Interlock is produced commercially on special circular machines and some double system flatbed knitting machines. The patent for the associated circular machine was applied for in 1907, and a copy may be found in the google patents archive. The stitch originally commonly used cotton, in machines that were able to produce a gauge of 20 stitches per inch, often used in T-shirt knits. As technology expanded so did the possibilities for a wider range of gauge and expanded structures.
I have found references to accordion, fleecy, Piquette, cross mix, and bourrelet interlock versions, enough to make one’s head ache when considering forming them on home knitting machines.
The fabric lies flat, relaxes in width but is fairly stable in height. It has good shape retention, raw or cut edges don’t curl, and it will unravel only from the last row knit. There are many variations including eight-lock, bourrelet, Ponte di Roma, and waffle weaves. Many directions are included in Machine Knitter’s source. Interestingly enough, they are shared in the chapter on knit weaving. The instructions given are for punchcard machines, often accompanied by a hand selection of needles in either or both beds. Hand selection on the ribber is easier to track by having an even number of needles in work on the ribber, bringing the first up on the left, then the first up on the right, so the illustrations for stitch formations are written that way, the selected needles knit. Lili button selection begins with slipping the first stitch, followed by knitting the second stitch on both sides. In most fabrics, as long as the remaining repeat aligns starting with a slip stitch on the ribber does not matter, as the complete repeat is shifted over by a needle. 
The structure can be knit with color changes to produce vertical stripes of various lengths. My initial proofs of concepts are usually in single colors.
In interlock, alternate stitches are knit on each bed, so it takes two complete carriage passes to complete a single row of knitting, making the resulting fabric thicker and heavier, with the same appearance on both sides, making it reversible. Carriage passes need to be distinguished from design rows. Charts indicate both, but not necessarily numbers reflected on mechanical row counters.
The usual rib configuration 
Planning for interlock:
The fabric may be executed on Brother knitting machines by programming 1X1 needle selection on the main bed, with the smallest component bordered in red. The Brother ribbers have a matching needle selection to 
when the lili buttons are used with the machine set to slip in both directions. Studio or Knitmaster knitters would require an RJ1 ribber carriage. I refer to the marks on the Brother ribber needle tape as blanks and dashes. When lili buttons are in use, one must work on an even number of needles. Pairs of both are required. The starting placement on either of the 2 marks does not matter, the first needle on the carriage side on the left will always slip, with the last stitch away from the carriage always being knit. This observable if one “air knits”, slowly moving the ribber carriage from side to side. As in any pattern knitting, needles selected to D or E will knit, the ones lined up in B position will slip or tuck. 
The needle selection needs to be coordinated so that needles opposite each other are not selected at the same time. Since the first needle on the ribber will slip, the first needle used in the pattern preselected on the main bed must be selected forward to knit, and the number of needles in work set up accordingly. Many published illustrations begin patterning from the right. I prefer to do so from the left. My final repeats were planned with needle placement shifted over by one so as to begin with a knit stitch on the top bed, a slip stitch on the ribber due to the fact that the ribber lili selection is fixed to always begin with a slipped stitch. Starting with the carriages beginning on the left side, the first needle in work on the ribber is on the left, the last needle in work on the top bed is on the right, an even number of stitches are in work on each bed. The setup after the first preselection row, with COL: 
Imagining the sequences required to complete a single row of knitting. I prefer to start with a knit stitch on the left, top bed, end needle selection is canceled
When testing new ideas, particularly in rib setups, I often begin on a small number of needles and in a way that feels “safe”. This was my first test, with the ribber set at half-pitch. There is an obvious difference in rib before the slip stitch segment and the every-needle, EN, segment. 
Using a very thin space-dyed cotton, tension 4 on both beds, produced a soft, drapey, squishy fabric. Because once the cast on and needle set up are complete, the knitting occurs on every other needle in alternate directions, full-pitch is used without any problem even though every needle is in use on both beds. 
These fabrics will knit both at half-pitch and full-pitch once the pattern needle selection is established. The difference may not be noticeable depending on yarn choice and tension, or ribs may appear to group together in pairs. Pleating in interlock may be produced by removing needles alternating from each group. The tuck setting may be used in these experiments as well, resulting in additional width.
Pique variants: rows 1 and 2 complete one row of knitting using both beds
row 3 knits on the main bed alone
rows 4 and 5 complete one row of knitting using both beds
row 6 knits on the ribber alone
charting out possible actions and repeat adjustment. 
The rows where only a single bed knits will create long stitches due to their being skipped on the opposite bed. Reversing and alternating the selections make the fabric reversible. The tricky part would be canceling out lili action on the ribber every 6 rows when the top bed alone needs to knit, row 3 in the design repeat. To accomplish this, after row 3 is preselected with the carriage on the left by releasing the ribber carriage, lean it forward so it will not engage any needles in work on the ribber resulting in dropped stitches, and moving it to the opposite side of the machine. One can actually get into a rhythm doing this. 
As the knit carriage moves from left to right, only the main bed needle selection will knit. When the KC reaches the right, engage the ribber carriage, and knit until the same design row is reached. The blank row at the top of the 6-row repeat automates and allows for the carriages to knit from right to left on the ribber only, again creating some long stitches on skipped needles.
The selection continues to be EON after proper needle set up, so the full pitch setting is used once again prior to continuing in the pattern. 
This is an instance of cast-on and bind-off edges that will tend to be pulled a bit wider than the remaining knit. Depending on the final use for the fabric, that may or may not be a consideration.
I usually begin with tentative charts in a spreadsheet to consider what components may be automated and what might be the most advantageous selection of patterns on the main bed. At this point, my solution for no stitches knitting on the ribber for single rows remains to knit the carriage forward and remove it from the equation for that row.
Swiss pique or overknit is a half-pitch fabric. It looks like French pique but is a little narrower. Looking at completed knit rows, identifying the top bed patterning, isolating patterning selections 
carriage passes required 
The ribber here knits in one direction, slips in the other. The first preselection row is made toward the color changer, needle set up is checked as for previous samples, the ribber is set to knit to the right, slip to the left 
the appearance of the stitches when both carriages knit 
after only the top bed knits with slip stitch floats behind every skipped stitch, which, in turn, will appear longer on the knit face
Ponte di Roma
the modified version of the repeat used in my test swatch
Pairs of rows of interlock are followed by pairs of circular rows. The repeat was changed and the second color was used to define the difference in stitch formation between the two groups, color changes were made every four rows. 
Using a single pair of carriages and having to constantly change cam settings appears far too complicated to manage for producing any length of fabric. My hack for making things easier and faster was to resort to knitting with 4 carriages. One pair was set for interlock operating from the left, the other set so as to achieve tubular knit. The ribber carriage is set to knit from right to left and to slip from left to right when the main bed knits. The knit carriage is set to slip in both directions so that the pattern selection remains continuous. It will slip all stitches while moving to the left on rows with no needle preselection, knit on all preselected needles on its return to the right.
Extension rails are used since both KCs are selecting patterns. I wrote about the concept of using 4 carriages in 2019, in the Geometric shapes on ribber fabrics with tuck stitches: knitting with 4 carriages post. The difference here is that the carriages on the left do not have the added benefit of support from the color changer. The elastics placed as shown may have been more for my psychological well-being than for the continued proper function of machine parts. There is a limit to the width of knitting that may be produced this way with the carriages coupled on each end. The knit carriages may travel off the top bed and onto the extension rails safely, but the ribber carriages must remain anchored enough on the rear rail so as not to go flying off on their own while clearing the end of the belt on each side. 
I prefer leaving the slide lever in the center position in all my rib knitting and am not convinced as to a visible difference between knitting at half or full pitch in the swatches with the yarns I have used so far.
Bourrelet is characterized by horizontal relief ridges on one side, is made with an interlocking base, is sometimes referred to as ottoman rib or ripple stitch, is sometimes referred to as Evermonte, is knitted at half-pitch. The combined carriages knit for 4 rows, followed by four rows knitting on the top bed alone.
Seeking a workaround other than disengaging the ribber carriage or canceling the lili selection and leaving the carriage on the slip setting in both directions on rows where only the top bed knits, one option to speed up the process is to hack a main bed sinker plate. The result is the ability to use a second knit carriage to select and knit patterns on the top bed only, operating from the opposite side. Four passes on either bed complete 2 rows of knitting. The post on ribber fabrics produced with 2 knit carriages selecting needles describes the process in more detail. 
To use the yarn from the right, only before the first carriage pass to the left, its end needs to be knit through a stitch on that side to anchor it. A different cone or ball of the same color and weight yarn may be used, or, in my case, I used a thin, different fiber in a second color.
The swatch was knit in four-row sequences; there is a subtle ridge apparent on the knit side created when only its rows are knit, which could easily have been enhanced by knitting more rows on the single bed. 
In eight lock hand selection is required on the ribber; the technique reminds one of the double-faced, aka reverse jacquard fabrics. 
My initial test was to knit twice as wide a repeat, thinking it might be easier to identify stitch formation, working on 4 X an odd number of stitches, in this case, 36, beginning and ending with knitting on the top bed, 
but 1: I actually cast on 34. In a swatch, such adjustments 2: are easy to make. The only automated selection of needles on the ribber is EON using lili buttons; in any other configuration, there is no choice but to hand-select needles in between selected needles on the main bed. Casting on at half-pitch begins with the first needle in work on the top bed, the last in work on the ribber. Once the first row has been preselected, and the pitch is changed to P, the ribber moves to the left, leaving an even number of needles in work opposite each other on both beds. Both carriages are set to slip in both directions. The knit carriage will knit the automatically selected needles, slip the unselected, while the ribber knits needles brought up manually to D position, skipping the remaining ones in B.
A 2X2 needle selection tool for a 9 mm machine or a 7-prong transfer tool may be adjusted and used to help bring up the proper needles to E position on the ribber. 
Single-row pockets are formed. 
Even though the needles are in full pitch, if an error in needle selection 3: happens across a row, a tip-off will be that floats are created on the main bed between selected needles, and there will be a textural change across the row of knitting unless the error is corrected.
If another yarn end or a second color is added, as always, check and make certain the first few stitches knit. Proper lighting and using a yarn color and thickness that can actually be distinguished on the needle bed are useful to avoid 4: dropped stitches not being noticed. The color change 5: shows that a single row is indeed completed with every 2 passes of the carriages, and there is a shift visually in the linear pattern. 
The same process could be applied to the charted repeat. A needle selector can speed up the manual work on the ribber for 2X2 selection 
Tuck variations: tuck, cross tuck, royal, texi plique. So far, these are my tentative charts for the stitches; each pair of rows represents a full single row of knitting. There are situations where cam settings would require changing from slip to tuck, and some locations where the same needle selection repeats on subsequent rows, leaving lots to ponder about and proof. My starting charts are often edited and at times abandoned as the work progresses and both eyeballs and brain have had a break. In this instance, the topic will be reviewed again in a future post. 
Since most of my swatches are experiments and I work by trial and error, I am now rethinking my repeats and reached the what am I doing? point.
I have some interesting or even pretty fabric swatches so far. Illustrations in published sources are often shown for interlock fabrics on every other needle, I have supposed that with every needle in use on both beds, at half-pitch placing the needles on one bed in the center of those on the other and working in thin yarns the same repeats would work for achieving knits in these families, so in my illustrations, the symbols are placed to represent needles in work between each other on alternate beds, rather than truly on every other needle. To review, the differences between pattern selection using the slip or the tuck setting: with every needle in work on the ribber, the repeat 
is programmed on the top bed with the first preselection row from right to left, the needle setup, depending on the starting and ending needles used. 
With both part buttons pushed in, in every needle rib, the needles in D will knit; the ones in B get skipped completely. As the carriage passes to the right, the needles for the next row are preselected, come forward holding only the skipped stitches in the row just knit, while the alternate needles are set up to be skipped on the next pass to the left 
After the two passes one full row of knitting is completed on the patterning bed. The needle preselection is now on the next row of the repeat, in this case, row 1. 
Tuck setting using the same repeat behaves differently. With both tuck buttons engaged, by default, the needle on either side of the tuck stitch will knit with every carriage pass. The starting preselection is the same as for the slip stitch version. After the first pass to the right, the preselected needles to D will have been knit, with tuck loops formed on the previously non-selected needles. Because the repeat alters needle positions every row, as the right side of the bed is reached, the tuck loops from row one will appear on the shank of the newly preselected to D position needles, ready to be knit, and the alternate group of needles is held back to create the next row of tuck loops as the carriages return to the left. 
The process repeats throughout. Two passes complete a single row of knitting. The carriage actions for completed passes 1 and 2. 
The result is a very pliable fabric that, when relaxed off the machine and stretched, shows the tuck structure more, and is reversible. The basic repeat elongated on the top bed creates a vertical striped pattern if color changes are added, coordinated with needle selections, and are made every 2 rows. As an experiment, the double-length patterning was tried at the top of the swatch. At that point, the fabric is no longer reversible unless the 1X1 fixed needle selection is altered manually on the ribber. My yarn is thin, and the tension is used on the loose side. 
The close-up begins to make the tuck loops a bit more visible. The swatch was knit at half-pitch. Using full pitch in patterns that allow for it diminishes the appearance of “ladders” between rows of stitches, indicated by cyan arrows. 
More basics: on the ribber, whether using lili buttons or not, these are the lever and change knob positions available. 
Manually, the tucking lever position can be changed from R to P for a single row or more of tucks and then returned to the R placement. Switching between the 2 stitch types on the ribber is far easier and less complicated than changing cam buttons on the main bed; however, there are no rows where only tucked loops are created without knit stitches beside each of them if the lili buttons are in use. Using the slip-tuck Brother selection on the main bed allows for slip and tuck settings to be used at the same time in the same row, as long as opposite cam buttons are in use. Some of the old punchcard books include patterns referred to as “lace-like” using the setting. The starting side makes a difference in results as to whether one leads with a slip stitch float or a tuck loop in the actual knitting. Swatches in this post have begun with the first needle in work on the ribber and a forward, to be knit, stitch selection on the first needle on the top bed, with an even number in work on both beds. The end needle selection is canceled unless stated otherwise. The cam setting used for these tests: 
the setup row with the first preselection row knit from the right, ending COL 
as the carriage moves back to the right. The previously not selected needles will slip and get a tad longer while being preselected forward to D for the next carriage pass. Once the pass is completed, the needle selection has reversed, and the now non-selected needles will tuck as those same needles are preselected for the next pass from the right.
The appearance COR 
After the return pass to the left, the tuck loops are evident on top of the needles preselected forward to knitting position on the next pass to the right. Two carriage passes fill one row of knitting, here ending COL. 
On the ribber, as seen in the thumbnails, one may choose slip or tuck in one direction alternating with an all knit row in the other, or tuck or slip in both directions in an alternating pattern EON_EOR, on an even number of needles with the addition of lili buttons. The appearance on the ribber of the formation of the loops echoes that seen on the main bed, changing needle placement unless the carriage is set to tuck in only one direction. 
A variant of the single bed capability for changing stitch type formation with direction may be achieved on the ribber by manually changing the tucking lever from R to P when the other side of the knitting is reached. 
A test can quickly be made to observe the stitch formation with the main bed set to knit every row. I chose the left tucking lever down to R when the carriages were on the left, up to P when the carriages reached the right. The tuck stitches with no further action line up over the knit stitches in the previous row. 
There often are aaargh moments in knitting. This has happened to me with some 7-prong transfer tools before; here it did with a double eye tool on my transfer row prior to binding off. There must be a split in the eye of the tools not visible to the human eye, resulting in the stitch entering the eye. So far, I have been able to rescue the stitches involved, but not without lots of fiddling and some cursing. 
Experiments outside the interlock family: the two-by-two repeat is supplied in most packets of cards that come with the purchase of a punchcard machine. At one point in time, Kate Armitage published a book containing 104 variations of knitting using the card, both single bed and combined with ribber use. There was also the equivalent for card #3, the point being that variations are limited only by time and imagination. 
Because I am now completing posts over time online as opposed to working offline and then publishing, the opportunity is there to share mistakes as well as what appear to be successes at the moment. Once again, I fell into the not-writing notes because it was in so an obvious mode, and there was enough time lapse between my first knit swatch below and my writing about it that I was no longer certain about the settings used when sharing it. The knit has more stretch and texture than seen in the photo. 
Re-swatching for possible variations, with notes this time and with lili buttons in use. If the cams are not in the up position on the ribber carriage, stitches will knit, not slip. N is king, without cam buttons in use in either bed, stitches will knit even if a pattern is being selected. There is an adequate stretch at the top allowing the fabric to relax, achieved by transferring to the main bed and using a latch tool to bind off around 2 gate pegs. The possible variations are endless. Note to self: remember to keep good notes. 
Brother was the first to allow programming from multiple areas on a single mylar sheet. Starting and ending stitches and rows needed to be entered, I got used to drawing boxes for each pattern as seen on the upper right, reducing errors in future knitting. The red lines on the copy highlight the repeat’s border. Mylars were read 13 rows down, punchcard machines7. The equivalent of arrow markings on lace punchcards are provided in the column on the left, which extends over the top of the drawing space by the same number of rows, allowing it to remain visible above the card reader even as the top of the mylar patterning area is reached.
Depending on the electronic model or the software used to download patterns designed for lace, the final image may need to be flipped horizontally. This is true for use on my 930. Creating a template for mesh using numbers: begin with a table with square cells in numbers larger than you might need, ie 24 by 54. The method for doing so has been explained in previous posts. I happen to prefer cell units that measure 20 points by 20. The smallest repeat unit for use on any machine is isolated, shown bordered in red, is 4 stitches wide by 6 rows high, and drawn onto the template. The group of cells in the repeat are selected. If one hovers over any side or top and bottom borders of it, a yellow dot appears. Clicking and dragging on the yellow dot will repeat the full selection to the right, left, up, or down. Here the move is to the right 
The whole group is selected, 
Beginning at the top or bottom of the table, hide all blank rows. Using the command key during the selection process will allow this to be done on the whole table at once or in groups of rows at one time; 36 of the 54 rows are hidden. 
the color may be replaced with white in the spreadsheet,
The other option is to unhide rows on the colored table, screengrab as usual after removing cell borders. Open in Gimp, crop to content, eliminate the cyan row by filling it with white. It was intended as a placeholder for the last row in the pattern, is not part of the final repeat.
The last image is in RGB mode once more, converted to BW indexed, scaled to 24 by 54, and exported as BMP or choose any other format ie png, etc. to suit your needs.
Each transfer design segment of the repeat is 6 rows in height and completed with 10 combined carriage passes. The lace carriage, LC, operates first, in a series of two passes at first, then followed by four, repeating the double sequence throughout. The mylar, card, or computer image, does not reflect the passes made by the knit carriage 
The design was not planned as continuous, but is easily amended to be so. Here an alternate version is shown, with 2 linear repeats on the left, and a single expanded repeat to its right 
As for that mylar repeat, this is an image of the shapes with the chart collapsed, eliminating blank rows between black pixels. 
In fabrics designed this way, using the image as drawn (left), or mirroring it horizontally, does not visually change the result. This does not hold true in more complex transfer lace.
2024:
If the intent is to have solid vertical columns of color, those areas as in column marked A, need to be adjusted for using alternating colors as well. Using the repeat on the left of the chart 
Half Milano stitch formation on the left, full on the right 
In executing the fabric as a hand technique, the main bed is still set to slip in both directions, the ribber to knit every row
Begin with simple shapes, examining the quality of increases and decreases, whether single or multiple, eyelet formation. Picking up from the row below before the next pass with the contrast color eliminates eyelets
picking up from row below at any point during knitting 
Simple increases or decreases are made by moving stitches laterally in either or both directions. Increases may be made by moving contrast color stitches laterally, followed by the choice as to whether to fill in the empty needle or allow it to create an eyelet. 
Fully fashioned increases or decreases are made by moving a stitch or a group of them to the adjacent needle/s to the left or the right and then taking the double stitches back to the original position, leaving a single empty needle for the planned eyelet formation. There should not be multiple needles with no stitches on them unless the goal is to expose a stripe of ground 
typically, in these exercises, there should be single empty needles after transfers, making certain proper needle selection for the pattern group is maintained 
Combining eyelets with lateral increases
When transferring stitches, watch for any loops getting caught on gate pegs, as seen on the left below, increases and decreases may be pre-formed on more than single stitches
At the top of the single medallion, the stitches were transferred to the ribber prior to knitting with the same color once there was no needle preselection for it on the top bed.
The first preselection row after the chosen cast on is from right to left with end needle selection canceled and the knit carriage already set to slip in both directions, with all required needles on the top bed in the B position.
To eliminate the extra white rows, the main bed stays set to slip every row, the ribber settings alternate. It is set to slip for two rows immediately after knitting with the red yarn, then will be reset and knits for 4 consecutive rows. Transfers to create eyelets are made on selected needles on each of those two rows, always toward the carriage, even as the transfers themselves change directions as the angles of the shape decrease toward its center on the top half of the design. After the first transfer and the carriages travel to the right, a long float will be evident, will “disappear” on the return to the left. 
Patterning selection will reappear as the carriages return to the left. 
As with single bed lace, the first pass after transfers creates loops on empty needles, which here need to be kept in upper work, D position after transfers. For non Brother knitters, Brother positions are A, B, D, E, skipping C. 
Knitting over the loops on the next pass on that bed completes the stitch. This design is knit as continuous, the striping at the bottom is wrong because the red was not picked up after the first 2 rows knit in pattern with white, most sequences for the remaining fabric are 4 passes with white in the feeder, followed by 2 in the red. All eyelets here are reduced in size by picking up from the row below, all transfers for decreases are made laterally, the border is set to a width of 4 stitches, the pivot point for the repeat has been narrowed 
the differences at the edges of the shapes. 
Many of the same principles may be applied to designs using tuck stitch settings, where the striping will appear vertically rather than horizontally
Brother punchcard machines do not advance pattern rows when two carriages are used for needle selection as each carriage begins to move from the opposite side, the same preselection is repeated. This means editing is required at times if the same designs are to be used on electronic machines, particularly true in lace combination fabrics. The process has been discussed in posts on automating lace edgings with slip stitch settings.
this is how the yarn is laid over those 2 needles after the first tuck row is completed, 
and both when using the card and in the first electronic repeat there will be a third tuck loop that is laid over the needle holding the 3 stitches. This is the appearance of the stitch formations just prior to an all-knit row 
Here analyzing the actions of the punchcard, marking rows according to card actions, the repeat is expanded to include the extra duplicate rows. Though the repeat remains 24 stitches wide, it is no longer usable for use on a punchcard machine. 
Here the fold is created by 2 stitches tucking for 2 consecutive, then knitting on the same needles for 2 rows on regularly spaced pairs of needles on either bed. Most knitting is on a single bed. A lacey series of eyelets begin to appear, and in some random racking at the top of the swatch, the possibility of developing a secondary pattern due to the combination of racking and tucking begins to show. The middle image is of the fabric slightly stretched. Passap 
Brother: the ribber can do the stocking stitch background, every needle in work, carriage set to knit. The setup is the same as the Passap diagram. A repeat with 2 black rows of squares followed by 2 white can be programmed on the top bed. On every needle selected rows, pairs of needles will knit, on the white, no selection rows the same pairs of needles will tuck for 2 rows. 
Moving away from vertical ribs becomes significantly easier if one has a G carriage. The alternative option is to create geometric folds that require transferring between beds. Any of these fabrics are best knit in a yarn that has memory and can spring back. Yarns such as acrylic can be permanently flattened by pressing, resulting in loss of texture. A quick experiment: black cells represent knit stitches, blue purl ones 
The needle setups: after casting on, transfer for a stitch configuration based in this case, of blocks that are 5 stitches wide. A single needle on the opposite bed is used on each outside edge of all needles in work. 
The repeat, 10 stitches by 40 rows. 
More on 
Pleated one color “shadow lace” in 
The colored versions before and after scaling, compared with the slip-stitch swatch. 
It is possible to produce a rectangular grid to start with on which to draw in Gimp, but the larger canvas size occupies a significantly larger space on the screen, complicating the process. For small designs, however, that may be an option to give one the sense of aspect ratio for the design in the final knit ie in representational FI. To resize the grid in uneven proportions, the chain-link below the spacing values needs to be broken 
This repeat is designed for an electronic, and requires color-reverse.
Once again, the possible change in scale is estimated. The repeat though only 24 stitches wide, is 92 rows high. On the left the repeat is shown as it appears on a square grid, to its right is the scaled 4:3 version, in a pixel count approximating the size of the swatch. It takes a bit of squinting to see the pattern more recognizable in the longer repeat in the larger tile 
The swatch was pressed, becoming wider than when first off the machine. It was knit using the slip stitch setting, which could also be executed in a tuck stitch, and would both widen and shorten the fabric and make the purl side more interesting.
and with a check tuck pattern that may change in aspect ratio considerably when knitted 
The proof of concept swatch, knit in tuck stitch, begins to show the distortion by the stitch formations, textures vs plain knit, easily seen at the top edge. The bind-off is around 2 gate pegs in order to allow enough stretch. 
Anyone familiar with either or both programs may find this a very quick way to visualize the scaling and moving of motifs within DIY designs and their possible outcomes prior to test knitting
As stated, the process is easier and quicker working on non-selected groups. Above, the yellow yarn was thicker than the blue. To maintain proper color selection in the non-selected column, the center needle needs to remain in the B position, with the slipped stitch forming floats below it before the next row knits. If the needle is brought out to E, it will knit in the contrast color, forming floats in that color on the purl side, and a knit stitch in what was planned as an all-solid column on the knit. The results are seen at the top of the first sequence in the swatch. I chose to limit my number of floats to 4 to keep the process manageable, moved stitches on the left of the center needle to the front of the knit, and then followed with those to its right. One of the many things to explore in hand technique fabrics is finding a way to handle tools that may be more comfortable than others, practicing on single blocks of color first can help establish that. Below both yarns are equal in weight and thinner. The floats formed by the color in the B feeder are also hooked up on the center needle in each vertical group in that color, forming a pattern on the purl side as well. 
The needle position for selection for B feeder yarn also needs to be maintained. Bringing the needle out to E ensures it will knit on the next pass. In both of my tests, the slip stitch floats on the knit side lie more horizontally than the lifted-up floats on the purl. 
The video knits each color for an even number of rows. Bring the first and last needle into work on the ribber before knitting each row. The remaining stitches are knit only on the main bed. The knit carriage is set to knit, the ribber to slip in both directions. Pick up the chosen color on the left, and knit for an odd number of rows, when the carriages are on the right, push held needles back to work position so they will knit on the pass back to the color changer. The ribber knits the next color. A review of the Brother ribber carriage for those not familiar with it 
knit for an odd number of rows, with carriages on the right, push held needles back to work position so they will knit on the pass back to the color changer. COL: the knit carriage changes back to knit settings, and the ribber slip setting in both directions is restored. The center stitches that formed ribber butterflies are transferred up to the top bed, and needles at the center of the blank areas on the top bed are brought out to hold. The color is changed, and the process begins again. 
My first efforts were met with dropped stitches after a few rows and expletives. My second effort fared no better, I simply could not avoid dropped stitches on either bed, perhaps because of my yarn choice and the small tension it required. Working on the single bed once more, using the slip stitch setting and knitting one color at a time, I achieved a fabric more similar to the original photograph. The chart reflects the number of needles in my test swatch, with a 2 knit stitch border added on each side 
The transfers in the piece begin on row 5. Before the next row is knit in the alternate color, the slip stitch floats are reconfigured, bringing stitches 1 and 2, 4 and 5 in each group to the knit side of the fabric, leaving the center floats undisturbed. 
Bring the whole group out to the E position so they will form knit stitches with the first row of contrast as the carriage moves to the right. 
The extra needle selection prior to the next all knit row helps track the direction of the moves, stitches are moved three at a time, there are no cable crossings
The next step for me was to explore cable crossings on elongated stitches working double-bed. A basic pattern on any programmable machine for playing with elongated stitches on one bed while knitting every stitch on the other is to program pairs of blank rows followed by solid punched or black pixel rows. The yellow line in this chart illustrates the row on which cabling might occur. 
Programming the width of the needle bed allows for only the stitches forming vertical columns in chosen locations to be put into work, allowing one to place groups that will involve crossings anywhere on the chosen pattern width. A base is knit in the ground color, which slips for 2 rows on the main bed, creating the elongated stitches that will be cabled. I had no problem with 2X2 cables, 
Cabling, returned to in a later post, with adjustments, making things work.
Continuing with shapes on striped grounds, this is the result of a self-drawn pattern 
The approach is different than in the blog post on 
Punchcards, in theory, may be used as given and set to double length, while for use in electronics drawing the pattern single height and using the double-length setting is also an option. Starting sides and fixing errors have always been more confusing for me when using the double-length feature, I prefer to punch holes or program pixels as I intend to knit them. The isolated reduced repeat for use in the electronic is charted, with an initial one-pixel error in 2 consecutive rows, marked with red cells. In transcribing any design, it is worth checking repeats multiple times after eyeballs and brains have had a rest. This was my start:
The design process using Numbers before exporting the repeat to Gimp for reduction to B/W png: in this approach, the repeat is drawn double height to start with. The red cells represent stitches that will be transferred down to the ribber before knitting the next row in the pattern color from left to right. 
The first test is of an isolated motif. The yellow arrow points to the pixel error, the cyan to the positions where some needles in the full repeat were “accidentally” placed in A position, not B, resulting in pattern stitches not being formed. 
Two other options for charting the fabric in numbers: A. draw the repeat as given
Any simple Fair Isle repeat may also be used. The numbering in the charts matches what is normally seen on the left edge of the tables
The world of possibilities grows even further for single color shadow lace, when, examining the same design, one recognizes that the pile knit card, with the blank rows filled in in pattern, is the same as the fair isle version of the repeat, rendered double long 
Some authors have suggested plaiting as an alternative to creating shapes with true brioche, which can be complex. To my mind, plaiting falls in the beauty being in the eye of the beholder category, I prefer far crisper color distinction in my knits. This sample from the previous shadow lace post uses thick and thin yarns 
its accompanying test swatch 
the file for multiple repeats after color reverse 
There is an interesting scale and depth of fold comparison between this version and the first using the repeat, achieved by tightening the tension as much as possible, and possibly by reducing the size of the eyelets. 
Take care if copying and pasting single columns to alter a repeat width that the whole column is indeed copied and that if using the pencil tool flood fill is not used unintentionally. The original intent was also to correct the elongated slip stitch segments on the edge of the programmed vertical designs marked in blue, but the paste with errors in red accomplished creating the same issue 
The first segments were knit using striper backing, with the ribber knitting every stitch, every row, in both colors. When a slip stitch is used with needles out of work on the main bed, end needle selection should be canceled. In A it was not. The result is that end needles alongside the out-of-work column knit with each color in each row. In B, end needle selection was canceled, and one can now see the elongated slipped stitches that result from areas that should have been marked with the contrasting color 
As long as the number of stitches on the ribber is even, lili buttons may be used, affecting the scale of the pattern in both height and width. In A, they were used with the ribber set to slip in both directions, in B, set to tuck in both directions. C marks the return to the N/N setting, with needle transfers to mark a possible pleat. 
The initial pleat idea charted out for single stitch folds, stitches transferred to ribber in the R columns, to the top bed in the T columns 
The result is a fairly soft pleat, the choice below was to retain end needle selection. 
Various ribbed pleat configurations are explored in 
Paired transfers in the planning stages: because the repeat is small and has a single center pivot point, it is rendered once more, adding columns
Here the transfers planned to opposite beds are marked on a 48 stitch repeat with red cells.
The resulting fabric relaxed on the left, lightly steamed on the right 
Note: the color positions in the design have been reversed from those in the first swatch. If “floats” are noted at any time in the spaces where needles are out of work on the ribber, look for dropped stitches.
Needles in locations where only the backing is to be shown are transferred down to the ribber. Leaving the eyelets, they were transferred back up to the main bed when brought into work to reverse or change the shape. Addition and subtraction of stitches take place before the next pass with the alternate color. Here movement is random, to get some sense of the effect, it could be made deliberate by following a chart or color separating and automating the pattern, with its starting side on the right. 
What of having shapes appearing in each of the 2 colors on a striped ground? Eliminating some of the guesswork I used the repeat from a previous single-bed blog post on 
The resulting sample, the yarn is thin, might have benefited from tighter tension and more contrast. 
The “yarn guide” is that mysterious notch in each arm of the sinker plate. In the Studio accessory, the 
Start the piece with waste yarn and some evenly distributed weight based on fabric width. Make sure the weaving brushes are activated. In the Brother standard, their position is changed using the corresponding lever; in the bulky 260, the L and R wheel brushes need to be placed in their corresponding slots. 
In general, the knitting yarn is thinner than the weaving yarn. The tension needs to be adjusted to accommodate the surface yarn, not the background one. The tighter the tension, the firmer and narrower the weave.
Locking the card, as with any other pattern, will repeat the same needle selection, creating vertical repeats that resemble twill weaving on a loom.
a: because stitches are actually knitting every other row, slipping while the needles on each side of them knit, they will alternately be a bit elongated; b: same needles knit every row, so their appearance is consistent. 
Depending on the difference in yarn thickness, the knit stitches in the ground become forced apart with what can be significant “bleed-through” on the reverse of the weaving to make that a really interesting fabric feature as well.
the “wraps” needed in each direction 
In knit weaving, assuming the first pattern row is preselected from left to right, with COR, the short end of the yarn of the carriage side, bring the first weaving yarn up from the floor, and lay it to the left across the selected needles, bringing it down between the last selected needle for A, and the first selected needle for B. 
To create isolated shapes: lay the yarn in any chosen area. 
The ground yarn and color may be changed for added striping and color interest. Sharp angles are created by crossing over two weaving needles, and more gradual ones by crossing over more needles. Blank areas of ground may be left as well.
A later experiment combining 
This is the wrong way to feed the yarn, as the row gets knit woven in, the yarn will be locked in place and cannot be advanced to proceed up the knit 
The way to have continuously available yarn 
Adding a second set of holes for the yarn stabilize the short yarn ends and maintain even spacing throughout, some tape could be used in addition to secure the ends on wider widths of vertical weave 
A spreadsheet or graph paper may be used to plan the configuration of the weaves including double wraps, this was executed using Numbers, individual bobbins might be a practical consideration 
In my own experience most hand techniques and single bed textures are far easier to execute with the ribber removed. It is easier to view progress, move up weights, and correct mistakes. That said, my machines are all set up with the ribber brackets, not flat. I feel it helps slide the knit down toward the gate pegs, and in my opinion, that makes textures and even lace easier to produce. I have ribber covers, they can be improvised if needed with paper or cloth, never use them since I see no reason for moving the knit on the top bed in front of the ribber. If the ribber is removed, it is worth checking its balance once more prior to returning to any rib knit. Ultimately, this sort of thing is about personal preference; no steps are ever universally applicable and correct.
chenille over cotton, tests for a pillow 
hooked up floats 
vertical weave, the second with a scorched spot from an iron, experimenting with direction of wraps, 
wool ground, felted, monochrome acrylic weft, cut floats 
wool weft over cotton, cut floats, further trimmed in the top photo 
The same card 3 ways: the weft is too soft, the effect is lost in monochromatic version, cut floats become muddied with wear 
crochet start as cast on 
beads strung through dental floss hooked on periodically, horizontal wraps;
automated pattern with added weaving through ladders 
“loop embossing”, separate threads were worked in and out vertically through ladder spaces 
worked on bulky 260, tension 2, using card 1 
weaving and lace combinations. 
Weaving yarns may be laid in between the beds with the ribber in use. This is the option for “weaving” on the Passap. 1: shows the rib needle configuration, 2: racking is added, 3: floats are teased out. In the latter, a sewing machine could always be used to anchor added float arrangements. 
In this swatch, a waffle weave effect of sorts was intended between EON rib columns. The horizontal pairs of treads are an easy guide for feeding the yarn across rows with the work off the machine. Here the chenille was “woven in” off the machine using a tapestry needle, double-strand at the top 2 rows, single below them. Beads can also be threaded and laid in one at a time between the rib columns, 
Any fabric with eyelets may be used as a ground for inserting fabric strips, very thick yarns, even hard objects such as rods or twigs. A quick grab of random studio bits resulted in these: torn fabric has frayed edges that can be used to create secondary patterns depending on the fabric, and the way the strips behave depends on the width of the cut. A bodkin is useful in the threading process. Bodkins measure about 3 inches, and cost about $3 in US sewing supply stores 
using thick yarns 
used in a wearable made during my student days for a “recycling” art day. 
roving
strips of torn silk individually placed 
hair decor and kite string
