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 PNG
with 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