether the necessary steps are maintainable without error, block it, treating it the way you would the finished project, and let it rest hanging.
With so much open space in some of the other repeats being offered in FB, if a predictable gauge is necessary, it may be a hard thing to maintain even after blocking.
Tiny stitches require a larger number of needles in work; experimenting with thicker yarns and tensions that tolerate the transfers is worth it when planning beyond test swatches.
I completed a lace scarf in a very thin cotton at one point, which I discarded simply because it was too limp when finished.
For me, the results from this process raise the question as to whether one should simply because one can.
The lace designs may be new and different, but as to whether they are better and worth the effort? The ultimate choice and preference to pursue this type of lace work or not, as in the use of any other techniques, remains a personal one.

After seeing Emanuela Mammarella‘s FB comment on the thread discussing the electronic patterns and her Instagram feed mentioning achieving a similar concept with a single row knit between transfer lace segments in Brother punchcard machines, I gave it a try.
The card used for my swatch was randomly chosen, 19S. It met the requirement of the recommended 4 passes of the lace carriage, followed by two rows knit throughout, and came in the basic pack of cards included with my punch card machine purchase.
I prefer to use yarn color and thickness that allow me to identify stitch structures easily.
This sample is knit using a 2/18 wool, with modified LC selections at the bottom of the images, and traditional ones at the top. The effort is worth a try, and helps inform the decision as to whether the results are to one’s liking, and again, if one should simply because one can.
The bottom of the swatch is knit in the new technique, the top in the traditional published method.
I found it easier to disregard row numbers and counts.
After the second series of transfer was completed in each group, with the lace carriage on the side opposite the carriage again, sometimes after a required additional pass, I removed the LC, knit a single row with the knit carriage to the side opposite its last place, returned the LC to the bed from the side opposite it, and began moving toward the knit carriage making transfers as needles were selected once more.
There were many rows with carriage passes, and no needle preselection, added to the sum since each move and start from the opposite side does not advance the card, but rather, repeats the last preselection. And then, trying to get a PNG for the same repeat, you notice one of the 3 vertical repeats in each half is an odd duck. Just when I thought I was finished with all this!
Comparing the factory-supplied punch card to the amended “correct” design repeat,    for a very different, more symmetrical result.
The PNG for the amended repeat, 24X48, can only be used in the traditional method, not to achieve the modified version.  This yarn is also a 2/18 wool; the blue yarn used in the other swatches has reached its end. Studio machines and their published simple lace patterns are by far the easiest way to achieve eyelets with single rows knit between them, unless otherwise indicated by extra blank rows in the cards.
My closing advice? If the effect is really liked, and there is interest in collections of production items without the involvement of additional carriages, borrow a Studio km and cards from a friend. 😉

That said, there are other hacks for achieving the look of lace with single rows knit after transfers, rather than pairs of rows.
On electronic machine models, one method is to use select tuck or thread lace designs, such as this 24X40 design, doubled in height to 24X80, so each needle preselection repeats twice,  and tested on 48 stitches. The programmed design starts with LC on the left,  the first pass to the right, toward the knit carriage, selects needles, while the second pass makes the transfers to the left.
Remove the LC; it will make the next pair of passes from the right.
Knit a row to the left, KC stays on the left.
LC makes the first pass from the right, preselects needles on its first pass to the left, and transfers stitches on them to the right as it travels back to the right.
Remove the LC.
Knit a single row to the right, the KC stays there.
Return LC to the left, and repeat the process.  The same design knit as thread lace.   A similar inspiration knit in 2011 as a mock filet mesh with traditional LC operation from the left side, the image was rotated sideways whwn shared. The partial card repeat shared at the time,
and the full 162-row punchcard, located more than a decade later, was rotated to view factory row numbers on the right.  Taking it to a PNG, and modifying the result: the full repeat, 24X162.
The LC makes 2 passes for transfers to the left, 4 passes for transfers to the right.
Punch cards may be rolled forward manually in the reader to any chosen spot, locked into place, and released after the first pre-selection row to modify the start of the design.A 24X84 segment was in turn isolated, drawn in brick repeat, 24X168, visualizing both files drawn in repeat, easy to achieve with present software.The swatch, tested on 60 stitches, helps to determine whether other DIY arrangements, i.e., widening the repeat or altering the edges of the shapes for use only on electronic machines, should be made.
For some reason, the yarn used, which had posed no problem in recent swatches, was particularly cranky in transfers today. The swatch has several dropped stitches. The original repeat, used in one of my limited edition shawls, with a coordinated border. Using a Studio card to achieve a similar knit on the bulky, #18 was randomly chosen from my stash. Lock the card on row 3. The Studio card reads the first design row 5 rows below the #1 marking on the right, Brother 7 rows below.
Cancel end needle selection on the knit carriage, which is set to select pattern needles, but for plain knitting, with no cam buttons pushed in.
COL knit one row to the right.
Release the punchcard.
COR Transfer all preselected needles away from the knit carriage, to the left.
Knit one row.
COL Transfer all preselected needles to the right, away from the knit carriage.
Knit one row, returning COR.
COR Make transfers to the left, and continue alternating transfers consistently away from the knit carriage after single knit rows to the opposite side.
This test swatch, containing a couple of operator errors, was knit on 28 stitches, using a random 4-ply wool on tension 5, and measures 8.25 inches in width, at a gauge of about 3.4 stitches per inch.

 

 

Geometric shapes in drop stitch lace 5, combined techniques

Whatever the goal in DIY, when automating designs, black pixels or punched holes are selected and knit, while white pixels or unpunched holes are not selected, and used to produce textured, color-patterned knits, or serve as guides to added actions when combined with the knit carriage cam settings.
Depending on the structure, there may be rules or limitations to the pixel distribution that are at times also combined with specific color separations.
Downloads to machines using assorted methods allow for programming up to the width of the bed, 200 needles on the 4.5 mm machine.
Slip stitch programming can be substituted for hand selection when planning short rows.
My first electronic machine was a Studio model. A few mylars from that time are still in my present inventory. This scan shows two repeats used in what would become a sideways knitted skirt.
I tended to scribble on mylar sheets as I did later on my Passap technique Manual printed pages.
Testing smaller repeats helps to troubleshoot possible issues, our tolerance or patience in planning and executing the imagined results, and deciding whether a larger trial is worth it.
My first experiments with the automated short row technique were in producing sideways knit garments, a batwing sweater, and a calf-length skirt.
Depending on the distribution of pixels, it is sometimes easier to fill in areas with black pixels and invert the color if needed, using built-in machine functions.  The skirt was knit using the top repeat, doubled in width, color reversed, with the speckled rows slipping for one of the horizontal stripes, tucking for the other, forming permanent folds.
There are many previous blog posts on automating “doilies” and circular shapes.
Other slip stitch patterns may be brought together in the programming for sideways shaping (presently avoiding the math involved when gauge matters).
3D printed slider, drop stitch lace review introduces a racked shape repeating in continuous sequences on a fixed number of needles.
There are ribber guides, not always necessary to use, but at times useful in tracking the process correctly.
The previous racking sequence in the planning stages:  the shapes are formed by manually positioning needles on the ribber.
Automating the potentially circular shape, which, after angle and gauge calculations, may be extended to form a sweater, skirt, or other item.
The test repeat: 44X22 may need to be mirrored horizontally, as in my 930, depending on the machine model and the download software used.
The knit bed produces the background, and the ribber picks up loops that will result in the enlarged stitches when dropped.
Considering the short row method and small stitch count, while the shapes were retained, racking positions were reduced, thus reducing their size. Air knitting, practicing racking movements as they relate to the top bed, before actually proceeding with the knit test, ensures the process starts with needles on both beds in the proper placements.
End needle selection is canceled, since the slip stitch setting is used on the top bed, where there are needles out of work.
Half pitch is used, placing needles on both beds between each other.
The first preselection row is to the left, with pairs of rows shaping the knit from left to right, starting with needles on the right pushed back to B away from the carriage every two rows until the process is reversed and they are returned to work.
For pattern knitting, the knit carriage is set to slip/slip.
The ribber carriage is set to N/N to pick up loops, at rest on the left when the sequence is completed, and uncoupled from the knit carriage if used to drop the loops for two passes. On its return, it is paired with the knit carriage again and is set to slip/slip to allow rows of knitting only on the top bed, 5 in the swatch.
Racking happens every row, while the top bed performs its own programmed thing.
In progress, if racking has been performed, the stitches will appear slanted to one side or the other, like normal rib, if it has not.
Ribber needles may not be brought above the B position combined with racking; they would collide with needles beside them on the top bed.
Light colors make it easier to see and identify successful stitch formations.
The best yarn to use is a smooth one that will retain its shape with blocking.
This yarn is a random off-the-shelf wool from an unmarked cone.
Because there is so much happening in a relatively small area, the surface bubbles. In some cases, that bubbling can be the intended design feature.
The racking indicator was used as a guide to determine when the point was reached to drop loops, change settings, and knit X# rows on the top bed alone, followed by setting the ribber carriage to knit once more, reversing racking positions, and repeating the process. Using the same slip stitch repeat on the top bed, simplifying the drop stitch shapes to 4-stitch 4-row blocks.
The yarn used in this case is a 6/15/1 rayon, knit at tensions 7/2, one that may be killed with no spring back with blocking, as opposed to wool, with a very different result.
The ribber on N/N forms loops for 4 rows, they are dropped, and the carriage is changed to slip/slip for 2 rows.
The stitches can be selected and brought into work manually; if so, a needle tape may be of use to guide the hand selections. A piece of tape, as shown on the left, keeps edge needles from mistakenly being brought into work.
Racking can be used to move the group of 4 stitches into position, avoiding hand selection, with a start at position 10, to 4, and back. The ruffled effect with the knit at rest. Horizontal lines or stripes of dropped stitches can be combined with other stitch types, i.e., tuck or lace, for various end uses. Combining the horizontal lines with automated short row shaping: these images show some drop aka long stitch designs which were developed and used in a group of limited edition items.  This Passap Duomatic pattern was the source of inspiration. I do not have notes available from that time.
Here is a present approach for automating the repeat on a Brother electronic.
Again, starting with a small swatch, testing for the tightest tension possible.
Using a familiar yarn eliminates the possibility of any issues occurring due to only the new fiber choice.
Patterning occurs in pairs of rows for an even number of total design repeat rows.
Here, 34 stitches produced a width of 6.75 inches; there is a 5-stitch vertical border on the straight side edge.  The repeat can be programmed for any width or only for the number of needles in use by adding all black pixels on the right.
End needle selection is canceled, and the first preselection row is from right to left.
The 30X16 PNG required horizontal mirroring on the 930.
To avoid dropping the stitches on needles that are skipped on the top bed, or accidentally bringing up extra needles in work on the far right, a piece of tape can be placed on the ribber bed above the butts of needles directly below them.
All other ribber needles will knit for 4 rows, loops are dropped, the ribber carriage is switched to slip for 4 rows, and only the top bed will knit on all needles. The process is repeated.
As the knitting progresses, needles continue to be preselected across the piece except where those rows of white pixels occur, with them remaining there in the B position.
On the first row that happens, the ribber is set to knit and pick up loops.
When all needles are preselected again, the loops on the ribber are dropped using any preferred method or tool.
The carriage is then set to slip, with all needles returned to the B position, and the top bed alone will knit on all needles once more.
The needle setup.  The swatch was knit on 20 stitches, 6L to 14R, reducing the border on the right from 5 stitches to 4, and measures 4 inches in width at the curves.

A cumulative list of the blog posts related to this topic may be found at the bottom of the 3D printed slider, drop stitch lace review.