The previous discussion on this topic: Ladderback double jacquard: backing variations
This backing technique has traditionally been used when the yarns are simply too thick to be worked in traditional dbj backing methods.
The majority of the needles will be knit on the main bed, so the tension should approximate that used for the same yarn worked in stocking stitch single bed.
The pattern will become a slip stitch one, with colors changed every two rows.
A FB Machine Knitting Group share led to a query on how this block type of ladder back might be duplicated on home knitting machines. 
My interpretation of the knit: 
the planned block repeat, in turn, needs to be color separated and scaled for use in dbj.
This chart was developed using Numbers:
A: each color in each row is represented only once
B: the same repeat in black and white
C: the repeat double length so that each color is changed every 2 rows
D: getting the pattern to shift for every other pair of blocks is actually achieved by knitting the last 2 rows and the first two rows of the next repeat using the same color for 4 consecutive rows.
If the repeat is downloaded and programmed to be 24 rows long, the reminder to knit with the same color again is easy, since the pattern will roll back to row 1 with a warning, in this case, not to change color. It is easy enough to alter the height of the repeat to use this particular reminder. 
The motif used in the swatches is 14 stitches wide by 24 stitches high 
The machine set up: the main bed needles will need to continue to have weight evenly distributed on them, so the ribber comb placement needs to reflect that. The cast-on method can be one you prefer. I began with waste yarn, the ribber comb poked evenly through that, with the added use of ribber weights.
The pitch setting is for every needle rib.
End needle selection is used as in fair isle knitting to ensure that end stitches will be knit when either color is knit only on the top bed, resulting in the B feeder yarn being secured on the edge. If the end needle selection fails for any reason on the carriage side, push the needle forward manually.
The needle arrangement with red lines marking the location on the opposite bed.
COR: the first pass is made toward the color changer
COL: every other group of 7 needles is preselected, set both carriages to slip in both directions, change color if preferred, and bring up ribber needles in between those selected on the top bed to D position as shown here, on both the pass to the right and the return pass to the left. 
As the carriages make the pair of passes, floats will be created across the alternate group of 7 needles. Those floats will become secured as the next group of needles is selected and ribber stitches are brought up to form a line of knit stitches in the contrasting color in front of them. 
The yarn used here is 2/20 wool, really too thin for this type of backing, but I wanted to test the repeat and the concept. 
Using a 2/8 wool the result was optically the best, but I could not get any further than this without stitches jumping off needles in several places, regardless of tension adjustments 
Using yarns in weight in between the 2, knitting was smooth, the tension on the top bed was set at tight as possible, this is the appearance of the knit on the machine 
Off the machine, the bleed-through from the floats created on the top bed on the knit side begins to remind one of knit weaving as does the purl side. Not the intended effect and fabric, but perhaps worth pursuing intentionally. 
Category: Ribber Fabrics
Geometric shapes in drop stitch lace 4, stitch release, added racking
Though written in 2017, the post on revisiting drop/release stitch lace 1 has had new swatches and updated design ideas added. It includes information on how to use punchcards intended for other fabrics as possible design ideas and a cumulative list of previous posts on drop stitch lace.
The Brother publications have offered this idea for end release drop stitch in one of their volumes of punchcard patterns. 
Many published designs recommend beginning the knitting with the racking handle in the center position, 5 of 1-10 positions in Brother, and 0 of 6, 3-3 in Passap. Often the starting position is relative and when a lot of racking is involved, they may be varied, though not the sequences in terms of the number of movements, to different starting points if that seems to offer an easier way to track position numbers. It is one of the many things that once the method is sorted may be adjusted to personal preference. Some of my swatches below were started with the racking position on 10, some with it on 5.
Many knitters in forums appear to have success with end release drop stitch. My experience has been that episodic release of the stitches even as often as after 2 rows knit yields far more predictable results. It is how I worked my shawls produced in the technique, including these two, knit in days when I did not always photograph all my pieces 
Giving end release another go, this was my initial needle set up. With the majority of the needles in work on the main bed, the larger stitches in the final fabric will dominate. The stitches after the cast on have been transferred down to the ribber. 
The work on the machine, with stitches on the main bed released at the end of the swatch. 
There is a long stitch DBJ single color pattern happening which may prove to be an interesting fabric if no stitches are dropped, to preserve it, all stitches would be transferred to the top bed, and bound off.
Here the racking took place in single positions after every knit row. Dropping stitches on completion of the swatch, particularly along the edges was so fiddly and such a nuisance I simply gave up in spots, some indicated by red dots. 
This watch had stitches released at the end of each shape, racking in the top portion occurred after every 2 rows knit
Here the same design was knit using different yarns. The first is knit using the same blue wool, the second a tightly spun rayon. 
So many fabrics can be automated, sometimes the fabric is a vague look-alike cousin of the original, close enough to be a reasonable compromise. Slip stitch patterning across the top bed can offer a quick solution to bypassing a lot of hand manipulation. Assuming that was possible for this fabric, my starting repeat, 10X30 pixels: 
and the plan would be to knit it in a 40 stitch swatch, placed in a way so that the “mock racking” would move equally from side to side. Working on a larger than needed canvas, the design can be placed on a magnified work area with a visible grid, at the chosen starting point. If the background is left as white in BW images, moving repeat spacing may erase black pixels as copy and paste in place are used. The solution is to make the background transparent using the Layer menu, as explained in other posts on using Gimp. 
To save the repeat as a BW bmp or png, remove the alpha channel 
The final repeat is 40 stitches wide, 34 high, 
with blank rows added to its top to serve as a place to drop stitches and have knitting happening on the ribber only.
Depending on the download program or the knitting machine model number, repeats are automatically mirrored, so if direction matters, mirroring of the repeat may need to be performed once more.
Why the repeat will not work for drop stitch: if the KC is set to slip in both directions, the function will happen on all needles in work on the top bed. On any given row, only black pixels (or punched holes) will knit. The slipped/ skipped stitches keep elongating until a black pixel replaces the white one in that needle location. The degree of elongation is illustrated in the chart in color for part of the repeat, the yellow marks the widest gap between knit stitches. If knit as is the repeat will soon cause serious knitting problems and carriage jams. 
Though designing for one type of fabric may fail, this repeat or similar could be used successfully double bed in other ways, using hand transfers on the top bed or down to the ribber. In this case, I chose to transfer down to the ribber, which avoids concerns about restoring correct needle selection, and the repeat was not mirrored for use on my 930, so the resulting knit appears as drawn on the purl side, but is mirrored on the knit side.
The fabric is far removed from the drop stitch idea, but as for drop stitch lace, stitches after the cast on are transferred to the bottom bed.
Newly selected empty needles will create eyelets with the next 2 carriage passes, and texture will appear on both sides at the transfer down locations.
The shapes created do not travel on the knitting bed any longer.
End needle selection needs to be canceled at any time that slip stitch patterning is used and does not occur on every needle on the top bed.
If the pattern is to be interrupted by all knit rows here seen as rows with no preselection in the programmed repeat, then any needles with stitches on them need to be transferred down to the bottom bed before continuing to knit.
As preselection begins again, those needles should be filled by picking up from the stitches below them on the ribber, and then the process may be repeated.
Making a 2 color drop stitch “work”
I usually try to leave opinions out of my shares, but this post includes some along with “don’t do what I did” tips.
This was a pattern available for sale decades ago, sold directly to customers. At frequent intervals over time questions come up in forums as to possible DIY techniques and methods of design and execution to create the knit, or similar, followed by speculation.
The images from the ads online are small. 
Trying for a bit more detail, there is a see/peek-through quality. 
At first, I thought it might be a version of the stitch using 3 colors, but later, looking again, I came to believe it to be a 2 color drop stitch fabric with a dark constant motif color creating the donut-shaped designs with changes to three different colors in the background.
I am planning to execute the fabric as a modified end release, releasing stitches at intervals based on needle selection.
First flub: I was thinking of this as an addition to a prior post, and I got happy cleaning up and deleting stuff. Getting here I realized some of that stuff had to do with the original repeat used and the gimp layer images illustrating the steps used to obtain my repeat.
It is possible when that happens to reverse construct the images. That brought me back to this image, 20X16, drawn as less of a circle since the fabric technique will lengthen the design. 
It is scaled double length to 20X32 for processing in layers. 
Though the image is far too small to help define the quality of the stripes between the circles, the goal here is to include areas of solid stripes in drop stitch in the alternating colors between the shapes. All white pixel rows will not create long stitches on the top bed, only all knit rows only on the ribber, not the intended fabric. 
The tiled repeat: 
I wanted to add solid color drop-stitch stripes, the solution being to add all black rows. Every needle will select every row in those areas, colors are changed every two rows, creating the desired effect when the corresponding stitches are dropped.
On any row where every needle is preselected, all needles can be pushed forward to E position dropping the whole row of stitches, and needles are pushed forward to E again after the release so that the second row of loops composing the stripe will be created on the top bed on the next pass to the opposite side.
My final png planned as a single motif test on the 930 is modified to 46 stitches by 72 rows. 
Imagining the 2 colorwork in repeat, estimating if the pattern and ground fall in the proper place 
A visual summary with an added color change column and row numbers with rows on which dropping all loops can occur marked with different color numbers. In this case, the ground is in the dark color, the shape in the lighter one. 
Determining whether the shape or the ground stripes knit the dark color is simply done by beginning the first all knit rows with the dark color or the light.
Getting to the knitting: the yarn I am using, knit at tension 4/5, is significantly thicker than that recommended in the ad for the pattern.
When every needle knits every stitch on either bed, adjustments need to be made in tensions used approaching that used for the yarn when knitting stocking stitch single bed. Brother ribbers also tend to knit tighter than the top bed.
When working every needle rib with sporadic needle selection on the top bed, it takes a bit of testing to find the ideal tension so that stitches are formed and knit off properly on either/both beds.
When lots of needles are being knit on the top bed, the carriages are likely to become harder to push.
A far thinner yarn would change the scale of the overall design even if using the same repeat.
The first swatch encountered aargh moments.
A: the color changer was frequently trying to share 2 colors at once. When I attempted to change the design color, the yarn got caught around a gate peg at the start of the row, and the knitting dropped to the floor.
B: testing reversing the colors. When the dark color was switched to red, C, the contrast and definition of the newly forming “circle” was not enough to my taste. 
Giving it another go, the theory worked, the details in the fabric underneath the swatch can be seen peeking through, 
but I would like to have stripes in the solid lighter colors as opposed to 2, 
and more space between the shapes. A new, untested draft is now 50X76 
but those rows for the solid colors need to be rendered again with black pixels. 
Here some of the peek-through quality of the fabric is shown again. When any fabric is gathered sideways, it is likely the repeat will appear narrower and longer. 
Using a 16/2 cotton at nearly the same tension produces a fabric that is even sheerer. 
And now those solid stripes in 2 rows knit are really bothering me, thinking they should be switched to only one row of loops, making the original repeat without those added black rows the better repeat? Only one of the two colors would pick up loops, with the second knitting 2 rows on the ribber only. Aaargh! So what of this? 
Different day, yarns used before, same tensions, a very different result. The colors look different because the sun is finally out and this photo is taken in natural light as opposed to weird artificial lighting. The navy color is slightly thicker than the white, the single dropped row is not immediately visible. Stitches were dropped on any rows after all needles flatlined, and they were returned to B position prior to the next carriage pass.
Lo and behold the joyful experience of having yarn break when the stitches are pulled in order to drop them! 
A potential use is for the thinner knit is for it to be used as a layer over a different pattern or the same design as seen here, in the thicker yarn 
I have never been a fan of this fabric, and for a while.
To my eye, all over geometrics rather than floating forms on solid ground are more attractive, one such sample: 
seeking a rounder, smaller donut shape: 
The red is a thicker yarn than the pale yellow, the fabric had an interesting slight curl evocative of shadow pleats. Other possible changes include the elimination of the top and bottom row in the original design.
What seems a possible easy fix is not. The above repeat knit creates an elliptical shape rather than a circular one 
A more stable fabric with areas of stitches dropped for a single row in each of the alternating colors. 
How to for both are found in the post.
I need a break from long stitches for a while, though this is yodeling. Never say never. 
It takes time and effort to develop any fabric to the point where it is considered a satisfactory one, let alone to write and publish accurate patterns using the technique. People who do both deserve to be paid for their time and effort, and are due respect, so no sharing if the pattern is copyrighted or is an original one available for sale presently online is proper.
That said, techniques or merely repeats are not subject to the same “restrictions” and certainly may be adapted for use in different, more personal, or new ways. If an item like a scarf is made using a particular needle arrangement and texture and someone else makes a dress using the same stitch type but shaping pieces, adding details, pattern instructions, the scarf maker, IMO, cannot really claim their work has been copied.
To my mind, credits when sharing anything if available are a matter of courtesy.
Another garment illustrated in the FB comments on the last search query for the Dowse pattern or similar fabric was created with FI shadow pleats. Shadow pleats rely on the contrast between thick and thin yarns to create folds. The double density in the traditional FI segments and the subsequent shift to using thinner yarn for the second color still have floats on the purl side of the knit and are unlikely to produce a sheer knit.
Multiple color drop stitch lace using img2track and more
WORK IN PROGRESS
There are many fabrics where samples may be knit using the proper color separation and released just prior to binding off. Samples and designs may be found in several of my previous posts.
End release is a possibility depending on how the repeat is programmed but does not always produce good results. As can happen in any fabric, what works in swatch size may not when knitting far larger pieces. Fuzzy yarn is problematic in many knitting techniques, it is best avoided in these fabrics. No matter the yarn, after knitting longer pieces, I have found sections that simply refuse to unravel. In addition, if long stitch shapes are distributed on knit striped grounds, the release needs to happen at a minimum when the top of each shape is reached. A sample with drop-stitch interrupted by all knit rows with only one color released. 
The repeats for designs may be self-separated to suit.
For more than 2 colors per row the built-in separation in img2track may be used, where any number of colors are selected for each design row and repeated twice. Passap separates for 2 colors with each pixel knitting twice on every row by default, but in Japanese machines, the pattern needs to be separated and programmed using other means.
The knitting method suggested here should work with more than 2 colors per row are separated by the software.
The post on Using Layers in Gimp for color separations illustrated a method for obtaining the necessary file to match those built-in variations when working in only two colors. The repeat is one that was separated and used in a previous post 
Here the file is separated quickly using Layer menus in Gimp alone 
Three variations of the final png files are shared 
The last appeared the most interesting visually to me when tiled 
This is the appearance when a different design was entered in img2track. The separated file 3 color file in BW is not shared. 
The method for knitting the pattern: the long stitches are formed by loops that are created on the top bed and dropped on the following row.
This is the method I used in my early dropped stitch samples: to begin with, cast on for every other needle rib, knit 2 circular rows followed by one-row all knit rib, transfer all main bed stitches to the ribber. For an open stitch cast on directions and photos see the post.
The pitch for every other needle 
Set up needles on both beds for every needle rib with an extra needle in work at each end on the main bed, cancel end needle selection (KC II). With the main bed needles in the B position, set the knit carriage to slip in both directions so as not to pick up loops across the whole row on its way to the left. Change the pitch for when working on every needle on both beds. 
Make the first pass toward the color changer, needles will be preselected for the first pattern row
COL: the ribber remains set to knit every needle, the main bed to slip in both directions. A piece of tape in front of needle butts of needles in A position aside the edge of needles with stitches on them on each side helps keep from accidentally moving extra needles into work when dropping whole rows of stitches
COL: change color, as carriage moves to the right, selected needles will pick up loops on the main bed that will form the long stitches when dropped, while the next row of pattern is preselected, so by the time the carriage has reached the right side of the machine, the repeated needles selection is still present
COR: using any convenient tool (I use the edge of a piece of garter bar or ribber cast on comb), bring all needles in work out to E, and use the same tool to return all stitches back to B position. The loops formed on the main bed will be released forming the long stitches: check that all needles are indeed empty and that loops are free and between the beds
As the carriage moves to the left again toward the color changer, the ribber only will knit all stitches, needles on the main bed will be preselected for the next row of long stitches, selected needles do not knit until the next carriage pass from left to right.
COR: colors are changed every 2 rows
Ayab users have a different alternative for knitting this fabric as described in the post, using the circular ribber option. Instructions are given for dropping a single color or both. 
I cannot imagine manually dropping stitches after every row of loop formation on the top bed for any large piece in this manner. As time passed, I developed a hack for using a second knit carriage with a modified sinker plate. 
Anyone with a compatible second knit carriage may use it with the resulting modification to knit a variety of fabrics much more easily, including any that would require the ribber settings changed in both directions, more convenient if the action is required every even number of rows.
Back to drop stitch in 2 colors (or more) using img2track, changing the base design to a small geometric shape. The 8 stitch repeat scaled X 4 in length as separated in the previous post to 8 stitches by 32 rows is used in the following samples. 
Rather than relying on manipulating it in width or height and programming each repeat the changes in my swatches were made using variation key selections on my 930.
This type of fabric is best knit using a yarn with no memory, that will allow for retaining the blocked shape. The elongated stitches can have a peek-through quality that will allow for solid knit in a different color, an undergarment, or even bare skin to show through.
Working with a small geometric design to start with helps to develop a sense of the change in its aspect ratio as the original is scaled and knit in different widths and lengths.
Use any separation that allows for knitting each color pixel in each design row twice.
Begin with carriages on the right / COR
After EON cast on 
and knitting the first full row from left to right, transfer the top bed stitches to the ribber. Place needles in work on the top bed in the B position with first and last outside those in work on the opposite bed. This will allow for edge stitches to be dropped in pattern as well. With the transition planned to every needle rib, the pitch needs to be adjusted accordingly 
The second carriage, C2 is set to KCII as well. It will be advancing the design with each pass as well and will drop loops on the first pass, preselect for the subsequent pattern row on the next
COR: using the paired carriages set the knit carriage to slip in both directions so as to avoid picking up loops on every needle in work on the top bed, the first row is knit on the ribber only toward the color changer.
Download the repeat.
Program it for the width of the needle bed.
Cancel end needle selection on the top bed, KCII
The separation is technically entered as a fair isle design, variation keys for altering the repeat in the individual machine brand ie double width or double height may still be used.
While moving to the left the first pattern row is preselected.
COL: When the left is reached, change color, the top bed remains set to slip in both directions, the ribber to knit in both throughout.
Before moving to the right for a single time push selected needles back to B so as not to pick up loops on the way back to the opposite side. The second pattern row is preselected during the move to the right, the ribber knits every stitch
COR: knit to left on creating loops, concurrently the next pattern row is preselected, I prefer to change color at this point leaving the carriages to the far left
C2OR: use the second knit carriage with the hacked sinker plate set for plain knitting, make 2 passes with no yarn in its yarn feeder. The first pass drops the stitches. The second pass returns it to the right leaving all needles in the B position. Because no cam buttons are selected in this version, the carriage does not engage the belt as it would if it was also used for advancing patterning.
COL: with the new color no loops are picked up on the way to the right, needles preselect for the next loop row created when moving from left to right
COR: knit back to left creating loops
C2OR: use the second carriage set for plain knitting to drop loops on as it moves to the left, needles are flatlined in B on its return to the right
It is easy to identify the last color used by looking at the ribber. At the completion of each stitch drop, with COL, ribber stitches will clearly be in the last color used.
COL: with the new color no loops are picked on the way to the right, they will be formed on the second pass returning carriages back to the left.
C2OR: use the second carriage for 2 passes
Repeat the last 2 steps until the desired length is reached
Transfer all stitches to the top bed, create a loose bind off tested on the test swatch.
The sampled repeats altered using variation keys in the 930
8X32
16X32 
16X64 
The transition in aspect ratio as the original repeat used on the right is changed to double its width 
Here the comparison is made to the double-wide repeat also doubled in length
The elongated stitches allow objects behind them to peek through 
Another 2 color variation Previous posts include samples isolated on striped grounds, using 2 colors.
Adding a third color can make the overall appearance muddy and small designs can appear lost. One sample in the post 
Here the goal is to use the img2 track separation, maintaining the same color change rotation in each piece.
Reviewing points to consider: in more than 2 colors dbj separations, the double-length variation key is set automatically except in the 950i, where it needs to be set manually.
In knitting drop stitch, the repeat chosen must have each color present in each design row unless the shapes are deliberately altered with solid color stripes in each color. The software is smart enough to recognize any design rows in which a color is not represented.
In conventional dbj, this keeps the design continuous, but in drop stitch, those extra rows will produce an all knit stripe interrupting the overall design.
The software scales the height of the motif to half the original, due to the fact that the double-length variation key is automatically turned on, restoring the original aspect ratio, the png loaded needs to be the original repeat scaled to double its height.
In DIY a small design will likely be less recognizable than larger ones, but working with one can help one understand how stitches can be formed.
The initial design is 6 stitches by 7 rows. 
It was stretched in width since the fabric elongates the design, and in height because to software will, in turn, reduce that by half to 14X12. 
The tiled potential appearance as a dbj fabric:
In the first sample three carriages are used:
after the basic cast on, transfer and set up needles as described for all variations.
To use the second knit carriage to drop stitches, the first preselection row is made from left to right with the color 1. As the pass is made to the right, no needles on the top bed pick up loops, the ribber knits in that color, preselection for the next row of knitting is made.
As the carriage returns to the left the first row of loops for the long stitches is formed, the ribber knits the second row in that same color.
With both carriages to the far left push the button selection for the next color selection. The number prompts for color changes by the machine will be off by a row during this process.
With the second knit carriage and its altered sinker plate on the right set only to knit make two passes, returning it to the far right. The first pass drops the loops, the second pass returns empty needles to the B position, creating the long stitches.
The paired carriages will knit only on the ribber as they move from the left to the right again, preselecting for the next row of loops. They will place loops in the pattern on the top bed needles as they return to the left, and knit a second row on the ribber.
With carriages to the far left push the button selection for the next color selection.
Use the knit carriage for two passes from right to left, repeating the two steps for the length of the piece.
When the top of the piece is reached, drop any loops on the top bed before knitting a row on the ribber and preparing for transferring stitches to the top bed and binding off.
Only one set of loops is created in each color.
What of end release? because all 3 colors are present in every row, the design is suitable. The first preselection row is from right to left.
I found the combined carriages harder to push, and the knitting wanting to ride up toward the ribber bed needles.
The bottom of the swatch has loops released before a transition to plain knit simply exchanging colors every 2 rows until the end of the test was reached. The top duplicates the effect achieved above by pushing preselected needles back to B position with a tool prior to moving with the new color from left to right. 
Side by side comparisons: 
If the end release fabric is preferred but the stitches riding up are a nuisance, the carriages are hard to push, not all stitches release on a larger swatch, or a slightly fuzzy yarn is used the same result is it possible once again using the modified knit carriage to drop stitches making passes from the right?
The problem with that concept: if the knit carriage or any other tool is used
periodically to drop stitches in a long piece when it moves across the row, it drops on the first pass, leaves needles in B position on the second pass when
returning to the right. As knitting resumes with both carriages, no loops are picked up on the first pass to the right, so the pattern with colors dropping for 2 consecutive rows is interrupted, resulting in a patterning error. Selectively dropping stitches while maintaining proper needle preselection is impractical.
Also, if the intent is to use the knit carriage also to select and drop stitches for 2 rows out of every 4, the motif would need to be lengthened several times. I found when programming the far longer repeat the software refused to make the proper needle selection, switching every 2 rows rather than repeating the same multiple times. That aside, the number of passes required becomes daunting.
Changing color selection and order may make the individual shapes more noticeable: 
Any published or self-drawn separation for 3 colors per row patterning including every color in every row of the original design may be used, programmed as a single bed design, and knit for end release.
This swatch is only 24 stitches wide, it was a start in an attempt to place a better-defined geometric shape on a striped ground, with spaces where not every color is represented in every row between repeats. Its dbj version has some interesting surface texture on the reverse It is only part of the finished piece. 
The same yarns and tensions as in the previous samples. Two of the problems with end release reared their heads: the color changer side formed too short floats producing a side edge a different length than the other, and several stitches were difficult to drop from the top to the bottom of the knit, with the yarn even breaking in some spots. 
Working with only 2 colors makes the process for me far more predictable and manageable.
Previously published related posts:
Revisiting drop/release stitch lace 1 11/17
Drop stitch lace using Ayab software 2/ HOP 2/20
Drop stitch lace using Ayab software 1/18
Geometric shapes in drop stitch lace 3, end release 6/15
Geometric shapes in drop stitch lace 2, Brother KM 6/15
Geometric shapes in drop stitch lace 1, Brother KM 6/15
Drop stitch lace, 2 colors per row, Passap KM 10/13
Drop stitch lace, 2 colors per row, Japanese machines 10/13
Revisiting knit “bubbles” brother KM 10/17
A bubbles cousin 9/13
More knit bubbles 9/13
Knit bubbles and “stitch ditchers/dumpers” 9/12
Working out the kinks in my drop stitch lace saga 9/12
More shapes on ribber fabrics with tuck patterning, fantasy fair isle
Fantasy fair isle is the term often used to refer to dbj fabrics created using tuck settings on either or both beds. Typically in the required color separation used each design row in the repeat is expanded into 4 rows, with the same selection occurring for each color pair of consecutive rows. A tuck/plain combination is used here, with the backing essentially being a striper one, where each color knitting every stitch on the ribber on every row.
In this illustration, the blue symbols represent knit stitches on either bed, the red, the tucked stitches on the top bed. The chart represents a single design row expanded into 4, the results would, in turn, be rendered double length in knitting the final fabric. 
The last post related to this topic: 2021/09/07/geometric-shapes-on-ribber-fabrics-with-tuck-stitches-3/
Recently a friend shared images of a punchcard skull pattern she was using in a hat and followed with a query as to the possibility of using the pattern on a mesh grid. The inspiration for the conversation began with this image, the work of Claudia Scarpa. 
The possibility of adding images on a true mesh transfer lace or mesh-like thread lace images may be found in 2021/12/14/to-mesh-or-not-to-mesh-9-more-on-mock-filet-design/
My DIY skull image in a potential thread lace pattern, in a 100X92 pixel png. 
Concurrently the topic of illusion knits on the machine has also resurfaced in FB with some spectacular panels executed using the Garter carriage and changing colors every 2 rows. Some small geometric shapes begin to have a somewhat “similar” appearance using this technique, but as with beauty, the success in the imitation is in the eye of the beholder.
The techniques involved: my proof of concept was knit using img2track on a 930. Traditionally two-color designs may be opened and then downloaded, using the standard dbj built-in KRC function for the color separation, not suitable for this dbj version, while for designs in 3 or more colors the program will separate the repeat in a way that each color for each design row is knit twice, the separation required here.
At this point, the color separation is executed by filling in pixels observing a variety of rules. DAK produces templates of jacquard separations of varied types that may be printed for use outside its universe. The same file may be screengrabbed, traced, and redrawn pixel by pixel for use in a Brother download using other download software.
Passap by default separates knits for 2 color DBJ with each color for each design row knitting twice mode. Tucking on either or both beds is made easier because of the way stitches are formed on the Passap beds, along with the use of strippers which push down on tuck loops with each pass, ensuring that they will knit off properly. The fabric widens considerably when off the machine, requiring loose cast ons and bind-offs. The dbj variant, dubbed fantasy fair isle, is often used to create lap or quilt blankets.
The Passap built-in reader techniques that are often recommended for large knit pieces ie blankets using the same design are 186 for throw size, 187 for lap blankets, 183 for crib quilts. All three share the fact that the front bed pushers are selected in pattern in the up/knitting position alternating with the down/slip/tuck position alternating every 2 rows, producing the jacquard discussed here.
Slip settings produce narrow, short results, tuck short and wide ones. For non Passap knitters, N is Passapese for plain knit, KX is tuck with patterning on the front/ knit bed, AX for tuck patterning on the back/ribber bed.
Back in 2018, I began another post I meant to return to on traveling between the two brands.
My Passap E6000 manual is filled with scribbled notes from decades ago, expanding on how each technique may be used for a variety of fabrics. 
In Fantasy Fairisle knitting using 187 with alternating up and down pushers on the back bed and AX with 2 arrow keys would match Brother ribber knitting with lili buttons used on an even number of needles set to tuck.
Working with the large skull image the setting of knit every row on the ribber and tuck in both directions on the knit bed is used as in technique 186, with a critical difference. Passap knitters may download the original black and white image while for Brother knitting a color separation is required.
The original skull image is 100 pixels wide by 92 high.
Converting the white ground layer behind the skull to alpha produces an image on a clear ground that can be placed exactly where desired on a new file with a white ground using the grid and guides
The alpha double long skull, now 100 by 184 pixels 
For the 1-pixel grid in Gimp to be visible on an editable image, a magnification of at least 800 is required. The options offered by default
can be changed to suit by simply typing in a new number.
As described in other posts including in Gimp update for Mac2, I chose to mark every other row with a red pixel, making it easier to track color inverting every other row. This is achieved by selecting the rows with red dots using the rectangle tool one row at a time and choosing Invert from the colors menu. The red dot will also change color, making it easy to locate converted rows in more complex patterns. The dotted blue line is a guide for placement. 
in progress 
the processed image 
the trimmed 98X182 png 
doubled in length once more to 98X364 
Knitting process on a 930 using img2track:
the 930 has a tiny brain, so the image is broken down by the software into multiple tracks of 96, 134, and 134 respectively. One of the critical differences when using this type of DBJ color separation is that the first preselection row is made from right to left toward the color changer rather than from left to right as in KRC separated 2 colors DBJ.
The first and last needles are in work on the ribber to ensure the edge stitch on that bed will knit every row.
The knit carriage is set to KCII, canceling end needle selection.
Once the first row has been preselected and the planned color is chosen, with COL, set the main bed to tuck in both directions, leave the ribber set to knit, and continue knitting changing color every 2 rows.
In my swatch, the dark contrast color was used for the initial black pixel all-knit rows.
The work on the machine: 
A reminder: in my experience, the Brother cast on combs are usually chrome-colored, Studio grey, and Passap and I believe Superba ones were traditionally green. The first 2, designed for 4.5 mm machines, the latter for 5mm. The different mm spacing does not make the 5 mm combs suitable for casting on on Brother, but they can be poked through the knit in progress. I like to leave the first comb and weights on, insert the new comb closer to the beds, and then move the weight up and then remove the lower position comb.
There are lots of side-by-side stitches tucking on the main bed, made possible by the fact that each is anchored in place by a knit stitch on the opposite bed.
The tension needs to be set so that the stitches will knit off properly while having tuck loops not so loose as to get hung up on gate pegs. It can take a bit of trial and error to find proper settings and they, in turn, may need to be adjusted again when moving from small swatches into knitting on a far larger number of needles.
The finished piece measures 25 inches in width by 24 in height.
The appearance on the bed set to N, in this case, the ribber: 
Those white lines on the right are spots where the color changer picked up both color threads, a problem that does not occur in Passap knitting, where each color is picked up in its own yarn holder. 
In the Brother model, sometimes the yarn is left in the wrong place below eye level rather than its own individual one corresponding to its button, and both yarns are picked up with the next color change. 
The more textured knit side of the piece, 
a close-up of the texture at an angle 
Claudia Scarpa developed a skull variation using only layers in Gimp 
and has been kind enough to create a Youtube video illustrating the process. The separation is easy and quick as opposed to my more prolonged hack, and I will return to attempt to use it for various fabrics in a follow-up post.
This skull is more compact and better defined than mine. With the double long original image superimposed on alternating pairs of black and white rows, the resulting png can not be lengthened again as tucking would then occur for 4 rows, not likely possible in a Brother machine. The variant is a very interesting cousin to mine.
In DAK using the Method C color separation each color row separates into 2 rows of knitting and when using the result rows do not have to be repeated in pairs but the double-length switch will need to be used in Japanese knitting machines if working within the program. For those intending to use the separation outside the DAK universe, the color separation may be printed, traced/redrawn to create a png or bmp, scaled double length, and used as in the skull swatch. The template for the double long triangle in the post and the associated 24 stitches by 32 rows png, followed by the associated drawn png 
The png doubled in length, 24 stitches by 64 rows. 
This is a small repeat, suitable for punchcard machines. The test swatch is knit with the main bed tucking both ways and the ribber knitting every row. 
It is possible to work some repeats on some machines with the ribber also set to tuck both ways with EON needle selection.
In Brother that is achieved by using lili buttons with an even number of needles in work on the ribber. The first and the last needle would be in work on the top bed, the KCI setting is used for end needle selection to ensure that the first and last needles on each side of the piece will knit. I did not find this method workable and soon had to stop because of a loopy mess. 
When using the Dak stitch design module, the color separation is automated. Choose any design repeat. This happens to be a 20X20 one, chosen from the thumbnail assortment, so not suitable for punchcard models. “Printing” the template using choosing the option of using dots rather than squares to represent knit stitches makes the resulting print screengrab easier to trace. 
the 20X20 repeat as a BW png 
The template was overlayed with a grid in numbers, filling in cells over the dotted areas.
A portion of the work in progress using the generated dbj option C template and tracing it transitioning from template to Numbers, to Gimp: 
The result is screengrabbed, opened in Gimp, converted to BW mode, and scaled to the 20X40 expanded design size. Unless the double-length function in the machine is also used, it will need scaling again to double length prior to download.
Illustrations for the generated dbj option C template, tracing it in Numbers, processed in Gimp, 
The final image double length, showing the difference between the separation using the template, and that using layers as in Claudia’s video, which appears different but is actually the same repeat, color reversed. 
Using bucket fill for the ground in the second layer, as described in the video, the captured clipboard image can be very small 
or stripes any width may be captured, even up to that of the full repeat width
Remember to click on the screen outside the area chosen with the rectangle tool before using the bucket fill in pattern tool.
The result is the same using either brush.
Alternately, the initial design may be scaled X4 to 20 X 80 pixels 
and it is superimposed on a ground flood-filled with 2 black rows alternating with 2 white rows 
the steps resulting in a match to the previous elongated version 
the 20X80 png 
In the related swatch patterning is used on 40 stitches by 100 rows. The relaxed fabric when off the machine measures 7 inches by 7 inches and the knit side view reflects the elongation of the design one might observe when using the same color separation in standard striper-backed DBJ. On the bottom, the swatch is stretched and the stitches are set with some casual steaming and pressing to 10.5 to 6.75 inches, gaining the familiar texture appearance seen in so many Passap blankets.
The color differences are due to lighting, with the photos being taken at different times of day. 
For a loose cast-on row, I used a racked version at the same tension as the body of the knit. For a loose bind off to accommodate the stretch, I used a version of this method, shown in the video for use on the Passap.
To perform the same on Brother machines: knit the piece, ending with the carriages on the right.
Transfer all the stitches up to the top bed, 
bring the ribber needles up into work between them 
set the ribber to a looser tension number, here it was increased from 4 to 7. Knit one row from right to left, picking up loops on the empty ribber needles 
drop the ribber slightly to elongate the main bed stitches, using a latch tool, go through the center of each stitch, chaining them through each other 
the last stitch in the completed chained row is secured 
the beds are returned to the up position, and loops and stitches are dropped off the needles.
An attempt at a more detailed look at the bound-off edge
Ribber fabrics with stitch transfers between beds 2
A collection of embossed patterns created by isolated groups of stitches being brought in and or out of work on the ribber
2021/05/09/double-bed-embossed-patterns/
2021/02/25/brother-shadow-lace-rib-transfer-carriage/
2021/03/11/slip-stitch-patterns-with-hand-transferred-stitches-double-bed/
2020/08/13/ribber-fabrics-with-stitch-transfers-between-beds-1
2017/12/20/combining-kc-patterning-with-racking/
The inspiration fabric in the 2020 post and one of the resulting swatches 
The inspiration fabric recently found online, source not known
Analyzing the structure: it appears the fabric is knit with slip stitch textured patterning on the top bed, and occasional needles in work on the ribber creating elongated stitches that float on top of the light-colored rows.
Slip stitch textures narrow the fabric width considerably, so the single-color areas would need to be knit in slip stitch as well, here a 1X1 repeat is chosen.
Needles brought up to work on the ribber are planned to interact at intervals with stitches on the top bed. The starting concept working in Numbers 
In slip stitch patterning the white pixels slip, the black pixels knit. This repeat is 20 stitches wide, so not usable for a punchcard machine. The first draft is 20 stitches wide by 32 rows high
The test swatch: 
Any adjustments in the dark color stripe between will need to be made within the repeat itself, the floats in the light color will be wider by using a simple color reverse. The color reversed, modified repeat is now 20 stitches wide by 28 rows 
The test swatch was executed using the same red/yellow yarn combination, then in black and white using different yarn thickness and tensions.
The width of the spaces between stitches on ribber can be varied, creating shifting size “window panes” resulting in a knit fabric with a very different aesthetic.
The reverse surface is not particularly exciting. 
A comparison to the mirrored original inspiration, likely knit in thicker yarns 
The knitting process: with any textured or very lacy knits casting on and binding off require special consideration.
In test-swatching, knit the pattern single bed first to sort necessary tensions and visual appearance, follow with plain knit rows using the dark color,
use the ribber cast on comb to poke through the knit, hang ribber weights, bring needles into work on the ribber, stitches will be formed on it with the next pass. The ribber stitches need to be knit as loosely as possible, test the rib pattern and tensions.
If using only the coupled knit and ribber carriages, the first preselection row is made toward the color changer from right to left, the dark color knits first.
Needle pre-selection changes serve as guides to both color changes and to carriage setting changes on the ribber.
After every other needle preselection, the dark color knits with the ribber set to knit.
When the needle preselection changes to the alternate patterning, the color is changed, the ribber is set to slip in both directions. The main bed only will knit, in this instance, for 4 rows each time.
After every other needle has been preselected again, the color is changed to dark, the ribber carriage is set to knit in both directions, the process is repeated throughout.
I used a modified KC sinker plate and a second knit carriage selecting needles as shown in the 2018 post
A possible alternative for casting on a finished piece:
cast on every other needle rib from right to left
knit 2 circular rows, followed by an all knit row, the carriage will be on the left side once more
transfer all ribber stitches up to the main bed, bring up the desired needles on the ribber to pick up loops for new stitches before the next pass, with the first and last needles in work on the ribber. 
Read the first row of the pattern, cam set to KC1 to ensure end stitches are knit when patterning occurs only on the top bed.
Knit to the left.
The first stitch on the left may need to be filled picking up a ridge from the stitch above it to form properly.
The knit carriage is now set to slip in both directions and knitting continues as described previously.
Once a pattern is set up, the same design can be explored in different ways.
Here the swatch was knit in a single color with the ribber set to knit in both directions on every row.
Because there are many more rows on the ribber knitting than on the main bed, the vertical line created by its stitches is not smooth and is forced up at the top of the piece, creating a wavy edge. 
The cast on was deliberately loose. To tighten it up at the edge of the body of a narrower knit, every other loop can be picked up with a latch tool or crochet hook moving toward the yarn end at the cast on edge and is pulled through the previous one, producing a chain stitch. When the end of the row is reached, the yarn is pulled through the last chain and secured. 
Visualizing knit cables 3_ using Numbers and Gimp
As our knitting experience grows, there are likely to be some techniques that engage us and others we choose to avoid completely if possible. Cables are in the latter category for me. I have hand-knit complicated pieces using them but dislike knitting them on the machine immensely. That said, I am periodically drawn to revisiting the topic in my blog, the resulting swatches are as proof of concept.
Small crossings may be used in sequence to create more complex appearing cables, charts illustrating them may be simplified, using little or even no added color. 
The repeat is 8X8 and illustrates in the purl view. Ladders and knit columns between vertical sets of cables make the process easier to track, one needs to be alert to accidentally bringing the ladder back into work resulting in knit stitches, seen in the bottom left of the knit side swatch. 
A table may be created to help with tracking multiple series of cables across a knit and their direction. It can contain as little or as much information as one wishes. Included here: the RC for possible crossings, their direction on the purl side for machine knitting (reversed for hand knitting). Columns may be added for including how many needles are left in or out of work between cable knit spaces or other info. 
It is also possible to print a custom needle tape to place underneath the involved groups of needles instead of marking the needle tape or the knit beds. On a standard km, the needles are 4.5mm apart. A conversion reference for needle spacing point values 
Four needles X 12.75 =51 points, the width of the table cells, which in this instance are all equal in size. Colors and any other info may be added within each cell. Print in landscape orientation, making certain the image is not set to fit the page, but at 100%.
A narrower series of twists are made after every 2 rows knit, the chart shows crossings on the purl side on the left, as opposed as to how they would appear on the knit side on the right 
Which leads to the topic of creating shapes by combining the repeats 
A brief effort containing at least 5 errors leads me to wonder about programming needle selection to help track crossings more easily and avoid mistakes. The center ladder here was latched up during knitting. 
Adding the ribber: the simplest knits using the ribber are made with transfers to the ribber of single or multiple stitches to create what is sometimes called trailing stitches, with cables occurring at determined distances and appearing as knit stitches on a purl ground. Some samples of elongated ribber stitches with crossings on a striped ground may be found in the post on Slip stitch patterns with hand transferred stitches, double bed, the technique may be executed in a single color, or as shown here with color changes every 2 rows. 
If only the knit stitches or purl stitches are crossed on one the same bed when knitting ribs, they will appear so on one side only. One example 
If the start is on the top bed, stitches on the ribber may be created by picking up bars from the top bed 
the yarn above was a 2/8 wool, which refused to cable on the ribber, and having the crossing was preferred to not 
changing to a thinner wool-silk solved the problem. 
Using a punchcard or electronic program to track movements and cabling on the knit bed, each stitch in each pair of punched holes or pixels is crossed over or under the other. This is a very time-consuming fabric, not friendly to distractions or interruptions. Any crossing mistakes in the swatch were due to “operator error”. 
In reviewing the post after linking to it here I realized the now marked punchcard error at its top. The amended longer chart reworked in Numbers is also added to the older post. It is shown here aside from its tiled chart, checking for alignment, a habit developed as my skill and comfort in using spreadsheets grew, 
A png of the repeat, 24 stitches wide by 72 rows 
Tiled for alignment in Gimp as well.
It is possible to use the repeat working 1 X 2 stitch crossings for a very different look.
A large swatch is worth doing before committing to a large piece.
Correcting crossing errors (purple arrows) after the fact will be harder than doing so in some other instances or in a bulkier knit.
Keeping the fabric visible as opposed to between the beds begins to show a pattern on the reverse, which can also guide the direction of movements.
There are spots in this repeat where the center larger cables are not possible because of cables in opposite directions already occurring on either side of the group of selected needles (red arrows).
Transfers occur by bringing single needles forward and crossing pairs of stitches behind them, moving away from the center of the triangular half of the diamond as it is formed. The sequence is retained until after the wider cabled segments occur (black arrow and line), where there is no other needle selection aside from stitches to be crossed.
The number of plain knit stitches between crossings is always even.
The cabled knit areas have a depth that makes them project out and appear almost beaded in texture. 
Assigning colors to crossings in a chart may be helpful or too much info depending on one’s perspective, the bottom of the repeat is on the right. 
Periodically, the topic of reversible cables turns up in discussions for both hand and machine knitting. They are possible when working in ribbing on the knitting machine.
Keep in mind that ribs narrow when off the machine, cables do as well, so a looser tension is generally required, and the basic fact that knit stitches are purl stitches on the other side and vice versa.
Cable crossings are made over purl stitches that separate them or the reverse. Changing rib needle arrangements will result in fabrics that may not always “match”, appearing different on one side from the other.
Using the half-pitch position before any transfer rows brings needles closer together, G carriages may be a boon but may have a hard time knitting the row immediately following the cable crossings and even jam.
On the machines, a 3X3 crossing is likely to be the limit. A general starting guide when trying out repeats is to knit the same number of rows between crossings as there are stitches in the cross, so 6 rows knit before a 3X3 cable.
A published illustration of bringing the ribber into play. 
Creating extra slack if possible on the row before stitches are moved is helpful here as well as when working on the single bed.
Stitches may be crossed on either or both beds. If trying that out, crossing on one bed, knitting a row, then crossing on the other is another thing to try. As with any ribber fabric, the view of results is limited, dropped stitches may be easily missed.
A straightforward idea to test: in a wide vertical rib make cables on both beds, testing whether it is necessary to reverse the direction of the crosses or not, the number of rows to knit plain, etc. The chart shows a staggered arrangement. The number of rows between crossings can be changed to suit. 
In my first test crossings occur on both beds and on the same row. Even using the thinner blue yarn at maximum tension the transfers were hard to execute. I had more success when I added 2 empty needles between the vertical ribs and brought one on each side of each rib into work on the top bed prior to knitting the last row between transfers, creating a bit of extra yarn to ease the crossings.
After the row is knit the same needles are pushed back to A position, dropping the yarn, and crossings are made before continuing to knit.
Results vary depending on the yarn, tension, machine model, and operator patience. The arrows mark the location of what appears to be a damaged needle, the tuck stitches were not deliberately planned. 
Here the repeats are staggered, the edge with the ladder close to the end stitch is shown again to be far less stable than the one with more knit stitches. Spacing is varied, exploring the tolerance for the yarn to be crossed. The setup while working: 
If transfers are made after every 5 rows knit, crossings on multiples of 10 could be assigned to one bed, while row counts containing the number 5 could be made in the other. Sporadically pairs of transfers on the same bed may provide more surface interest.
The set up after transfers to top bed prior to binding off 
Trying out a simple repeat in smaller rib configurations will provide some idea as to whether the technique falls into the love of or not something to do simply because one can.
Charting can happen using the same method as in illustrating crossings in color, with some alterations, sometimes less information is more or enough.
The first repeats were knit with most stitches on the main bed, and a 2 stitch ladder on either side of the ribs involved in cabling to help visually with keeping the stitch location constant. The grey, purl cell blocks are as viewed from the back, the white cells represent stitches on the ribber. 
A: the set up single bed, with needles out of work on each side of the planned cable space, tension is tested and 3X3 crossings every 6 rows are made first only on the single bed
B. the ribber needle configuration is set up
C. the cables are made after transferring ribber stitches up to the top bed, and then the same stitches are returned back down to the ribber before continuing to knit
D. the ribber stitches are transferred up to the top bed, and the swatch was bound off. Note the difference in width in areas where no crossings are made.
The step-by-step instructions apply to both instances: the chart shows 4 rows knit between crossings, instead, here 6 rows are knit in both tests.
The photos documenting the 2X2 rib: the single bed starting point
the rib configuration set up 
1. after 5 rows knit, bring an extra needle in work on the top bed to pick up extra yarn for the cross 
2. drop the extra loop, make certain the empty needle returns to A position 
3. transfer all cable ribber needles to top bed 
4. cross the stitches with two three-prong tools 
5. transfer stitches back down to the ribber 
knit 5 rows, repeat steps 1 to 5.
The appearance of each side of the fabric differs
A: the knit was begun on the single bed
B: the ribber configuration was set up
C: cable crossings were made as shown above
D: stitches were transferred to the top bed and bound off 
An attempt at a larger swatch using 1X1 ribs:
the intended concept 
a custom needle tape 
rib set up for the yellow yarn 
the cable crossings using it were impossible, starting over with a thinner yarn at the same tension 
the ribber may be dropped after transfers up to the main bed, keeping stitches and crossings visible, making it possible to make corrections in any cables if they are needed before re-engaging the ribber and transferring stitches back down 
The concept is an interesting one and many arrangements based on the idea are possible. 
In the above swatches, when any transfers were made to the top bed, after crossings, a row was knit before returning stitches to the ribber. The extra row may or may not be noticeable, depending on the yarn and colors used.
More variants, analyzing columns in color using a crossing over single center stitch first and eliminating the extra knit row, and transferring stitches back down to the ribber immediately after making the cables. The rib will have a tendency to spring back when relaxed and off the machine, so the texture may be hard to see. Using a fiber that allows for some spreading out with some blocking helps to make the work more visible. A reference chart can be developed ahead of time for repeat variations.
The number of rows between crossings can vary. When the crossing row is reached:
A: stitches are moved up from the ribber to the main bed
B: cable crossings are made
C: stitches that had been moved up are returned back to the ribber, keeping the original ribber needle configuration
Assigning colors to columns reveals that stitches are not moved onto the same stitch type when moved over a single, undisturbed, fixed center stitch. 
Shifting the needle arrangements when cabling, moving across a center column of two stitches that remain fixed on the main bed, the cable direction as it would appear on the purl side on the left, the knit side on the right is straightforward here: 
I found the above impossible to knit, even with ladders for extra slack, and the swatch stopped when the yarn broke 
Returning to 1X1 rib, looking at the column alignment in color 
There appears to be enough slack produced in the formation of stitches between beds to make the planned crossings possible.
A: the needles transferred to the top bed
B: crossings are made over the 2 center stitches
C: the stitches that had been moved up to the main bed are now returned to the ribber. Bringing cable stitches out and or up to the hold position helps ensure that they will knit properly on the next carriage passes.
The similarity between both sides of the fabric is increased
From a Brother pub, small crossings for a smocked effect 
The same approach may be used to create fabrics in tubular tuck patterns, easy to execute in one color. Once yarn, possible crossings, and their minimum frequency have been determined, the start of far more complex shapes can be explored using colors to represent the necessary direction of movements before any decisions are made has to how frequently to cross the cables and to get some idea of negative spaces created between traveling stitches. In hand knitting, a purl ground is easier to plan and maintain. 
Adding and removing rows in the tables or even changing colors is easy and quick in a spreadsheet, tiling in repeat with scaled screengrabs provides a quick reference for possible improvements/corrections before any actual knitting takes place 
DAK DBJ color separations, templates, other software
Over the years I have written on an assortment of methods for color separation in knits including DBJ, a summary post with links to previous shares: 2017/10/26/dbj-and-color-separations-some-previous-posts-links/
and in the-start-of-a-blog-index/
A variety of textures and patterns may be used to achieve fabrics that are very different in appearance, using a very simple pattern along with cam button or lock setting changes. The first chart was generated at that time using Intwined Pattern Studio, a program that for a time appeared to be very promising and then moved on to lack of updates for Mac making it useless in 2013, followed by none for Windows as well, with no successful use of it reported in forums in years, but apparently one may still purchase it 
The manual color separation method for punchcard machines.
The elongated X2 repeat version of the triangle drawn in Gimp 
As for more than 2 colors per row, performing the color separations may be achieved manually, various software is now available for performing the work in instants. Ayab offers an elegant color separation solution, heart-of-Pluto, that will knit single passes for each color per row on the front of the knit, resulting in 3 color patterns with limited design stretch, and no worries about the placement of one color over any stitches preceding it in the same color on the previous pass. The difference in the same design being knit with the standard, elongated version, allowing for two passes with the same color prior to each color change and the Pluto version. 
knit using img2track, the vertical stretch is manually set to X2, A “hack” 2021/01/24/img2track_multiple-colors-per-row-dbj-each-color-knitting-only-once/
There is a Russian punchcard site that will allow entering personal repeats or selecting one from their extensive library, where it is possible to obtain related 2 color dbj separations as well. The punchcard color separation may be created manually, a slow process, while the punchcard templates in Dak are achieved with a few, quick clicks of a mouse. The repeat may be created as a graphic file, in my case a png created with Gimp, the elongation in Arah because Gimp fails to scale small repeats cleanly. The image may then be opened as a graphic file, 
stitch and row counts should match, save the stp 
if experimenting with changing selections and this window appears it is OK to click on No 
The separation methods in DAK:
Method C separates each color row into separate rows of knitting, rows do not have to be repeated in pairs, the double-length switch will need to be used in Japanese knitting machines 
The elongated triangles repeat template is different from what would be produced with the above set at double length, may be used as is to produce a variety of fabrics including quilting
Yarn choice and design make a big difference. Here the yarn is really far too thin, and the repeat too narrow in width, but the possible result is illustrated. The main bed is set to slip in both directions throughout. The ribber setting needs to be set to slip in both directions for every other pair of rows. When the ribber slips, the main bed will knit the color that will create the pockets, where there are many single stitches selected here, the KC was set to KC1. When the color is changed and the ribber is set to knit again, stitches in that color will knit on both beds, sealing the fabric in those areas and forming a solid color background on the reverse side. Here the white forms the pockets, the floats after a pair of passes are seen in this photo. 
Because the yarn is so thin there is a considerable grin through on both sides, the areas marked with arrows indicate where the white pockets were lightly stuffed with yarn ends 
For a review of quilting on machines including Passap see 2018/02/15/revisiting-machine-knit-quilting/, and using a second knit carriage with a modified sinker plate for knitting stitches on main bed only, making ribber settings fixed throughout, and allowing for tension adjustments for each color yarn.
Method A works on pairs of rows. If the pattern does not consist of identical pairs of rows there are likely to be yarn error messages. The original triangle elongated to 8X16 
If pngs are created outside the program, they may be doubled in length unless the repeat is designed that way. 
The associated menu options in Dak when the plan is to work in double jacquard 
How the different jacquard setups process the specific repeats:
Method B creates the same separation as the default built-in KRC one in Japanese electronics. If knitting DBJ it may be used with dak if the pattern is downloaded as fair isle but the machine will then needs to be set for dbj. If additional colors are used, pairs of rows will follow a single pass for color1. The print preview templates, if generated within the stitch count restriction for use on punchcards, may be used as guides for punching the required holes, this would be the card for that 8X8 triangle repeat, a tad shy of the recommended 36 rows, 
The elongated version template 
Passap card reader techniques saved from long ago experiments
Method D separates each color into a separate reader card and is used to download to the PEI or Passap, appears to use superimposing of layers, and to match method 4 in my post.
Method E is suitable for machines with a color changer on each side, like the Brother CK 35
Method F is a Half Milano separation. Each pattern row is separated into a pair of passes for each color, but the second row for each color has no patterning, so the rubber stitches only knit as the carriage returns to the left side, a possible way of creating repeats for drop stitch lace on Brother machines. The elongated triangle template was split into 2 pages for viewing, they are combined in this image 
This may be the associate Passap Reader technique, I have no way to test it 
Processing the template using numbers: a table is created twice the length of the 8X16 triangle repeat, followed by hiding the 32 odd-numbered rows, positioned in front of the scaled punchcard template, stitch markings are traced 
the rows are then unhidden, the repeat is checked, matched here to the F jacquard separation in Dak
The numbers table is processed in Gimp to obtain the png for knitting the now 24X64 pattern 
Proof of concept swatches: the long stitch in 2 colors, 
and the pattern executed as a tubular FI knit: I had yarn issues, hence the dropped stitches. Both swatches were knit to approximately the same point in the pattern repeats, there are obvious quality differences in width and length. In tubular knits, there are differences in the width and height of the knit on each side. The front is actually a slip stitch with floats, drawing the fabric in, while the ribber knits every stitch every other row. With a good choice of yarn and pattern, loosening the tension on the top bed may ease this problem. As often happens, casting on and binding off need special considerations ie to allow for any fabric stretch when off the machine or in order to leave a tubular knit open at either or both ends if that is the goal. More info on tubular knits including on Passap
Geometric shapes on ribber fabrics with tuck stitches 3
Previous related posts:
2 color ribbed brioche stitch on Brother knitting machine 1
Geometric shapes on ribber fabrics with tuck stitches 1
Geometric shapes on ribber fabrics with tuck stitches 2; knitting with 4 carriages
The last post on using Gimp: 2021/07/18/gimp-update-for-mac-2/
The method for color separation used for mosaics
The sources of inspiration from hand knitting or industrial knitting machine designs are endless. There are many features that simply cannot be duplicated, sometimes compromises can be reached that can achieve only imitations of the original. To my mind when knitting garments or long pieces the greater the degree of automation, the less likely one is to have patterning errors occur, in ribber fabrics, they are also more complicated to correct than single bed knitting.
I recently came across a pin of a Ravelry hand knit pattern which led to my return to this topic once more, including perhaps the addition of more colors. 
The plan is to create a repeat which may be knit using color changes every 2 rows. Each design row knits each color twice, so the standard built-in KRC separation is not a consideration, though the same cam settings may be used in those fabrics as well.
The required color separation has been discussed in several posts on the various forms of DBJ, a review:
The initial test repeat is 18 stitches by 44 rows, designed using 2 X 2 blocks, to begin with. How it might appear knit in fair isle: 
Transitions in charting visualizations:
A: FI repeat with pattern progression in two-row increments
B: every even-numbered row beginning with row 2 is color reversed
C: B repeat is doubled in length to 18X88 for initial samples
D: repeat adjustment for a first try at introducing 2 additional colors 
End needle selection is canceled, the first and last needles are in work on each side on the ribber knitting every row, the first preselection row is from right to left, cam buttons are set after the left side is reached. Knitting in these samples began with the blue yarn in the number 2 position in the color changer. The ribber remains set for knitting in both directions throughout, the images on the right do not reflect the amount of surface 3D textures.
with the main bed set to tuck in both directions: 
Lock settings are easier to achieve on the Passap than switching out cam buttons in Brother machines. This was knit using 4 carriages. Color one knits with the main bed set to tuck both ways, color two knits with the main bed set to slip both ways. The slip stitch reduces the width of the fabric considerably 
Here each color alternately tucks and slips. The choice of cam buttons matters, tucking first from left to right, slipping from right to left, with cam buttons set COL after the first preselection row 
This last cam setting appears to my eye to produce a texture “close enough” to the inspiration fabric. Attempting to add more colors: the repeat, D, is still 18 X 88 but is now shifted slightly. 
Somehow the slip cam button was not set, so the knit carriage tucked in one direction while knitting in the other. I am vaguely reminded of illusion knits. Considering altering both the color choices and placements again. 
A way to imagine exact color change placements beginning with solid colors repeats once more, which can be followed by new color separations. 
The existing repeat may be reduced further to 18 X 64, eliminating some of those extra rows in the center of the chevron shape 
The new BW image, tiled: 
Whether or not the design is intended to retain chevron shapes in alternating textures, actions may be plotted pre knitting in any way that visually makes sense to the person designing the pattern and tools available to them. 
Reversing the png so that the more textured stitches will begin with the color in yarn position 1
Using either repeat, color changes now occur after every 32 rows knit. Another color change location clue is in the needle selection change above and immediately following the red border in the chart on the left. 
Adding colors can be planned cautiously or allowed to happen randomly depending on the preferences of the designer and end-use. Ribber fabric designs are not visible until several inches have been knit, too late to catch color sequence errors. Some machines allow for memo placements or sounds to help track color changes, but only within the initially programmed repeats. A quick spreadsheet can provide customizable checkboxes or added information. For an attempt to retain chevron shapes in different textures: 
When using 3 colors, rather than 4, the texture of the zigzags on any specific color, will vary in placement. It is easy to change colors in any chart to approximate those that will actually be used in the knitting. 
Proof of concept: each of my yarns is slightly different in both thickness or fiber content from the others, which can be a drawback in resulting textures. As in any 2 color dbj, if 4 consequent rows are knit in one of two colors the positive and negative portions of the image reverse, as seen at the top of the swatch. The green was not intended to be used originally, the white yarn simply ran out. Such accidents at times may provide pleasant improvements. There is bleed-through of each color behind the other in the tighter knit areas as well which contributes to visual color blending, noticeable even in the areas with fewer tucked stitches. 
Splitting zig-zags into triangles, working color 1 with color 2, followed by color 3 with color 4 pairings 
A PDF including row numbers and space for notations zig zag
An editable Excel spreadsheet created as an export from numbers zig zag
For Mac owners a Numbers doc. zig zag
A simpler repeat suitable punchcard owners as well using only 2 colors 
The test swatch and observations: patterning was begun with color 2, yellow.
The yellow yarn is 12/16, the maroon is 2/15 in thickness.
The triangle, because slip and tuck stitch settings are used, is compressed in height, while there is enough tuck happening to still make the knit wider.
The pattern is 24 stitches wide, the swatch was knit on 40 needles. Smaller swatches are fine for testing tension and colors. If committing to larger pieces, tests on at least 100 stitches by 100 rows are needed for gauge calculations in any double bed work or very textured patterns on the single bed. On some occasions when a far larger number of needles are in use, problems may turn up that require going back to the drawing board in terms of items ie tension settings, weight used, etc.
A: patterning was begun with thicker yarn, the yellow, in color changer position 2, both yarns are 100% wool
B: KCI, end needle selection on, a 2 color “beaded” edge is created
C: KCII, end needle selection canceled, patterning occurs on end needles
D: transferring to the top bed and using the standard latch tool bind off for these fabrics is far too tight 
The tiled repeat, 24X48, does keep the stitch quality constant for both colors, Assumptions based on optics of tiling are not always accurate clues to potential patterning errors, here those darker lines are part of the actual design 
Continuing on a 24 stitch repeat, the original design may be rendered at double height and separated once more, doubling the separation height to 96 rows 
There are days when either or both machine and knitter need a break. At the start of the first swatch, the cam buttons were not set, resulting in plain knit stripes. At its top, the purple did not get picked up properly from the color changer, and the knitting of course fell off the machine. On a second try, the same issue happened again with the purple yarn. Multiple incidences of such events were fondly nicknamed “dropitis” by my students. The test is on 24 stitches, the width of a single repeat, the triangles are much more balanced in size, this knitter is putting this pattern to rest. 
Another try at the diamond shapes that began this topic. The first .png
when tiled appeared to not have enough space between the shapes, was amended to this 
the differences when tiled 
the color separation can happen completely within Gimp using color invert 
the white yarn is an acrylic, slightly thicker than the purple toned one. Sometimes simply exchanging yarn positions can change the qualities of the overall fabric. 
The repeat begins with 2 blank rows. To achieve the tighter white shape as opposed to the honeycomb purple one, at the start of the repeat that color needs to be in use on rows where knit stitches happen as the KC, set on slip to the right, knits needles brought forward to D position. Red in this chart segment marks pertinent rows
Both with hand knits and commercial knits because of the hand actions possible on both sides in the first, and as many as 4 beds selecting and knitting on the other may be in use at the same time with more complex needles as well, there are fabrics that are difficult or even impossible to duplicate. There often are obvious differences in the results, but the journey may still yield results that are pleasing and worth pursuing. 
Another even more complex inspiration from a sweater attributed to Falke, Spring 20 collection, using similar stitch structures, but in addition, also transferring stitches between beds exposing a purl striped ground.
Tuck lace trims and fabrics 3
The term lace is often used in publications to refer to fabrics created with techniques other than the familiar hand or machine stitch transfers. In turn, the ribber may be added to working most of the fabrics with varying degrees of complexity. Some variations are possible only on specific machine brands, at times possible in others with adaptation and addition of other techniques. Many combination fabrics may be achieved, mixing carriage settings or adding hand techniques. A list of common terms applied to “lace” that include tuck patterning:
Hand transfers: used to create eyelets, possibly in combination with pattern stitches out of work, and moving stitches singly or in groups
Tuck and lace: transfers combined with tuck stitch patterning
“Lace like patterns”: possible in machines such as Brother and Passap, which allow for the same stitches tucking in one direction, slipping on the return of the knit carriage to its starting side. It matters which function leads in the pattern
Tuck lace: tuck setting in both directions with specific needles out of work
Ladder Lace: worked with columns created by needles left out of work, tuck being an option in the knit portions
Punch tuck rib: every needle rib combined with tucking pattern on the knit bed Drive/ drop stitch lace: stitches start on either of the 2 beds, loops are picked up and dropped on the opposite bed
A list of the headings for most of the tuck stitch variants covered in my posts is now added to the start of my blog index
Once a stitch has been tested, unusual yarns, including wire may be used
Getting back to basics: a punchcard sometimes supplied in factory packs provided with machine purchases, is shown here in 1/3 of the minimum 36-row card repeat, while the minimum electronic repeat is outlined in red, measures 4 stitches by 4 rows 
Adding needles out of work by simply choosing to cast on and working on every other needle it does not matter whether even or odd needles are in use, the pattern will be identical but simply shifted over by one needle. For frequent color changes, make the first preselection row toward the color changer to start with, keep notes as to where the repeat color selections happen as experiments are expanded, evaluate color choice as a third or even fourth color are introduced 
Though casting on and binding off both need to be considered for extra width, having sections of the repeat knitting in plain knit will help sort the needle arrangement and loop structures when tucked knits appear similar-looking 
The repeat on any tuck row can help test the number of rows a particular yarn will allow before the number of loops in the needle hooks become too many to knit off well. The added texture, or elimination of any, could be used in borders or occasional horizontal portions of the knit 
Some of the concepts in the visualization of more deliberate color placement through charting was discussed in the post: Single bed tuck and slip stitch fabrics 2: adding color
A starting repeat from a Pinterest image inspiration: the blue yarn will knit on every needle
the third tuck row on the machine 
the fourth tuck row with needle preselection for the first all knit blue row 
one blue row knit 
Accommodating those blocks of knit stitches in the pin also changes the repeat to six stitches by 6 rows, making it usable on punchcard machines as well 
Two from one: the same tuck repeat was altered by changing the needle out of work arrangements. Slub yarn may be used but changes the value of the lines formed by the floats created in the needles out of work gaps. 
In my classes, I encouraged students to create long swatches testing out their patterns in a variety of stitch types with color changes as well. Thet can serve as a visual reference to duplicate effects when time has passed. Here the tuck pattern, not suitable for FI at all, is tested as DBJ, followed by needle transfers between beds and adding the tuck setting. There is a dramatic difference in width, the wool yarn has a lot of “spring”, wanting to narrow when at rest 
The self-designed stitch structures may be further changed visually and complicated in terms of execution by adding changes to the ribber setting so that it does not knit every row
Publications for electronic machines do not always include pertinent instructions, but they will include out of work needle diagrams below each appropriate repeat. The gray cells represent white squares, which correspond to non-selected needles but also in this case to out-of-work needle position areas where open spaces are created. The 4, 6, 8 stitch repeats are also usable in punchcard machines. These are from the Stitchworld pattern book, all with the exception of 282 are to be used with needles out of work 