Questions as to how to design for specific knit structures or how to use randomly found repeats appropriately turn up regularly in forums.
A review of punch card repeats found in downloadable volumes, which provides clues as to the suitability of random finds for different techniques, can be found in Punch cards to electronics: book symbols and samples.
This post began with a random published find from an electronic pattern book. The initial goal was simply to evaluate and play with the design, and then it evolved into a project growing in size as more ideas were sparked for added swatches. 
the match, 24X36
48X72
is potentially usable for
1: knitting as FI, with a wide maximum float of 9 stitches, which would merit control
2: thread lace, both yarns knit white pixels, the thin yarn forms the stitch on the knit side, the thicker yarn floats behind it
3: knit weaving, deciding whether to manipulate the long floats that are formed intermittently
4: tuck stitch, must be color inverted, white pixels form tuck loops for 1, 2, and 3 rows in various spots in the design.
DIY editing of the first repeat, seeking uniformity, eliminating rows, and shifting pixels for added possibilities. 
24X24
in full repeat X2, 48X48
doubled in height, 48X96 
color inverted, 48X96
potentially knittable doubled in height once more, test with thin yarn, 48X192
tested single bed for 60 rows, an obvious change in texture and aspect ratio. 
Single bed using the original, color-inverted file, 48X72. The yarn is a 2/20 wool; the resulting stitches are open enough to allow the dark bleeding through from the background to influence the appearance of its color. The swatch measures 7.25 inches in width. 
Double bed
The knit carriage is set to tuck in both directions, the ribber to knit in both for what is often called pintuck or punch tuck rib. The knit lies flat and is “reversible”. Using the same number of stitches and knit tension as the above, this swatch measures 10.75 inches. 
With the tuck stitch file easily color-reversed on the electronic, the knit carriage set to slip in both directions, and the ribber to knit in one, slip in the other, the density and width of the resulting knit change significantly.
Punchcard knitters would need to punch a second card.
Blisters are formed on the knit side while stitches on the ribber become elongated when slipped.
As the knit carriage returns to the left and skips needles, floats are formed to a max of 9 needle spaces, and eventually form pockets in the white pixel areas. 
As the ribber knits in one direction, it slips in the other, and stitches become elongated until they knit once more. The yarn needs to be able to tolerate being held for the necessary number of rows without breaking. 
The swatch measures just under 5 inches in width, although worked on the same number of needles as the tuck samples.
Some of the color difference is due to a change in natural light, but also to less bleed-through of the background as a result of the fabric density. 
As double bed knitters know, several inches of knitting happen before you can crawl under the machine or get creative with a mirror and/ or + lighting, to see whether you are actually knitting the intended pattern. This design, using the same yellow yarn with the added blue yarn of the same weight, and the same carriage tensions as for other double bed samples, made it hard to see whether anything but stripes was being produced while on the machine. The bottom of the swatch was knit with striper backing, the ribber set to N/N, and measures 6.5 inches in width. The top was knit with birdseye backing, using both lili buttons, the ribber set to slip in both directions, and measures 5.75 inches in width.
The color placement for background or design can simply be chosen by which color knits first, so either the color-reversed or the original repeat may be programmed. 
Original 48X72Single bed
This swatch was knit using the thread lace setting, and two slippery yarns, a rayon and a nylon thread of an unknown brand. Serger monofilament is an option, but my supply is multiple decades old and broke easily halfway up the first repeat. Testing large swatches and blocking them in the same manner as the finished piece would serve as guides in making choices.
End selection needle is canceled, but if end needles are brought out to D as part of the pattern design, they need to be pushed back to the B position manually before the next row is knit.
Width comparison does not apply, since the tension required was double that used in the other swatches.
There are less common applications when choosing designs. For example, the same repeat was tested to create a single-bed lace transfer design, with a single row knit after the transfers in each design row have been completed. It finally took using a 4th yarn to get the stitches to knit properly, unlikely something I would knit in a large piece, but it helps to understand what happens with reversals of directions in the mesh. 
An explanation of the technique, with added swatch samples and designs, may be found in the post Unconventional uses for punchcards 2: thread lace cards for “filet” mesh
The slip stitch double bed blister knit was shown previously, using the starting 48X72 repeat. Here is a double bed version, using the plaiting feeder and with the knit carriage set for thread lace. The results differ with placing the yarns in alternative positions, and both swatches measure 9.75 inches in width.
This top bed placement is wrong, needles are still brought forward moving right to left, but are left out to D, not B on the return to the right. 
knit 4 rows, drop, repeat 
Larger designs can be more effective, 24X22
color separated, inverting every other row, then rendering the result double height so that each color in each design row will knit twice, 8X32, 4 times the height of the original 8X8, 
the problem is that the backing fabric is often loose when compared to the slip stitch FI patterning.
A side-by-side comparison of the change in the aspect ratio of the design using the single color DBJ backing on the left, as opposed to the birdseye version on the right, although both were knit at the same carriage tensions. 
The resulting pattern is very different from the programmed repeat, forming a maze-like design; there are interesting bumps on the purl side, with alternating color single-row stripes.
The starting repeat, 21×18, 
test knit on 42 stitches. 
color separated, 44X148.
pockets formed over whole rows
led to these variations 
and was now altered in width to 36X36, 
The main bed is programmed, set to slip both ways after the first preselection row.
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. 
These are advanced, complex fabrics. The repeats for 2 colors can grow exponentially in length.
Working with cell repeats in spreadsheets serves as an aid in plotting out the required actions before committing to a design and reproducing the chosen file in BW mode.
Combining knit carriage needle selection with racking
