WORK IN PROGRESS
In the FB machine knitting groups questions about tuck-lace trims have once again surfaced with regards to their design and use as edge finishes or decorative details. Some automated potential details have been covered in previous posts
“Crochet” meets machine knitting techniques: tuck lace trims (and fabrics 1)
Tuck lace trims (and fabrics 2)
Crochet meets machine knitting techniques: tuck lace trims or fabrics 3
The trims, however, may easily be created on any machine using hand needle selection and holding techniques. Over the years a number of names have been assigned to such trims, from idiot’s delight to shell, cockle shell, double shell, and scallop shell.
Trims are generally knit vertically, are often quite “lacey”, applied upon completion, generally with their knit side out. Some people think of them as mock crochet. They can go from tiny to heavier double-edge versions.
Generally, they benefit from being knit slowly with some weight to help hold the stitches in place and have the groups of tuck loops knit off properly. Start with a few rows of waste yarn and ravel cord to anchor to hold the weight, follow with a permanent cast on-on needles represented by grey squares in each group. Knit 2 rows on all needles and begin in the pattern. The method for creating tucked loops manually is to bring needles out to hold after setting the knit carriage accordingly. Until those same needles are pushed back into work loops will build on their shanks and will be knit off when the involved needles are pushed back into work. The limit with automated patterning for tuck in 4.5 mm machines, unless very thin yarn is used, is often 4 rows. There is greater tolerance in tucks created by hand techniques, but as with any fabric, it is best to test on swatches prior to committing to significant lengths of fabric.
When knitting trims and ruffles, end with several rows of waste yarn in a contrasting color, allowing for unraveling and binding off after application if the trim is too long, or for unraveling to a knit row and knitting more if the initial length is too short. Seam-as-you-knit might not be the best method to use if the intent is to retain the shell-shaped forms trim sides.
It is possible to visualize repeats both singly and in groups using tools from simple graph paper to spreadsheets. Japanese machines may not tolerate more than 4 rows of held or tucked loops unless the yarn is on the thin side, machines like Passap or Superba have a far greater tolerance.
Pivoting around a center stitch and adding width in vertical trims makes them foldable around a finished edge. When using electronic machines the garment’s finished edge may be picked up and the repeat for some of the trims can be programmed on the width of the piece for a predetermined height and bound off. If one is using a punchcard with single repeat vertical patterning or for more than one vertical trim with blank spaces in between them, the card would not be suitable for a finish on a horizontal knit edge.
To knit: bring needles in positions represented by yellow squares out to hold, push back to knit by the number of rows indicated in the chart.
A good source for pattern ideas can be found in punchcard volumes in the sections marked for thread lace. To add to the mix, once the repeat is worked out, transferring needles intended to be left out of work on the main bed may be transferred to the ribber when knitting trims as well.
Segments marked with green cells may be grouped in a variety of ways to create repeats in different widths, asymmetrical ones are also a possible consideration
Two repeats on a single card
The process for knitting a sample as a hand technique: 
Cast on the 7 stitches marked in work, bring needles2, 6, and 10 to holding position 
set the knit carriage to hold
knit 4 or chosen number of rows
push needles back into work position and knit one or chosen number of rows
return needles 2, 6, and 10 to hold
repeat the process for the desired length
bind off or remove onto waste yarn
An electronic or punchcard repeat for 4 tuck row: I like to start my repeats with an all knit row when possible. The design may be knit as a single motif, and though it is symmetrical whether the machine model used flips the image horizontally or not can have an effect on whether the uneven number of needles will be to the left or to the right of 0. If there is any question a few air knit rows will clarify pattern needle placement.
The automated repeat: 
The samples below were knit using a 2/8 wool, at T4, are shown folded along their center on the right of the photos, with the open edge on the left as they came off the machine. 
The usual single bed tension for this yarn might be 7 or 8, depending on stitch type. The greater the number of knit stitches on either bed, the closer the tension will have to be adjusted to that used in stocking stitch for the same yarn. Wool also has memory, will want to roll to knit side at the top and bottom, to the purl side along vertical edges, steps often need to be taken to reduce the rolls. Using this repeat 
as a stand-alone, the roll is severe, with the cast-off edge picked up and continuing from there, a rolled edge with no stitching required is formed, no further finishing required, is shown after light steaming 
Even if a repeat for automating the trim or edging is designed and may have been used before, it is best to test the repeat as a hand technique in any new or untested yarn first to see how many loops can build up before the stitches on each side may not knit, or the loops themselves might not knit off properly as a group on the next all knit row. Five rows were the limit for this yarn 
A bound off edge was picked up, purl side facing, a side edge could be as well. Test to see which side facing may suit your piece best. Ten plain knit rows were followed by holding for 5 rows on every sixth needle, followed by a central single all knit row, 5 more rows held on the same needles locations, ending with 9 rows knit on all needles, and the trim was bound off. It may be folded to the purl or the knit side before being stitched into place and is likely to require some blocking. 
A variety of edgings may be produced by simply hooking up ladder floats created by leaving needles out of work after X number of rows. In this instance chain cast on over 11 needles, dropping the center 5 chains and taking the corresponding needles out of work.
Knit 12 rows.
Pick up six floats and the chain from the start of the piece, bring them to the front of the knit, and place them on the needle marked with red cells at the right.
Knit 6 rows, pick up 6 floats again, place them on needle marked with red cells to the left,
repeat 
This variation uses the thicker blue yarn, knit at tension 4; 12 rows are knit before hooking up the lower groups of six ladders, which makes the floats easier to pick up or count using a single eye tool. Repeating selection on the same side allows the trim to be easily bent around corners 
Trims using holding alone border on the possibility of automation using slip stitch programming. A simple one to start: cast on 7 stitches, with the center needle out of work. Knit a few rows, set knit carriage to hold.
COR: push needles at left out to hold position
knit 8 or chosen even number of rows on needles 5, 6, and 7 on the right
COR: push needles 1, 2, and 3 on left to D position, knit 3 or a preferred odd number of rows, ending with the carriage on the left
COL: reverse the holding sequence 
The single out-of-work needle produces a ladder that nearly disappears after the trim relaxes, any our of work needle arrangement may be tried between the two groups of 3 needles in work.
Adding holding: cast on needle arrangement shown. The 3 stitches will roll to the purl side creating an edge that looks very similar on both sides of the trim. knit 3 or more rows, end COL
bring the 3 needles on the right out to hold, knit a row
COR wrap the inside needle of the 3 in holding, knit back to left 5 times
COR knit 5 rows (or DIY odd number), ending on the opposite side
COL reverse shaping 
translated for knitting, patterning may be used on either bed, with the opposite bed set to knit every stitch. If patterning is on the ribber, have the first and last needles in work on the main bed. 
The top bed is set to tuck in both directions, the fabric is shown lightly stretched 
and could conceivably be used to create a ruffled edge when followed by narrower stitch types ie. every needle rib or Milano variants 
Changing settings: with the knit carriage set to slip in one direction, knit in the other, the ribber knitting every row
Needles may be taken out of work to create pleats in every needle ribs, alternating their placement between the 2 beds. Knit stitches stabilize tuck ones. Here every other needle is taken out of work on only one bed. The tuck loops are more visible in any open spaces between the vertical rows of ribbed stitches. The ribber will knit every row on the same needles aligning directly above each other, thus ruling out full pitch.
The needles are set up so that the first and last are in use on the ribber, ensuring that a knit stitch will be on the side of any tuck stitch selected on the top bed, 
on the top bed the every other needle tuck selection reverses as the direction of the knit carriage does, needles brought forward knit, the ones skipped hold tuck loops in their needle hooks, 
the resulting fabric 
Choosing spacing between needles in work on the main bed 
A working repeat with 4 circular rows, 6 full rows knit 
My first swatch in the technique was in response to a Ravelry member share describing the stitch pattern used in a finished garment 
followed by float formation when only the top bed knits 
Repeating the experiment with 2 stitches on each edge, this time disengaging the ribber and knitting 2 rows only on the top bed only rather than knitting circular rows and changing ribber settings. The floats are brought closer together, the fabric is far quicker to knit. 
Windowpane bourrelet: beds are supposedly at full pitch, I had better success at half-pitch. The same bed is used for single bed rows as for basic bourrelet, a color change to try: every 6 rows 
Because the top bed needles are in pairs, the EON selection remains evident, each of the first 2 passes completes one row of knitting.
When only the top bed knits, floats are formed between the needles in work 
Half Milano with tucked long stitch: the main bed needles will tuck one row, then slip one row. The ribber needles will first knit a row, then slip a row while the second bed knits both rows. Then the ribber needles knit one row then slip a row while the second bed knits two rows. 
I have had no success with trying to execute my interpretation of the directions without getting floats on the top bed, and the photo in Machine Knitter’s Guide to Creating Fabrics is not clear enough to distinguish if there indeed are floats on the surface of the fabric. The experimental repeat 
the tuck row is formed with the knit pass to the right, no preselection 
the row of stitches is skipped on the way to the left, preselecting for the next first knit row, tuck loops visible on top of the hooks of the selected needles 
the process is repeated. The resulting fabric: 
Playing with color and texture: use 2 or 3, change colors every 2 rows, every 4, or at the end of each full pattern repeat.
After both no preselection row bring alternate needles out to hold using any EON needle tool. In my case, COL, I began with needle 1 on the left on row 3, alternating beginning with needle 2 on the left on row 6. The number of rows in between hand techs is an odd one, so sides for the hand tech will alter as well. This shows the tuck loops formed EON as the carriages travel to the right.
Prior to resuming pattern knitting, needles with loops on them need to be returned to the B position, maintaining the EON needle preselection for the next pass 
Repeat the process when design row 6 is reached, beginning with needle 2 on the left. The texture appears on the purl side of the piece, shown on the left
This repeat uses 6 passes as well. The tuck loops on the top bed occur above slipped stitches in the previous pass, which may be replicated, but the real problem is that every third row on the ribber is also having to tuck on specific needles with no knit stitches between them. The tuck loops happen directly above knit stitches formed in the previous row if the tucking lever is changed manually from R to P on those rows. That is a lot to juggle, a no. 
Here the eon tuck would fall on slipped stitches in the previous pass, so that is doable. It is possible to fool the lili selection into believing there are extra needles in work on each side of the ribber, which can “make” the first stitch on either side knit rather than slip or tuck. The method is used in creating a 
This pattern repeat is a short one, the changes are more regular on the ribber. The hand tech tuck stitches could be formed for 2 rows with all stitches getting worked back to B position in between those preselected for the next pattern row. The lili buttons need to get fooled after alternating pairs of rows, the start of several nos for me.
Planning for interlock:
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. 
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. 
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.
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, 
single row pockets are formed. 
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.
The process repeats throughout. Two passes complete a single row of knitting. The carriage actions for completed passes 1 and 2 
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. 
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 
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 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 
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 variations are limited only by time and imagination. 
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 place holder 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 series of two passes at first, then followed by four, repeating the double sequence throughout. The mylar, card, or computer image, do 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.
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 
Tiling the repeats to imagine the final knit presents the problem that results from working on a square grid and comparing the results to a knit, which usually produces a rectangular one. The representation for the linear patterns produced on the knit side of the piece cannot factor in some of the added distortions created by the stitch type used. I process my images in Pages or Numbers, depending on which document contains my most recent work and happens to be open. It is also possible to perform the final rescale in Gimp. Most knits approach a 4:3 ratio, with gauge variants in highly textured fabrics. To preserve a clean design, tile and save the original, screengrab the resulting image, load it in Gimp, and rescale. Repeat the motif for the same number in both height and width when tiling it. 
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, requires color-reverse. Since it is 24 stitches wide and it may also be modified and used on a card. In this instance, the original marks for rows and stitches are single height. The image is processed, matching the original, rendered double-height, color reversed, and then alternate pairs of rows were color inverted to render the repeat used in the test swatch 
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, could also be executed in tuck stitch, which would both widen and shorten the fabric and make the purl side more interesting. The software can provide a preview of the result far more quickly than knitting samples, but again, the previews are only approximations of the scale, and cannot show distortions to lines as one adds more texture.
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 B position, with the slip stitch 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, 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 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 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, knit for an odd number of rows, when 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: knit carriage changes back to knit settings, the ribber slip setting in both directions is restored. The center stitches that formed ribber butterflies are transferred up to the top bed, 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 efforts 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 E position so they will form knit stitches with the first row of contrast as the carriage moves to the right. 
