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 knits 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 and 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, and 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, and 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 the 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 were 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 to 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 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 punch card 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 this method, one of many taught in Passap seminars.
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 by using this bracket lever position to elongate the main bed stitches. 
Using a latch tool, beginning with the first stitch on the right, insert the open latch tool into the first stitch on the right, then insert it into the second stitch moving down until the first stitch is behind the hook. Do not allow the second stitch to go behind the latch, keep it in the hook. Pull the latch hook up moving the second stitch through the one behind it, forming the first chain. Repeat across the row, going through the center of each stitch, continuing the chained bind-off. 
A yarn end is pulled through the last stitch and the now completed chained row is secured 
The beds are returned to the up position, and loops and stitches are dropped off all the needles.
An attempt at a more detailed look at the bound-off edge
The test swatch: 
The test swatch was executed using the same red/yellow yarn combination, then in black and white using different yarn thickness and tensions.
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.
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.
The repeat is 8X8 and the above movement can be seen in the purl view.
A spreadsheet 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, and their direction on the purl side for machine knitting (reversed for hand knitting). Columns may be added including how many needles are left in or out of work between cable knit spaces or other info. 
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. 
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. 
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, 
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.
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. 
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.
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.
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 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.
An attempt at a larger swatch using 1X1 ribs:
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 
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.
The number of rows between crossings can vary. When the crossing row is reached:
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 
There appears to be enough slack produced in the formation of stitches between beds to make the planned crossings possible.
From a Brother pub, small crossings for a smocked effect 
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 
As for more than 2 colors per row, performing the color separations may be achieved 
A “hack” 
stitch and row counts should match, and save the stp 
The separation methods in DAK:
Yarn choice and design make a big difference. Here the yarn is 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 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, and 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 
If pngs are created outside the program, they may be doubled in length unless the repeat is designed that way. 
How the different jacquard setups process the specific repeats:
Passap card reader techniques saved from long ago experiments. 
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 
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 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 to leave a tubular knit open at either or both ends if that is the goal. 
DAK has been a purchase made out of curiosity, and my use of it has been very limited since my designing needs are met by using other programs that are free to users and generate and accept files in multiple formats, while the Brother Knitleader or even simple use of the magic formula solves knitting any desired shape in any gauge.
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.
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.
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. 
The existing repeat may be reduced further to 18 X 64, eliminating some of those extra rows in the center of the chevron shape 
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: 
A PDF including row numbers and space for notations 
The test swatch and observations: patterning was begun with color 2, yellow.
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 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.
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 
the third tuck row on the machine 
the fourth tuck row with needle preselection for the first all knit blue row 
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. 
Nearly all my previous dbj pieces have been knit on a Passap E6000. The 930 experience for such repeats is new to me. With some help from Tanya Cunnigham in reviewing the steps required when using img2track, I returned to cellular automata repeat saved years ago.
That provided an opportunity to decide I preferred the reverse color placement as well as wanting a thicker ply for the white, resulting in twice the fun with 2 colors, and another scrapped sample 
I was able to achieve a reasonable repair on the knit side, but the birdseye pattern on the reverse is a bit scrambled. 
There is also potential for exchanging colors to get a sense of how the pattern might appear in different colorways 
translated for knitting, patterning may be used on either bed, with the opposite bed set to knit every stitch. If patterning is on the ribber, have the first and last needles in work on the main bed. 
The top bed is set to tuck in both directions, the fabric is shown lightly stretched 
and could conceivably be used to create a ruffled edge when followed by narrower stitch types ie. every needle rib or Milano variants 
Changing settings: with the knit carriage set to slip in one direction, knit in the other, the ribber knitting every row
Needles may be taken out of work to create pleats in every needle ribs, alternating their placement between the 2 beds. Knit stitches stabilize tuck ones. Here every other needle is taken out of work on only one bed. The tuck loops are more visible in any open spaces between the vertical rows of ribbed stitches. The ribber will knit every row on the same needles aligning directly above each other, thus ruling out full pitch.
The needles are set up so that the first and last are in use on the ribber, ensuring that a knit stitch will be on the side of any tuck stitch selected on the top bed, 
on the top bed the every other needle tuck selection reverses as the direction of the knit carriage does, needles brought forward knit, the ones skipped hold tuck loops in their needle hooks, 
the resulting fabric 
Choosing spacing between needles in work on the main bed 
A working repeat with 4 circular rows, 6 full rows knit 
My first swatch in the technique was in response to a Ravelry member share describing the stitch pattern used in a finished garment 
followed by float formation when only the top bed knits 
The resulting grid may be used as a guide for hand techniques off the machine in isolated areas or all over 
Needle arrangements may be varied to accommodate thicker yarns, or alter the texture by varying both the number of knit rows and circular ones 
Because the top bed needles are in pairs, the EON selection remains evident, each of the first 2 passes completes one row of knitting.
When only the top bed knits, floats are formed between the needles in work 
Half Milano with tucked long stitch: the main bed needles will tuck one row, then slip one row. The ribber needles will first knit a row, then slip a row while the second bed knits both rows. Then the ribber needles knit one row then slip a row while the second bed knits two rows. 
I have had no success with trying to execute my interpretation of the directions without getting floats on the top bed, and the photo in Machine Knitter’s Guide to Creating Fabrics is not clear enough to distinguish if there indeed are floats on the surface of the fabric. The experimental repeat 
the tuck row is formed with the knit pass to the right, no preselection 
the row of stitches is skipped on the way to the left, preselecting for the next first knit row, tuck loops visible on top of the hooks of the selected needles 
the process is repeated. The resulting fabric: 
In DIY the potential for exploration is endless. As always, if needles are out of work on the main bed, end needle selection is canceled. Here slip setting in both directions is used, along with needles out of work on both beds, the 1X1 needle repeat is programmed.
the result has floats on the purl side, a slightly pleated look on the knit side. 
After both no preselection row bring alternate needles out to hold using any EON needle tool. In my case, COL, I began with needle 1 on the left on row 3, alternating beginning with needle 2 on the left on row 6. The number of rows in between hand techs is an odd one, so sides for the hand tech will alter as well. This shows the tuck loops formed EON as the carriages travel to the right.
Prior to resuming pattern knitting, needles with loops on them need to be returned to the B position, maintaining the EON needle preselection for the next pass 
Repeat the process when design row 6 is reached, beginning with needle 2 on the left. The texture appears on the purl side of the piece, shown on the left
This repeat uses 6 passes as well. The tuck loops on the top bed occur above slipped stitches in the previous pass, which may be replicated, but the real problem is that every third row on the ribber is also having to tuck on specific needles with no knit stitches between them. The tuck loops happen directly above knit stitches formed in the previous row if the tucking lever is changed manually from R to P on those rows. That is a lot to juggle, a no. 
Here the eon tuck would fall on slipped stitches in the previous pass, so that is doable. It is possible to fool the lili selection into believing there are extra needles in work on each side of the ribber, which can “make” the first stitch on either side knit rather than slip or tuck. The method is used in creating a 
This pattern repeat is a short one, the changes are more regular on the ribber. The hand tech tuck stitches could be formed for 2 rows with all stitches getting worked back to B position in between those preselected for the next pattern row. The lili buttons need to get fooled after alternating pairs of rows, the start of several nos for me.
Planning for interlock:
when the lili buttons are used with the machine set to slip in both directions. Studio or Knitmaster knitters would require an RJ1 ribber carriage. I refer to the marks on the Brother ribber needle tape as blanks and dashes. When lili buttons are in use, one must work on an even number of needles. Pairs of both are required. The starting placement on either of the 2 marks does not matter, the first needle on the carriage side on the left will always slip, with the last stitch away from the carriage always being knit. This observable if one “air knits”, slowly moving the ribber carriage from side to side. As in any pattern knitting, needles selected to D or E will knit, the ones lined up in B position will slip or tuck. 
Imagining the sequences required to complete a single row of knitting. I prefer to start with a knit stitch on the left, top bed, end needle selection is canceled 
When testing new ideas, particularly in rib setups, I often begin on a small number of needles and in a way that feels “safe”. This was my first test, with the ribber set at half-pitch. There is an obvious difference in rib before the slip stitch segment and the every-needle, EN, segment. 
Using a very thin space-dyed cotton, tension 4 on both beds, produced a soft, drapey, squishy fabric. Because once the cast on and needle set up are complete, the knitting occurs on every other needle in alternate directions, full-pitch is used without any problem even though every needle is in use on both beds. 
after only the top bed knits with slip stitch floats behind every skipped stitch, which, in turn, will appear longer on the knit face
Ponte di Roma
the modified version of the repeat used in my test swatch
Pairs of rows of interlock are followed by pairs of circular rows. The repeat was changed and the second color was used to define the difference in stitch formation between the two groups, color changes were made every four rows. 
Using a single pair of carriages and having to constantly change cam settings appears far too complicated to manage for producing any length of fabric. My hack for making things easier and faster was to resort to knitting with 4 carriages. One pair was set for interlock operating from the left, the other set so as to achieve tubular knit. The ribber carriage is set to knit from right to left and to slip from left to right when the main bed knits. The knit carriage is set to slip in both directions so that the pattern selection remains continuous. It will slip all stitches while moving to the left on rows with no needle preselection, knit on all preselected needles on its return to the right.
My initial test was to knit twice as wide a repeat, thinking it might be easier to identify stitch formation, working on 4 X an odd number of stitches, in this case, 36, beginning and ending with knitting on the top bed, 
single row pockets are formed. 
With both part buttons pushed in, in every needle rib, the needles in D will knit, the ones in B get skipped completely. As the carriage passes to the right, the needles for the next row are preselected, come forward holding only the skipped stitches in the row just knit, while the alternate needles are set up to be skipped on the next pass to the left 
After the two passes one full row of knitting is completed on the patterning bed. The needle preselection is now on the next row of the repeat, in this case, row 1.
The process repeats throughout. Two passes complete a single row of knitting. The carriage actions for completed passes 1 and 2 
The close-up begins to make the tuck loops a bit more visible. The swatch was knit at half-pitch. Using full pitch in patterns that allow for it, diminishes the appearance of “ladders” between rows of stitches, indicated by cyan arrows. 
Manually the tucking lever position can be changed from R to P for a single row or more of tucks and then returned to the R placement. Switching between the 2 stitch types on the ribber is far easier and less complicated than changing cam buttons on the main bed, however, there are no rows where only tucked loops are created without knit stitches beside each of them if the lili buttons are in use. Using the slip-tuck Brother selection on the main bed allows for slip and tuck settings to be used at the same time in the same row as long as opposite cam buttons are in use. Some of the old punchcard books include patterns referred to as “lace-like” using the setting. The starting side makes a difference in results as to whether one leads with a slip stitch float or a tuck loop in the actual knitting. Swatches in this post have begun with the first needle in work on the ribber and a forward, to be knit, stitch selection on the first needle on the top bed, with an even number in work on both beds. The end needle selection is canceled unless stated otherwise. The cam setting used for these tests 
After the return pass to the left, the tuck loops are evident on top of the needles preselected forward to knitting position on the next pass to the right. Two carriage passes fill one row of knitting, here ending COL. 
On the ribber, as seen in the thumbnails, one may choose slip or tuck in one direction alternating with an all knit row in the other, or tuck or slip in both directions in an alternating pattern EON_EOR, on an even number of needles with the addition of lili buttons. The appearance on the ribber of the formation of the loops echoes that seen on the main bed changing needle placement unless the carriage is set to tuck in only one direction. 
A test can quickly be made to observe the stitch formation with the main bed set to knit every row. I chose the left tucking lever down to R when the carriages were on the left, up to P when the carriages reached the right. The tuck stitches with no further action line up over the knit stitches in the previous row 
Experiments outside the interlock family: the two-by-two repeat is supplied in most packets of cards that come with the purchase of a punchcard machine. At one point in time, Kate Armitage published a book containing 104 variations of knitting using the card, both single bed and combined with ribber use. There was also the equivalent for card #3, the point being variations are limited only by time and imagination. 
If the intent is to have solid vertical columns of color, those areas as in column marked A, need to be adjusted for using alternating colors as well. Using the repeat on the left of the chart 
Half Milano stitch formation on the left, full on the right 
In executing the fabric as a hand technique, the main bed is still set to slip in both directions, the ribber to knit every row
Begin with simple shapes, examining the quality of increases and decreases, whether single or multiple, eyelet formation. Picking up from the row below before the next pass with the contrast color eliminates eyelets
picking up from row below at any point during knitting 
Simple increases or decreases are made by moving stitches laterally in either or both directions. Increases may be made by moving contrast color stitches laterally, followed by the choice as to whether to fill in the empty needle or allow it to create an eyelet. 
Fully fashioned increases or decreases are made by moving a stitch or a group of them to the adjacent needle/s to the left or the right and then taking the double stitches back to the original position, leaving a single empty needle for the planned eyelet formation. There should not be multiple needles with no stitches on them unless the goal is to expose a stripe of ground 
typically, in these exercises, there should be single empty needles after transfers, making certain proper needle selection for the pattern group is maintained 
Combining eyelets with lateral increases
When transferring stitches, watch for any loops getting caught on gate pegs, as seen on the left below, increases and decreases may be pre-formed on more than single stitches
At the top of the single medallion, the stitches were transferred to the ribber prior to knitting with the same color once there was no needle preselection for it on the top bed.
The first preselection row after the chosen cast on is from right to left with end needle selection canceled and the knit carriage already set to slip in both directions, with all required needles on the top bed in the B position.
To eliminate the extra white rows, the main bed stays set to slip every row, the ribber settings alternate. It is set to slip for two rows immediately after knitting with the red yarn, then will be reset and knits for 4 consecutive rows. Transfers to create eyelets are made on selected needles on each of those two rows, always toward the carriage, even as the transfers themselves change directions as the angles of the shape decrease toward its center on the top half of the design. After the first transfer and the carriages travel to the right, a long float will be evident, will “disappear” on the return to the left. 
Patterning selection will reappear as the carriages return to the left. 
As with single bed lace, the first pass after transfers creates loops on empty needles, which here need to be kept in upper work, D position after transfers. For non Brother knitters, Brother positions are A, B, D, E, skipping C. 
Knitting over the loops on the next pass on that bed completes the stitch. This design is knit as continuous, the striping at the bottom is wrong because the red was not picked up after the first 2 rows knit in pattern with white, most sequences for the remaining fabric are 4 passes with white in the feeder, followed by 2 in the red. All eyelets here are reduced in size by picking up from the row below, all transfers for decreases are made laterally, the border is set to a width of 4 stitches, the pivot point for the repeat has been narrowed 
the differences at the edges of the shapes. 
Many of the same principles may be applied to designs using tuck stitch settings, where the striping will appear vertically rather than horizontally