Several methods for creating fringes including some that may apply to this fabric as well were explored in the collection of fringes 1 post
Hairpin lace, familiar to many crocheters, is based on a central column with side loops that can be produced in strips, in turn, joined together in different configurations to compose open inserts, shawls, garments, serve as trims and joins.
A double-sided machine knit fringe can serve the same functions. My first swatch is knit using the #1 punchcard. Tension is totally dependent on the yarn used, the fabric may be executed on any machine, but as is often the case I am writing specifically for Brother.
The needle arrangement includes 2 center stitches, an even number of out of work needles to determine the width of the long loops, and one stitch at each end that is knit for the duration, then unraveled to loosen loops for various joining methods or uses as seen in hairpin lace references.
COR: to start with, 2 needles are cast on in the center of the piece, knit one row on them alone. This will produce a small tab that is woven in upon completion of the strip, as are yarn ends, and creates a base so whole loops may be added in equal numbers on each side.
Bring the side stitch on the carriage out to work skipping the chosen number of needles, knit one row to the opposite side, bring the outside needle on that side out to E, set machine for preselection row, knit back to the opposite side. Proceed to knit with both tuck buttons pushed in with end needle selection on.
A separate cone or ball of yarn will be needed in matching or contrasting colors to anchor stitches in the central vertical column. Bring the row counter to 000.
Multiply the number of loops required X2, since it will take 2 passes of the knit carriage to complete each pair, one on each side of the center.
I brought the side stitch on each side prior to knitting the next row out to E, rather than settling for using KCI alone, found that kept the side edges stable and I was not getting dropped loops.
If long strips are to be knitted, control over what is happening on each side matters in their assembly.
As you knit the two center needles will alternate coming forward, a separate strand of yarn is used to e wrap around the needle that comes forward with each pass of the carriage. Even though the illustrations for the technique show equal loop widths, they can actually be created asymmetrically as well, or the central column may be moved on the knitting machine as one advances through the piece for an asymmetrical version.
The dots on the metal bed are from another piece
the first selection of a needle forward by punchcard 
e wrapping with second yarn before moving to left 
e wrapping with second yarn prior to returning to right, completing a sideways figure 8, end stitches out to E before prior to each carriage pass 
When the required number of rows has been knit, end COR. Unravel the first stitch on the right,
at the center transfer one of the two center stitches onto the other, and secure it with the center yarn.
Drop the strip off the machine, unraveling loops when you are ready to join the strips.
Using the finished sample as an insert brings up the topic of joining knits. Here there is a single stitch on each edge. The unbound off stitch at the top on each side can be hooked on and secured with the first pick-up.
Stitches in the sides of knits form “loops and bumps”. The loops are formed carriage side as the row knits, can be used as possibly the least satisfactory single stitch increase. Opposite the carriage, as that same pass is completed the yarn will twist and create the “knot”, an easy and often acceptable single stitch increase. Which of the two is used to pick up for joining depends on yarn thickness and desired effect. Swatching will serve as a guide. Being consistent gives the best seam/join, without bumps and lags. The single edge stitch side border needs to be stabilized if it is going to serve as the detail at the bottom of the piece.
E wrapping every other needle as shown above with separate strands of yarn for 2 stitches on each side may be used to produce a no-roll edge on the sides of any knit fabric.
Knot vs loop: 
Using thinner yarn for knitting after the join even if on the same number of stitches, will gather the fabric 
More on seaming and joining knits 1 and 2. Extensive accumulation of images (crochet) for inspiration and possible technique links may be found on Pinterest
On the left is a sample using an asymmetrical width, latched join method, while on the right loops are twisted broomstick lace fashion, and there is a crochet stitch join 
strips of different colors used 
gathering tightly on one side can be the start of circles and shells 
Japanese design books include their own symbols, here is part of a schematic for a shawl. It precludes an understanding of crochet symbols. The latter is simply illustrated and there is more convention as to their meaning than that for knit symbols, particularly as more and more designers are adding homegrown ones to self-published patterns 
The convention for joining strips of machine knitting by crocheting or latching side loops together suggest having a ladder space (white square, one or more may be used) and a side edge stitch on either side in segments of the final piece ie. afghan strips. 
When binding off at the top of the piece, the first and last stitch on either side is skipped, leaving them open so that they may, in turn, be unraveled. The easiest method if the goal is to join pairs of strips is to line up two of them side by side, unravel side stitches from the top-down, only enough rows to match the number of loops that will be latched through each other, and proceed for the length of the piece.
Depending on the yarn, work can be rehung on the machine, followed with a latch tool bind off, a segment at a time if needed, while maintaining a continuous piece of yarn.
Steps may be repeated for a crochet pretender edging at both ends if the number of needles on the machine will support that. Another alternative for the horizontal edges when no fringe is planned is to bind off with a crochet hook as follows: knitted edge: slip stitch in each knitted stitch, open section: chain 1, 1 single crochet stitch into first jumbo stitch, chain 1, 1 sc into second jumbo stitch, chain1 repeating across the row. If desired, sc again across all stitches. A row of single crochet may be needed to balance cast on edge as well.
Then there is the option of “winging it” and making a personal decision about other suitable alternatives.
When strips approach traditional hairpin, if you wish to work bottom-up or arrangements of loops are planned to be varied, whether, by crochet sequences or rehanging loops on the knitting machine, unraveling may be done while also threading a length of yarn through the loops akin to a lifeline in other types of knitting, making them more manageable. A hand knitting video by Bernat Yarns illustrates the principle on conventional hairpin lace
The technique is sometimes referred to as a cable join. The video also provides a reminder that if all the latching through is done in a single, same direction, the fabric will bias. To avoid that, start latching on right for one pair of strips, on left for the next pair. Finishing side edges by latching is shown in the Bernat #4 video along with adding a fringe to finish the top and bottom of the piece. If you enjoy crochet patterns longhand in the “old fashioned” way from out of print sources, here is a reference for inspiration, with hairpin illustrations # 448-456.
A join and side finishing, one side of each strip chaining strands of loops through each other, the outside edge twisting loops akin to broomstick lace: 
A partial illustration from Pinterest from an unknown source showing how the loops coming together to make shapes might be charted out: the ovals represent chain stitches, the v slip stitches, the different colors the finish of a complete strip’s edge 
Tuck lace is a fabric produced with needles out of work in combination with tuck patterning on the main bed. Patterns for it can serve as the starting point for either the center strips in double-sided loop fabrics or they can be worked in repeats with wider ladder spaces between them for a far quicker “pretend” version. This is one of my ancient swatches for the technique from a classroom demo, using the 1X1 punchcard, shown sideways to save space.
The card is used at normal rotation. Any time there are needles out of work, end needle selection is canceled to maintain patterning throughout including on end needles of each vertical strip. Tuck <– –> is used resulting in texture as opposed to simple stocking stitch and ladder fabric (center of the swatch). In the right segment, the ladder threads are twisted, in the one on the left they are not. This is what is happening: for twisted ladders on an even total number of needles have an even number in the selected pattern (4), and an even number out of work (6). This is one fabric that definitely benefits from the use of some evenly distributed weight and a good condition sponge bar. End needle selection must be canceled 
Here the stitches are arranged with an odd number in work (3), an odd number out of work (7)
A way of determining needles out of work vs patterning/ in-work ones for both tests: the first is knit on a multiple of 10+4, the second on a multiple of 10+3
These fabrics will narrow considerably when off the machine, here is an image of the above swatch after a period of “rest”.
I made a few items with twisted strands inspired by those seen in wovens produced by my weaving friends. I have no photos of those, failed to document my work for quite a few years. One excuse was the quality of any photos I attempted, and even back in the day, professional photographers charged $180 an hour plus model fees if used. It seemed that adding the cost of such photography to limited edition runs that were planned for sale would make the wholesale price higher than the market would bear. We all make choices based on information we have at that particular time, which was long before the recent easy-to-use photo technology.
Here a ladder space created by needles out of work is left between vertical fair isle repeats, producing a fringe in 2 colors. The design was not planned, a standard punchcard was used for the purpose of the demo. A planned repeat would have more impact. End needle selection is on, which is usual in FI, not for most patterns with either tuck or slip stitch settings combined with needles out of work, is also true here so that a vertical line on each side of the needles out of work between repeats aids in sewing the strips together. Width is limited since the fabric will be gathered by seaming and become significantly narrower and likely turned sideways. Both sides are shown. Joining could be planned to occur only at the bottom of a piece if desired, stitching lines will be less visible if thread color matches that of the yarn 
A needle in work away from the edge produces a side “fringe” followed here by felting partially, cutting the single edge stitch, and finishing the felting process
Adding thicker or multiple strands of yarns in 
Most often every other needle use is best. Here lace and pom trims are used, purchased fringes of all sorts could be applied the same way anywhere in the piece, joins to knit can be seen. 
A length of roving may be twisted in its center and applied as you knit. For a while mittens using it as a lining for warmth were popular. A video by Carole Wurst shows a method used in socks 
The thickness of the yarn chosen is of critical importance. When I first attempted to knit a version of it on my 930 I encountered problems. To start with, I kept dropping off the stitches on one side or the other. I checked the ribber alignment, proper placement of the cast on comb, switched ribbers, and carriages, and continued to have problems. After all that, the solution turned out to be simply adding another 4 stitches (2 on each bed) toward the center of the piece (I did not count). Here I used a 2/24 which obviously does not have enough body to use as an edging. The Brother equivalent for the Duo setting is half fisherman rib, where one carriage knits in one direction, tucks in the other on every needle for every 2 rows knit, while the other bed’s carriage does the same, but in opposite directions. I used 3 needles on each side rather than 2 as in the Duo repeat, starting with the first needle in work on the left on the ribber, the last needle in work on the right on the top bed. One may begin to knit on either side, but when manually setting the cam buttons lead with settings so that first stitch knits as it moves to the opposite side. Using waste yarn at the start of the piece will produce a better cast on edge for the trim. Operating from the right:
A 2/11.5 acrylic provided more of a tension adjustment challenge but made for a better fringe.
The first and last 3 stitches on either side were transferred to the top bed and bound off, the center stitches were not, allowing them to be unraveled if desired ie in case the fringe is to be folded in half. Those extra center stitches also provide a guide for cutting either down their center (bottom of photo) or on either side of them (toward the top). I found the latter method to produce a cleaner cut line
Suggestions for going wider with racked half fisherman rib on Japanese machines: begin with needle arrangement below, out of work needles can be as many as needed, set up and cast on with preferred racking position ie on 5, knit several rows in waste yarn making any adjustments needed so stitches knit are formed properly, weigh appropriately. 
Add needles on the main bed and remove one on the ribber
the edge that holds the fringe together is to be very narrow (or even added as one continues to knit) and one wishes to work on the single bed there are several options. With 4-ply and a “matching color” 2 ply I began with the top needle arrangement, and then switched to the one below it, knitting on a 4.5 mm machine. 
A permanent cast-on needs to take place in the preferred method over needles in work knit 2 rows. The stitch on the second needle from the left is going to want to stretch and tends not to be stable. To reduce that happening, there are 2 options involving the second strand of yarn. Here using a 2 ply helps serve that purpose and keeps the fringed strands closer together. The slower method is to remove the second stitch from the left on a tool after every 2 rows knit, then bring the separate yarn strand behind the now empty needle first from the right, then in turn from the left, returning the removed stitch to the machine, knitting 2 rows. I found that too slow for my patience, switched to just laying the second strand over needles before knitting each pair of rows, and decided to eliminate the out of work needle on the left side, moving the second stitch in work to its left. 
The single stitch on the far right of the chart need not be bound off. There will be 2 options after the work is off the machine. One is to unravel the single stitch column on the far right if loops are the goal, or cut it off, leaving a fairly good trimmed edge here, and what, in this yarn, appeared to me to be an acceptable edging. The 2 edge stitches on the left in my swatch did roll, making a very tight edge. Adjusting the tension used to change that effect would be another choice. Yarn use and personal taste contribute to a range of “successful” results when using any of these techniques. 
At the top of the piece, I transferred and doubled up the stitches on left, bound them off, and the yarn end(s) can be woven back into the cord. 
The side with the transfers is the “public” one, the finished fringe is usually hand sewn on, but it may also be used to cast on or be applied to several places in the knit both close together or at various intervals. Tension changes may be observed viewing from left to right, as well as the difference in length of loops as opposed to after the cutaway edge. The third stitch in work on the right may make for a more stable cutting line if looser tensions are preferred. Because the sinker plate used on the single bed has brushes and wheels in use, the width of the fringe can be considerable, without having to be concerned about stabilizing the center as it is when working on the double bed.
Visualizing the punchcard or electronic needle selection on the same number of needles in work as above helps. Here the first and last needle on each side knits at the start. End needle selection is off; if it is not the outside automatic needle selection will give that edge a different look. Using both settings will help determine if one is more preferred than the other. 
A closer look at both sides of my ancient swatch knit in 2/8 wool
Long loops are best in a thicker yarn, here they are shown in an every other needle arrangement using mohair on 2/8 wool ground
With ribber in the down most position (4.5 cm loops)
In this case, knitting ended opposite the fringe, only these stitches were bound off, not the single one on the far right 
Cut lengths of yarn may be added to edge or in the body of the knit, eyelets could be used as markers or for an all-over fabric, guiding placement. This illustration is from 
Fringes could also be crocheted or hand-knit, used to cast on the piece or be stitched in place upon its completion. I do not have the source for this, will credit it if I can find one 
I asked on Ravelry for advice or shared experiences. A possible culprit was suggested to me, and I was pointed toward the
When I tried to turn the screws marked in red I found they were loose. After I took apart the racking handle, braving far more disassembly than turned out to be needed, housing little screws and washers in separate small plastic containers along with their comrade larger parts, I found perhaps I could have reduced the effort considerably. I did not take photos during the process, as I was not brimming with confidence in the result. Enlarging a portion of the above helped me understand how parts related to each other a bit better. 
It really may not have been necessary to even remove the bracket lever. The #10 piece of metal was loose inside the machine, might simply have fallen out if I had turned the bed on its side and given it a mild shake after removing #57. This is with the piece in question in its housing where it belongs (white arrow), shown in relation to the needle retainer bar (black arrow) and screws marked with red arrows that hold it in place. 
The piece is obviously thinner than the space it lives in, so for screws to anchor it properly, a flathead screwdriver or other improvised tool needs to be inserted under it, lifting it into position and holding it in place with its holes lined up with outside of bed so screws can grip it and be tightened properly. 
shown below on the right 
Translating Duo directions to black and white squares in order to develop a repeat for use on Brother: N/N is easy. The Duo is using buttons on the front bed and selection in response to their arrow setting to alter and progress through the pattern. The setup is with 7 needles up, 7 down, creating a 14 stitch repeat. BX on Duo (LX with patterning on front bed E6) is the equivalent of slip setting on Brother. No arrow keys, Passap on N, everything knits. Brother equivalent is a row of black squares (or punched holes if applicable) for each row on the N/N knit setting. BX <– will reverse the needle selection from whatever it was immediately before the previous rows of N/N, and remain there for the full racking sequence. After the first 32-row repeat is completed, at the end of the 12 racked rows, there will then be 4 all knit rows between racking sequences, two knit rows at the top would match 2 rows knit at the start. Once again, the BX<-for one row sets up the alternate blocks of racking. I chose to start my repeat with the 930 with a cast on in racking position 10. The chart shows racking positions on each row, reversing direction after having reached #4. E6 knitters may use the same repeat, matching the Duo racking starting on 3 left to 3 right and back
The repeat viewed tiled: 
After swapping out the needle retainer bar, knitting went smoothly. On the right in the photos below, the same racking sequences and needles out of work on the ribber are used, but the knit carriage was not set to slip, so essentially, every stitch on every row on the top bed was being knit. In addition to needle preselection, one should also check the type of stitches actually being formed. One of the disadvantages to knitting ribber fabrics is that several inches may be produced before one can actually evaluate the pattern being knit by peeking between the beds. 
I will have to revisit a 
All needles used in my swatch, I began the stitch transfers down onto the ribber needles on the far left, continuing across the knit bed. 
As end stitches knit on the ribber alone, a small edge weight may be required on that side. As stitches on the main bed are not worked in the slip stitch rows, they become elongated. Racking by 4 positions is not possible unless there is enough fabric so as not to pull so much that stitches will not knit off. If the yarn does not have some “give” that can make the changes in position harder, some yarns may break easily. The long stitches: 
This is the swatch knit changing ribber settings to and from slip <– –> to N/N on appropriate rows. I found the method above far simpler 
Coincidentally this morning a Duo pattern using a different setup was shown in Ravelry, and I was asked whether producing the same on Brother might have any advantages. The Duo results, shown on a 
Racking is from position 10 to 6 and back just as in the previous blue swatch, after the first preselection row at the start of the following repeat sequence. I began the stitch transfers down onto the ribber needles on the far left, continuing across the knit bed. The final look will vary with the choice of yarn and its color. Both swatch sides.
If for some reason horizontal direction matters simply cast on with racking position on 6, and continue to and from there to 10 and back. Below is a horizontal flip of the same swatch image, a way to quickly decide whether doing so might be preferred.
The only way to find out is to try it. The lesson already learned: use a yarn that is crisp or capable of retaining memory for maximum effect. Here the swatch is knit in a 3/14 cotton. To start with, racking was from position 0 to 6 and back. Racking every 2 rows at the bottom of the sample, every row at its top
Now adding needles out of work with the expectation of folds at approximate center of each fold
This was my set up, after planning the repeat and transferring a couple of stitches on each end to the back bed for better side edges 
Racking started in center position 0, then swung to 3 left, to 3 right, ending on 0. I long ago got frustrated with the Passap numbering, marked the racking positions with a permanent marker from 0 on the right to 6 on the left. The knit result is definitely a rolling fabric, though a bit less so than the Brother sample which was able to move across more racking positions 
Passap E6 manual shows racking patterns possible with console built-in designs on pp. 118, 119, 120, 121, techniques used in racking patterns number 257-272. The console gives prompts for the direction in racking sequences. Self-programmed designs would need a separate knitting technique entered into the console as an additional “design”. This can be done with a card reader combined with a pattern download from a computer. Programs that automated the function to any degree are no longer on the market. Typically, in published patterns for either brand, if the starting point for the racking sequence is important, it will be given along with the frequency of movements such as in this design from the Duo 80 book
Some Duo symbols and their meaning
My sample was knit in a tightly twisted cotton, and when off the machine had an interesting and unexpected fold 3Dquality 
The setup is essentially the same, with white squares representing needles and pushers that need to be out of work. Tech 258 uses LX (slip) on the front bed, back bed si set to N. The duomatic pattern has a different OOW needle arrangement, the front lock is also set to tuck = FX (E6=KX), adding another layer of texture and complexity. Needles are also out of work on the back bed.
What is knitting in terms of black and white squares if one continues:
this repeat is what is required to match the technique diagram
Below the pattern alternates blocks of 5 black squares, 5 white, color changing every 2 rows and reversing racking direction after every 24 rows. The full repeat is 48 rows. If rows knit in the zig-zag are counted, they amount to 12 because each color slips it is not knitting for 2 rows. Note that to achieve the color reversal at the halfway point of the repeat the same color (2) knits for 4 rows, at the top of the repeat color 1 does the same.
Back to acrylic yarn, light color for more visibility creative yarn snag on the left midway, full swing movement is shown, each is 48 rows in height. As always it helps to check whether stitches are obliging by staying on the needle bed. The top half of the swatch is shown.
In turn, I programmed # 1000 X 6 in height but pusher selection was all up for one row, one down. I left it alone, and lastly, worked with pusher selection on the back bed, BX <–. Patterning advances a fixed repeat every row or every other, determined by original hand-selected up for selection and down above rail for out of selection. The front lock is left on N (disregard front for setting it to LX) there is a whole other world of possibilities, while the console racking sequences can be used from built-in techniques. 
Any ribber needle selection on Brother other than the use of lili buttons would have to be done manually.
tiled repeat to get a sense of the movement of the triangles:
note: the direction of the chart pattern repeat for 1124 is reversed in the blisters. It appears as drawn on the knit side of the fabric, where stitches are slipped and elongated to create the pintuck texture on the purl side 
In the Duo HX setting the front bed normally knits or slips according to the design for one row, and slips the next row. Again, the chart illustration is for the Duomatic and the lock there takes over the function performed automatically by the E6 technique. The back bed in this instance knits every row. In the E 6000 the front lock is set to LX (slip <– –>). The fabric created may be referred to as blister or pintuck (nothing to do with tuck stitch/brioche). The bubbly texture appears on the purl side. Stitches that slip on the bed with needle or pusher selection elongate, pulling extra rows together eventually, helping to form pockets that are sealed periodically by all knit rows. With pushers down, no needles selected the front (knit) bed skips/ slips associated needles. With the back bed (ribber) set to N, its stitches will knit every row.
This shows the pattern as knit on the Passap, reduced to black and white squares 
Going for the safe repeat on Brother machine: color makes a significant difference in how visible the pattern will be. Both yarns are supposedly the same weight, the white was hard to knit, and there was a needle that dropped stitches regularly. The blue yarn knit with no problem
The last swatch in the series: I am now able to use Ayab once more, img2track is having issues for me with its use on the 930. My repeat, therefore, is planned for the maximum width I may wish to test knit on the 910 machines, emulating tech 253. Every other row there is no needle selection on the main bed except for the first and last needle if KCI is used. On those rows the ribber only knits, there are more rows in the blister “pockets”. I knit the sample quickly, not checking every row, and in this instance had two dropped stitches on the main bed and no breaks. Yarns with memory ie wool are the best for texture retention, acrylics such as my blue yarn would flatten permanently if pressed, resulting in a very different fabric. It takes experimentation to sort out whether the extra step is worth the effort or is problematic during lengthier knitting 
Tech 176: knits one color selection for 2 rows, then the alternate color selection for 2 rows; Pattern 1100, 
the Brother equivalent 
in the next sample the same repeat 1100 is programmed via the console and enlarged <–> X2, which means in the number of stitches only 
this is what will be knit, translatable to Brother, also with color change every 2 rows 
the repeat is 20 by 20 stitches wide, E6 Tech 253 is suggested, white squares form the pintucks, the same technique used in my sample knit using console design 1124
Working with simple shapes such as triangles can be an easy way to help one begin to understand how various techniques build up stitch or row counts, altering the original. Several of my DBJ posts are written using a cousin of pattern 1130 and include images of corresponding swatches executed on the Brother machine. In Brother, with rare exceptions (such as when needles are left out of work while in pattern) black squares (punched holes) knit, white squares (unpunched areas) slip. Slipped stitches are held until a black square or punched hole is reached, getting longer while the stitches on the opposite bed knit every stitch every row with that bed set to N/N. It is helpful to be using a yarn that does not break easily. Pockets are created of varying depths. As with any knitting, the color reverse option may produce an interesting variation or a “disaster” depending on the original motif. In the above chart, if knit as is, white squares would be slipped for 1-9 rows. Blisters of knit stitches will appear on the purl side. Tiling helps visualize the movement of the design in repeat. 
its tiled view 
the expanded view of the original repeat emulating tech 253 now increases the height of the pattern to 40 rows from 20
Using the expanded 20X40 repat I did not have a slipped stitch issue such as yarn breaking, but because the pockets were so deep and so many stitches on the ribber were knitting for so many consecutive rows, the ribber stitches began to refuse to stay on their bed. I got this far: a large knit area can be seen, as well as slip stitch loops 
Can the same expanded repeat be used in another way? The color reversed version results in a subtle large scale pattern that might be quite interesting in a shiny rayon or other fiber 
To review: Passap E6000 knitting techniques for pintucks are numbered 250-255. When using 250, 252, 254, the pint tucks are formed on the back bed on the needles that are opposite those with the pushers selected down in accordance with programmed black squares. The corresponding odd numbers 251, 253, 255, select pushers down according to programmed white squares (253 in the manual should say white, not black squares).
a rearview with ends woven in
When the end of the first row that row is reached, as contrast color is added, stitches need to be cast on on the far left in order to keep the work on the bed a constant number of stitches. The usual method suggested is e wrapping, this is picking up from the row below. I found either method produced looser, longer stitches on the far edge 
reaching the far right: 
Such weights are made of lead. That is a concern, there are products on the market that may be used to coat them. This one is easily found in home improvement stores and online
It does a good job of weighing down those straight edges along the bumps, making the stitches easier to pick up. When rehanging those stitches, uniformly hanging the loops, not the knots along the edges involved will give a smoother join. Here a paper clip is used as the “hanger”
Lastly, a swatch ending in all knit rows. The only remaining issue is the fact that those side triangles are formed by stitches that are looser than across the rest of the piece. This yarn is thin and a poor choice, but fine for getting the technique down and beginning to understand what happens to stitches, how one needs to move from one side to the other, and what happens along the edges of each individual shape 
to consider the number of stitches required and whether the fact that other than garter stitch knit stitches are not square,
with a touch of steam and light pressing 
This is the isolated repeat for converting the pattern to a file suitable for download 
and its mirrored version for knitting from the opposite side 
My test swatch was knit on the 930, using img2track. Because not every needle on the bed is in work throughout the knit, end needle selection must be canceled (KC II). The knit carriage after the preselection row is set to slip in both directions. Because only a few rows are knit on the red blocks in the chart, the result is subtle. The white yarn used in many of my tests happens to be a 2/24 acrylic, so on the too thin side, and likely to be well flattened if pressed.
Often, the edge stitches on the carriage side will tend to be a bit tighter than those formed away from it. The same repeat may be used to create very different fabrics. Eliminating the all knit columns on either side of the center produces a piece with “ruffles” on either side of the center as the outer edge of each shape is no longer anchored down. The principle was used in knitting “potato chip” scarves popular in both hand and machine knitting for a while. Having a repeat on one side of an all knit vertical strip creates a ruffled edging. 
Note the effect of the added all knit rows on the “wave” of the piece on the right.
The shapes for the “bumps” may be changed, moving away from rectangular formats. Small repeats are used for the purposes of illustration here, but they, in turn, may be scaled up, rendered asymmetrical, vary in placement, and more. My design steps began with this idea
Following the goal to achieve bilateral placement along a central vertical knit strip, with vertical knit strip borders at either side, here shapes point in the same direction
I ran into an interesting problem for the first time. I had entered the row and stitch counts on my chart, used those counts to scale the image used for my repeat down to size for knitting, kept getting floats where there should not have been any, could not understand what the error in the repeat might be. What was happening is that because of the wrong row number used in scaling, there was an extra pixel row in the first test swatches resulting in knitting errors. The final repeat is 29 stitches wide, 38 rows high. This is the resulting swatch
Once more, the repeat could be reduced down to eliminate side knit strips, or limit shapes to one side only for a one-sided ruffle. What about repeating the same slit horizontally across a row? Repeats become very long, arrows are intended again as guides in the knitting direction. 
An even number of rows (green) at the end of the outlined repeat will return the carriage to begin knitting it from the right side once more. An odd number of rows added at its top will prepare for knitting the motifs beginning on the left. 
Pushing unwanted needle groups back to the D position will make them knit rather than being held, which is another way to vary the texture distribution across any single row
The reverse side shows the same issue. Areas can be identified where the held stitches have been hung up to create hems. Note that as the knit grows in length, at the completion of each row of repeats there is one segment with no hem on alternating sides. A longer test swatch follows
I created my hems on the carriage side, immediately prior to bringing the following group of stitches into work opposite it, and knitting a single row across that new group of 3 segments. The highlighted area indicates the stitches to be hung to create the hem. The eyelet on the top, right, will be smaller than the one at the opposite side of the stitches to be hung up
Reversing the direction of segments
This is one of my early graphics trying to imagine what is happening in chart form, which also references the repeat in the Passap garment, followed by plain knitting 
This fabric is worked out differently, in groups of 2. After the first segment is completed, COR if the starting group 1 worked is on the right, bring group 2 into work, knit one row to left, immediately bring group one into hold, and continue across row. That “float” is created as the yarn traveling between the last stitch on the right now coming into hold and the first stitch to its left knits for many more rows gets pulled on as the piece grows. 
Hems in knitting can be created on any number of stitches, anywhere on a garment, by definition join segments of the knit together permanently. Folds are freer. Here is an attempt at a different wisteria cousin with organized repeats. More on creating it will follow in a subsequent post now that holding techniques are back on my radar 
the numbering system reflects every other row worked alternating sides of the work 
it is shown here with a superimposed table grid with its cells outlined in a thick border and positioned in front of a scaled screen grab of the original motif (arrange/ aspect ratio turned off)
the cell borders can be edited as wished. Here borders were removed by selecting none, then, in turn, the outer border was highlighted in an easy to identify a thicker red line
the last image needs to be once again converted to BW mode. The 2 extra rows of pixels on left are cropped off, the image is scaled to twice as long for use with the color changer, and the original 12X14 repeat is now 12X56
the actual BMP
this is the charted and tiled original repeat. 
a “pretend” longer repeat
is compared here with the earlier 
Back to the drawing board: row height is as in the original repeat 
being extra careful, not necessary, the process can be inverted once more to check the repeat color separation 
the corresponding proof of concept swatch, with shorter floats than when the DBJ separation is used single bed 
the repeat of the design separation on the right is intended for use in electronics with color reverse and double length
for knitting purposes 
The repeat (8X16) is then doubled in length for knitting after that single all-white row was edited out (middle images). The repeat is now 8 rows wide by 32 rows in height
One of the yarns is chenille, the other a wool. The chenille is slightly thicker and fuzzy, so some of the yellow rows are almost hidden but the pattern is definitely there. Here the design is knit using both slip (bottom) and tuck (top) settings. Again, there is a noticeable difference in width produced by each stitch type. 
Observations: make certain that after the image is isolated in Numbers cell size is converted to square/ equal measurements in width and height before importing and scaling its screen grab in GIMP if not already so. It will likely load in RGB mode, convert to Indexed before scaling. Added colored squares are only possible if you return to RGB mode. After rows with colored squares are cut, return the image to indexed before saving as BMP for knitting. If any pairs of rows do not have 2 consecutive rows of cells in either color check your pattern. In DBJ the final repeat should be 4 times in numbers of rows in height to the original one, and thus divisible by four. The separation first doubles height for each row for 2 colors. Then height is doubled once more to allow for color changes every 2 rows. In Mosaics and Mazes, the color reversal happens on every other row in the original design. When that is completed, the height will be doubled for actual knitting to allow for color changes every 2 rows, with the final row count double that of the original motif. Rules for tuck knitting apply here as in any other technique. If white squares in the final chart have black ones on either side of them, the appearance is that tuck would be possible. Examining needle preselection is an easy way to assess that possibility.