Early Brother punchcard volumes showed symbol charts alongside punchcard repeats. The translations at times were not the best. Here is some of the advice offered for woven lace patterns: 
This was one of the first such punchcard volumes published by Brother after the pushbutton earlier models were replaced by ones with card readers 
It has the added data on how each of the fabrics might look visualized in a chart prior to its expansion as a card in full repeat. This is the top half repeat of a card for pull up weaving combined with lace along with the directions for execiting the knit 
My experience with trying to knit CARD # 589, led me to notice immediately that all carriage passes, if the arrows are followed, are made from the same side. That avoids the repeated selections when carriages first start operating from the opposite sides. My interpretation of what the card is achieving: 
Taking carriages on and off the same side of the machine is nothing I would be inclined to do for any length on any machine. In theory, the identical repeat above could be used on an electronic KM in that way, but I did not get very far with that method before giving up.
The expanded the repeat for use on my 930, with programmed all-black pixel rows for any pairs of all knit rows, made for smooth, easy knitting 
The weaving yarn used in patterns such as these will be held in the hooks of the needles, combined with the knit stitch already there. In this instance that adds up to 5 loops that need to knit off smoothly on the next knit row, so yarn thickness choice meets with limitations.
The first preselection row is made from left to right with the knit carriage, it resumes patterning on the right, beginning the weaving pattern. End needle selection is on, KC I.
When the knit carriage is on the right and all but those single needles are selected on design rows 5 and 23, pick up the floats from the weaving yarn with a single eye tool and lift them onto the non selected needles, then bring the same needle out to E position before moving the carriage to the left to create the first all knit row.
Before transfer rows using the lace carriage, if any end needles have been selected in pattern push them back to B before traveling with it to the opposite side. The electronic repeat, followed by its .png 
Later punchcard volumes ie 4 and 5 took into account the repetition issues when carriages select needles for patterns from opposite sides, and that may be the best place for card designs that may be knit following arrows as shown, in the traditional manner. This design has fewer woven rows, a larger lace motif 
Volume 4 offers only this advice: “the empty needles are selected at the second lace pattern, but this is not a trouble, and you may pass the L carriage to the side which is indicated on the punchcard”. I take that to mean that after a transfer if the same needle is selected again, don’t be concerned, keep moving the carriage in the direction of the arrows. 
Because the weaving is for only 2 rows, the use of laid in, thicker yarn is well tolerated. The punchcard repeat amended for use on electronic, shown prior to mirroring 
its .png
A resource offering many more design patterns: 
for swatches in color see pattern # 321-360.
There is often a discrepancy in previewing contents of downloads between thumbnail page markings and those on the document scan. In this case, diagrams begin on manual page 278-284, thumbnail # 284 – 290.
E-wrapping or other weaving techniques may be used on “weaving” row preselected needles, needles can also be hand-selected in knit areas in any other programmed lace repeat to add details on the chosen row(s) without engaging the card reader. Knit 2 plain rows, select weaving needles, wrap the yarn over or around them in the desired configuration, knit 2 plain rows again, and resume lace patterning. Varieties of wraps for use on every needle with yarn similar in weight to the ground, or every other needle with thicker yarn. 
Once the desired effect is achieved, a repeat could in turn be configured and punched or programmed to make the process easier to track.
A start at a brick repeat adds spaces for mesh eyelets to be added between the punchcard repeats, the grey lines help align continuous vertical stitch placements 
The first effort to add the in-between eyelets is made easier if different colors are assigned to the left and right transfers, in this case, red for left, green for right 
The related swatch segments:
The repeat is 24 stitches wide and because only the lace carriage is selecting needles and operating from the same side, it could be used, mirrored, on a punchcard machine.
At the time, I made a long, convoluted effort to produce the fabric. I am returning to the topic and comparing 2 cards in this post, the original 589, and a new-found cousin, 259. Looking to the published cards for clues, remember that markings for carriage movements related to the first design row at the bottom of the card begin on the left of the card, above the Brother line numbered 1 on the right. The start of both cards: 
As the carriage moves to the right, the card will advance a row. 
259 shows the traditional approach combining the two techniques that take into account the fact that when the second selecting carriage starts to move from the opposite side, the punchcard does not advance, repeating the same preselection. Added discussion of the differences in repeats for both machine types may be found in the post: Doilies: 
Analyzing the card, sorting out possible repeats follows since mylars or bitmaps for download often only require a single repeat of the pattern. If you are not used to doing this, sometimes beginning with recognizable vertical ones first is a bit easier. The first problem: matching the arrow markings beginning just above row 1 mark on the right, it appears the first set of transfers should be to the left,
The pattern is simply not workable as given using both carriages selecting needles from opposite sides of a punchcard machine, each moving for 2 rows.
the smallest, single repeated in width X 2 for use on my 930
its .png 
Extension rails must be used as both carriages engage the belt. The LC operates from the left-hand side for four passes throughout. The KC from the right for 2 passes each time. It advances the design by one row for each pass, preselecting needles or blank rows depending on the presence or absence of pixels as it would in any other fabric type. End needle selection is canceled. The weaving yarn is laid over the groups of every other needle in D position. A quick proof of concept swatch, the ground yarn may need tension adjustments for the best result 
the mirrored repeat is used in the top swatch, any dropped stitches will result in floats. The repeat prior to mirroring was used to knit the bottom swatch. Dropped lace transfers may be missed behind the laid in thicker yarn. Transfers may need to be made manually if they continue to be a problem, especially if the ground yarn tension needs tightening in order to achieve the desired effect. 
comparing the sequences for both starts, weaving on left, lace on the right 
a sample using 2 different weight yarns; irregular weaving may require changing the yarn, or adjusting the tension used for the background yarn 
I like to test these repeats first in transfer lace, to sort out the best tension and yarn to use, errors in programming, 
Taking another look at the original punchcard and those arrows on the left-hand side, a detail I had originally missed, they all start from and return to the right, the line thickness changing marking the alternate carriage 
As I was trying to understand what was happening, I was also able to produce a swatch using the original #589 card, using a method that, however, produced all lace transfers to the right, and differed from the desired effect:
the knit, produced at the time on both my punchcard machine and with my 910 also requiring an LC release on its third pass,
Using the method described in other posts, this was the screengrab imported into Gimp. The grey line is a reference point. Cropping the image to content will allow the last blank row to be preserved by having the grey one there. After the crop, it can be bucket filled with white, or when the image is, in turn, bitmapped to B/W, you may find it disappears. Image scale is then used to reduce the repeat for knitting. 
There have previous posts on automated lace edging on Brother machines, ie 
The test swatch in progress 
I used a short cast on comb for weight across the piece, moving it up cautiously on a regular basis 
It is helpful when starting in waste yarn or simply using plain knit rows at the bottom of a test swatch to choose a clearly contrasting color. Here I did not do so, the drawn line is to help define the start of the shape formation created by the holding sequences and eyelets. The eyelet on the outermost edge of the circumference “disappears” as that edge gets stretched to the max. Two eyelets in the diamond shapes are not formed properly
knitting without a knit gauge can be dangerous, here a guess is made as to how many more units might be required to make the final shape go round
I committed to 8 wedges, another attempt at a check for size prior to seaming the shape.
Before joining the stitches permanently, a quick look to see if there was enough knitting to form that pie 
The least satisfactory and most visible join is the latch tool bind off. Grafting by hand off the machine is the least so. For the sake of ease in identifying open stitches easily, both methods would benefit from a couple more all knit rows between each segment as seen in the repeat in the original doily post in spite of the fact that the shape around the very center opening will change.
Planning for diamond rather than bow shapes, the repeat was changed from a 28X68 one to a wider, 32 X 64 
The lace carriage makes 4 passes, followed by 2 rows knit. The arrangement at the end of each transfer sequence will have pairs of double stitches moved onto the adjacent needles, leaving 2 empty needles in between them. Placement on the needle bed should be planned, added “border” stitches can be moved away and toward the starting number of stitches to keep eyelets forming at the side edges for all over uniformity
after the transfers single needles are empty, with double stitches in adjacent ones, transfers to the left are repeated once more, this is the result, with transfer needles pushed out to show doubled up stitches 
After all the sequence transfers are completed, there will be adjacent pairs of doubled up stitches with 2 empty needles between each pair. As the following 2 rows are knit, the first row creates loops in the empty needles, the second pass skips those needles, forming a “float”. Looking a bit closer after the knit rows
as the process repeats, the first transfer 
the second transfer
The pairs of stitches that have been moved anchor the 2 side by side loops and result in the 3 strand stitch pairs, with every other remaining pair of needles empty between them. The LC returns to the left with no needle selection 
Those short “floats” at the top and bottom of the eyelets can be reduced. This adds a hand technique to every opening, whether results are worth it becomes a personal decision. 
Before the 2 knit rows, there will be the doubled up loops in each of those needles, and the 2 doubles up stitches made from the transfers are added to them as transfers continue. For all those strands to knit off properly, the whole row might best be brought out to E position before using the knit carriage. The differences in the hooked up float version of the pattern and the let it be one are shown in areas below the lines in the bottom corners and by arrows in the close-up 
Much easier and quicker to knit, though quite different, is 
This chart was used in 2013 as a guide for hand technique using a 2/8 wool 
Knitting lace sequences in a single orientation produces a mesh that is biased. It could be the start for one more chevron shape but was not the intended fabric.
The adapted repeat: the odd number of passes between each repeating segment ensures that the following selections reverse the direction of the transfers
the proper orientation for use on the 930
Needles preselected for transfer to the left 
during transfer, needles are preselected for transfer to the right. Doubled up stitches will now be moved 
Pairs of knit rows follow each of these sequences.
A repeat that produces a smaller mesh with the swing right to left is found in other posts and references. Below part of a published punchcard is shown, with the resulting swatch, and in turn, compared with the large scale version of the same mesh structure knit on the same number of stitches 
The 910 LC is also missing its magnet (left), gluing on a magnet in the position shown below made it usable again on the electronic 
The resulting, more successful swatch 
2018 failed attempt at a continuous pattern
Charting it out anew: on the right is the amended repeat adding 4 more rows to the top of the original
The resulting swatches:
These charts illustrate the above repeat on the left. On the right, the edge transfers are imagined reduced to single eyelets on the increasing angle. In turn they would result in a wider area of knitting in the zigzag shape between the curved edge and the diamond shape. Another possible solution follows, using expanded graphs with extra LC passes 
The curved edge is noticeably different and more uniform than in edgings where the increasing angle is formed only by a single stitch being transferred to the next needle on the left, creating an eyelet immediately to its right.
Moving on to the Brother published chart at the bottom of the 2018 post: the original is on the left, readjusted for planning to begin with the decreasing curve in the center, and charted for download on the right (mirrored in turn for use on the 930). The original was said to be 68 rows high but proved to be 72. It is also 18 stitches at the widest point, not 24. I did not follow the publication’s directions for alternating between fine and normal lace either, simply left the LC set to N.
The test swatch
A fellow Ravelry member reminded me of Tessa Lorant’s lace publications. I had forgotten I actually owned this single one from 1981.
Upon examining it, I rediscovered her patterns, many for hand knitting with accompanying written row by row instructions and charts, others at the back of the pub, with punchcard machine repeats.
Working one chart through to knitting: the bottom left image shows part of the original card. Magenta squares indicate transfers to the right and cyan ones to the left. The straight edge border with the larger number of eyelets was a bit fiddly to knit, so the second option is also offered and tested.
I knit to the left after all the needles were preselected at the end of the decreases and then cast on over the empty needles on the left, bringing them out to hold so they would be knit for the second row as the knit carriage returned to the right side. A garter carriage weight seemed to be enough to help anchor down the newly formed stitches during subsequent transfers. 
Making a pattern design more one’s own: part of the original design from p. 52, split so the pattern may begin on the widest part of the repeat, punchcard “holes” marked for left and right transfers
This sort of knitting can be a bit fiddly. I believe if I were to produce any such trims in great lengths and had the option, I would choose to dedicate a punchcard KM to the project so it would be easier to step away from and return to it as the spirit moved me.
The last Tessa sample, from page 60, brings up the topic of large eyelet lace, also revisited in a recent 
More transitions in planning:
two of the rejected swatches 
Consideration needs to be made in terms of whether some small ladders are a design element or not, hooking up “floats” helps reduce or eliminate them on decreasing angles on both sides of the shape, but the resulting eyelets appear a bit larger and different than the rest.
The Tessa trims are knit in fine yarns. This shows a portion the inspiration large eyelet trim, note the appearance of the space between the two center eyelets is different
My version with the floats hooked up and onto the needles with no multiple stitches already on them at the center eyelet as the pattern shifts:
At the top of the piece I did have to deal with closing the eyelets to facilitate 2 knit rows and binding off. I prefer to work from left to right, dealing with the right side of the loops first: drop loop on the right side, use a tool to enter the float created from its back 
twist tool and yarn clockwise
There were also point cams, that help to change the spacing between vertical lengths of design repeats. For images of the Lace carriage and use of point cams please see posts 
single complete transfers 
Multiple transfers may be made either as a hand technique or expanded for use in electronics. Because single stitches are moved with each carriage pass, pattern repeats can become quite long, with few punched holes or black pixels 
Generally, it is best to use a yarn that is smooth, has some stretch, and does not break easily. Because the yarn will be transferred to and from or in addition also be shared between needles, some extra yarn may be needed for proper stitch formation. In overall meshes, it is best to start testing using a tension at least one whole number higher than when using the same yarn for stocking stitch. Too loose a tension can result in dropped stitches or loops getting hung up on gate pegs, too tight and the stitches will not knit off properly or drop, or the yarn may even break. When eyelets are few in number, adjustments in tension may not be needed.
A comparison of hand-to-machine stitch symbols with illustrations and more information: 
The two rows at the bottom of the card reflect the overlap when punchcard snaps are in use to keep the pattern continuous. 
Column identification at the bottom of the chart: A= direction of the lace carriage, pixels, or punched holes preselect on that carriage pass
Spacing out the zigzags, another 24X30 repeat. This is the minimum repeat for electronic KMs as well, knit stitch spacing (white squares) can be planned to suit 
The transfers of the stitches by the LC while using the knit carriage set to slip in both directions to create the knit rows, will automatically create increases and decreases along the left edge. Due to this fact, there will be one less eyelet in each transferred row than the number of pixels/punched holes in its corresponding pattern row. The knit carriage in this instance preselects rows for the lace carriage, the lace carriage preselects all needles required on its way back to the left for the knit carriage to knit on its next pass. This chart attempts to show movements of the carriages and the location of stitches after they have been moved along with eyelet symbols in their locations after the transfers 
The pattern repeat on the left below is as I drew it and intended it, on the right, it is mirrored for use to knit it on my 930
The first preselection row is from right to left, the knit is centered with 10 stitches on each side of 0. I canceled the end needle selection on both carriages. The first row is knit, when the KC reaches the left side, set it to slip in both directions. As it returns to the right it will knit a second row on all needles in work, and preselect for the first LC pass. Extension rails must be used as both carriages will lock onto the belt for pattern selection. At the start of the piece, as the LC moves from left to right it will transfer preselected needles to the right. On its return to the left, it preselects needles that will knit as the KC returns to action from the right. Each carriage in this design makes alternating pairs of passes.
The above fact allows for planning transfers in both directions while still keeping the routine of 2 passes for each carriage to and from their original home. Based on that, here is another trim with eyelets in alternating directions along the side opposite the zigzag shape. The repeat is now adjusted to 22 stitches X 48 rows to accommodate the reversing eyelets arrangement. It is shown here mirrored for download to my 930. There is a blank square at the top right corner, the corresponding stitch will be cast on by the knit carriage on its move to the left, and transferred automatically when there is a return to transfers at the bottom of the design repeat. 
The yarn used or the swatch is a 2/18 wool silk. There will be 2 stitches on each needle (A) at the very edge where stitches are transferred for decreases and look different than where the edge stitch is simply moved one needle to its left (B), leaving behind an empty needle. A parallel, similar difference is also noted at the inner edge of the zigzag shape. The sample is pictured turned 90 degrees counter-clockwise, and its bottom edge appears on the right 
Transfer lace on the Passap: the console will be used to select needles for hand transferring stitches. The technique will determine the number of plain rows between transfers. Use tech 137 for two rows between transfers. The pushers will set the corresponding black cells for transfers, they will stay in that position until the next set of transfers. Many tuck patterns may be used to make the selections, they are not designed to knit on adjacent needles, choose ones that have white columns for nonselected pushers 2 rows in height. Stitches are worked on the front bed. The front lock is set to N and the back lock to GX. Move selected pushers up so that the corresponding needles are easily identified, and used a tool to move stitches right or left. Move all stitches in the same direction, first across a row to the right, then across a row to the left to avoid biasing if the pattern is an all-over one, for borders all transfers in the same direction may work as well. Leave the needles in the work position, return the pushers to rest, and continue in pattern.
The fabric was capable of changing considerably in look and width that could be encouraged to remain more permanent with blocking. There is a visible asymmetry, with one side of the chevron actually containing an extra eyelet. Still trying to retain the 24 stitches in width design constraint, I began to work with simply counting eyelet transfers matching in number, guessing rather than planning. Tiling the repeats can help get a sense of how things line up horizontally and vertically. Electronic repeats can be minimal unless one is programming the pattern as a single motif that includes edge knit stitches etc when downloading via cable to an electronic or using the Ayab interface. 
A and B continue to produce uneven numbers of eyelets on each half of the resulting “V” shapes. The greater the number of row repeats of eyelets in a single direction, the more the resulting bias. If asymmetry is the goal, then this may meet the need. I knit most of the swatches on 48 stitches, with more needles added on the right if needed to ensure the edge stitch will be a knit one. Larger shapes require wider tests. The photo is rotated to reduce its length on the page 
The added eyelets in pattern C produce an interesting change from a sort of V shape to more of a W, but the fabric is still unbalanced 
Back to the drawing board: a different mesh, with eyelets in alternating numbers, resulting in a more balanced fabric. Here the charted repeat is shown X2, side by side. 
Using electronics one may expand or reduce the number of stitches in the repeat to reach an estimated equal number of eyelets 
With any mesh, the number of knit rows may be varied between each pair of transfers. My swatch was knit using a 26 stitch repeat width 
Exploring a smaller repeat, also 24 stitches wide 
The white yarn used is the same cotton as in the previous sample, knit at tension 9, the chenille is rayon, 1450 yards per pound, the eyelet patterns are stable and distinct, 
Another variation 
As often can happen in machine knitting, on a different day, the same yarns, same tension, same operator, and stitches drop, get hung up on gatepegs, and perform other unwanted actions.
The blue yarn refused to knit off properly, so the different added colors were tried to see if I fared any better using them.
and has a very different appearance when lightly touched with my now fiber burning iron 
During knitting, these fabrics will appear to be producing straight color stripes 
Taking the guesswork out of repeats, one may begin with or use published cards as they are, this is from a Japanese magazine, 
Here the cast on and bind off match very closely. I used the looser cast-on method described by the “answer lady” in the 
A very different chevron in an advanced technique combining tuck stitches with lace and fine lace patterning 