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 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 
A quick way to imagine variations of the same pattern is to choose segments of the swatch photo and alter their direction and/or placement 
In machine knitting, one is looking at the purl side, and the ability to move stitches is often limited by the fact that their placement on a metal bed is fixed distances apart. Simpler repeats can be executed as isolated vertical bands on solid color or striped or even FI grounds, adding the ribber for even more complexity in execution.
then click on the shape or drag one onto the sheet to add it.
Creating the first cable crossing shape: choose the square from the basic shapes, if the first plan is to work across 3 cells, change its size to the width of 60 pixels, 20X3, and single height of 20 pixels, also changing colors if desired. To do so, left-click on it, uncheck constrain proportions, and change values to desired ones 
Change its color 
Right-click on the final shape, copy it, and paste it several times on the sheet away from the table.
To use the shape, left-click on it, drag it into the desired position.
The combined images may be created in a paint program such as Gimp and the resulting file, in turn, may be used in a spreadsheet. Pngs can be custom filled with any color of your choice in Gimp or its equivalent 
To draw a straight line in Gimp when applicable, select your preferred brush tool, click the point that begins your line, hold the Shift and Command keys in a Mac, drag the cursor to where you want the line to end. Click the endpoint, this creates a straight line between the two points with your selected brush. After the line is drawn, release the Shift and Command keys.
Fair isle repeats: when working cables in FI, in addition to tracking cable directions, the needles must be placed in the proper needle positions B and D for correct patterning to continue.
Fair isle on mixed striped ground 
An expanded MK illustration 
A FI sample shared in 
From 
When using fair isle patterning as a guide to forming cables on the machine, crossing directions matter more since one is no longer simply placing color on like color: this chart transitions from the original idea to the placement of the crossings, a full repeat with their direction reversed based on which color is wanted to travel to the knit side is drawn, and on the far right, the look of the final FI repeat 
Adding a third color, possible intarsia knit as all over pattern or isolated as a panel. Even in hand-knit, the latter may be in a contrasting gauge and joined to pieces of the garment after their completion. 
These repeats may be worked as vertical panels between rows of plain knit or rib 
Symmetry is not always needed, 
MK, adding the ribber: one of the things that may lead to confusion is the use of the term every other needle knitting. If one is working on every needle on both beds, the needles on either bed are centered between those on the opposite one, thus patterning occurring on either bed that becomes EON. Colors are used to track the movement of stitches, not colorwork, which happens on the same needles, either bed, or the plaiting feeder may be used to produce the illusion of additional colors. 
Part of an experimental swatch 
In attempting brioche on the machine the color changes happen every 2 rows, so a minimum of 4 rows or a multiple of 4 rows are planned between moving any stitches. Although the same color will be used in the crossings each time, using 2 colors for cable segments may make the chart easier to follow 
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.
When automating the repeat edits are possible and very easy using the lace module, these first drafts were created in Numbers, 
I have to admit the first time I tried to knit both the associated png, mirrored and not, I experienced patterning errors. Whether due to operator fatigue, static, or any other possible cause, on a different day both designs knit successfully, and my appreciation of the module is growing steadily. The results for this, a complex shape, are quick and awesome when compared to the amount of time it would take to draft the pattern outside the program.
An stp was created, the template is marked 74 rows in height, filled in as the stp was generated, right side facing 
Numbers and Gimp reduced the template to a png 14 stitches wide by 52 rows long, needed to be mirrored using the number one button on the 930 for successful knitting, 
matches the original illustration. Dak makes slight modifications very easy. The untested brick repeat, 28X104, developed using Arah followed by its png 
changing that central shape
The amended design drawn in repeat in dak visualizing the knit, 
The print preview template: 
the resulting png, 14 stitches by 68 rows, also knit using the number one button on the 930 
the proof of concept swatch 
The brick repeat developed in Arah, now 28 stitches by 136 rows, 
its png 
comparing the initial three knit results for differences, the samples were knit using the same yarn at the same tension 
A test for the second brick repeat, here visualizing results with a screengrab of the stp. 
The test swatch is for a single repeat width, the initial yarn used ran out, hence the color change, the second yarn was thinner and broke, but there is enough to get a sense as to how the overall alignment of the knit shapes will appear, including that horizontal chevron between the shifting leaves. The png required mirroring when used on the 930. 
A proof of concept swatch: the yarn was too thin for the many transfers and broke, so on the right, there are fewer stitches than initially planned. At the bottom there is a single instance of 2 rows knit after all the transfers, there are 6 rows knit after each transfer series in the remainder of the swatch. Color changes could be added in multiple places to interact with the wavy shapes 
it would need to be drawn eliminating the pairs of blank rows between transfers to match the original repeat because all those carriage passes are consecutive. Drafts with no blank rows between alternating transfers are not accepted by the program and ruled out in any template preview as well. 
The complexity of working with a “simple” repeat: over the years I accumulated a notebook full of copies from Japanese magazine pages with what I believed to offer interesting potential, this repeat happened to be one. The markings for the knit rows on the right, and the two blank rows at the bottom identify it as suitable for Studio punchcard machines, and it would appear to be easy to translate for knitting on Brother thanks to those 2 blank rows between transfer cell markings. 
Developing the Brother repeat in Numbers for beginning with transfers to the left. The repeat is recognizable as a mesh variant, more information for mesh design repeats may be found in the 
the repeat on the right was created in Gimp. 
The 12X18 png 
was mirrored for use on my 930, some cables were added. A 1X1 crossing in the thin yarn used in the sample would have been nearly invisible. The placement, in this case, is at the top of the full repeat, after the first knit row before returning to transfers for design row 1, an easy way to track the hand technique. The 2X2 crossing used might need help with definition and placement in a wider vertical knit strip 
Creating the stp: the size of the png was used to create the image file, which required cropping, in Dak this would be the menu language after activating the proper tools. the stp size is 12X16, 
The template generated for a Brother punchcard machine illustrates the problems and some of the confusion if the template repeat is used for actual knitting, especially on the punchcard machines. Drawing the eyelet and dragging the mouse one cell to the left is the intuitive way to draw for transfers to the left. The symbols appear to be right-side facing by default and if they are in turn mirrored by the program prior to saving, when the templates are generated, the intent for use of the design would match. The numbers on the left are in the punchcard template, adjusted by cropping the two extra rows in the Brother electronic template by the software, do not reflect the actual design row numbers. The starting row is wrong for the Brother lace carriage operation from the left to produce the first row transfers to the left in actual knitting. As far as determining sequences for knit row placement, that is left up to the punchcard knitter’s experimentation. The minimum repeat for a punchcard to roll continuously is 36 rows, that fact needs to be considered if punching cards. The repeat shift for the first transfers to happen toward the left is illustrated on the right. 
As initially given, with the lace carriage starting on the left, the first transfer row would be to the right. In many cases, this may not matter, but in this instance, where the knit rows happen after 2 or 4 LC passes respectively, the template offers another instance of the fact that the knitter using it needs to have previous understanding and experience in creating the particular stitch type. This version does not have an accompanying swatch. 
Analyzing the electronic template for interactive knitting: it is correct in marking rows for LC operation from the left with the first transfer row made to the right, matching the above chart. 
Eliminating the rows marked with red would yield a workable punchcard repeat, with loss of the cues for the proper sequence for LC passes.
For good measure, the repeat is also drawn as stitches and produced the punchcard template with a first blank row identical to that generated when using symbols 
Using the pencil tool to draw the transfers differently resulted in a series of error alerts, so not an option.
When manuals are chosen in any module, there is an option offered to download the associated pdf 
by clicking on the arrow key 
Update: 
The lace module is an extremely attractive solution for speeding up the lace design process whether from published charts or DIY. The left mouse button is used to draw as usual, but the right mouse button is used when drawing shared transfers in fine lace on Brother, or simple lace in Studio km.
The designer may enter patterns on this view as well, but I prefer to work with symbols
It is best to begin testing with a small repeat when exploring new techniques, find his format easier to use than drawing on “stitches”. There are several options for the canvas ground color, the default is in blue. As a first step, saved as an stp, Dak opened my saved file as pictured in this view. 
DAK row numbers do not refer to design rows, they reference row counts as would be seen in any row counter registering carriage passes
If a symbol is missing from the drawing, the program alerts the knitter to the error. Here there are no eyelets represented. 
There was no warning for the error in the last row of the test stp, where in the last row two stitches were being moved in opposite directions on the same row. If the content is considered accurate, this window will appear, the safe button will be highlighted, click OK 
wrong side facing is chosen for the purl side view. 
Stitch pattern print previews, using default settings for layout:
This stp pattern was also created using the pencil tool in combination with symbols. In the print preview, there were 2 errors in the Dak printouts, the three blank rows rather than 2 in the outlined section between transfers, and transfers in 2 different directions occurring on the same row with the same carriage pass. I have no way to test whether the same issue would occur in interactive knitting using my own stp file. My repeat, drawn in Numbers on the right, is numbered in design rows. 
choices can also be made on how to represent stitch units If the plan is to create a punchcard template and the repeat is too wide, an error message appears 
Paper size measurements in page set up other than US letter
other associated menu choices 
It is possible to save the template as a bmp of the full image. The size of the file is shown to the right of the pixel count number settings for the clipboard or bmp file, which will vary in proportion to the stitch and row count. Click on the floppy disk icon to save. 
Regrouping after a review of my pencil tool repeat by Softbyte support: the original stp has an error in it on row 11 where yours truly had eyelets being created by having the same stitches moved in opposite directions in the same row. It is interesting that I was able to save the stp without receiving an error message as seen in this instance below when the pattern was being redrawn with transfer symbols on the wrong row, 
As an additional lace template test, I repeated the process on a portion of an stp file shared generously shared by a DAK FB group knitter along with photos of a completed, lovely lace sweater using it. The results are shown sideways because of the repeat length. The 950i template places four rows at the end of each lace sequence, while as seen in the published repeat of a different lace beside it, there should only be 2. The carriage passes made by the KC in traditional lace knitting though they advance the row counter, do not advance the pattern unless it is selecting needles as well, ie in trims that combine lace with the slip stitch setting. Exceptions to the 2 blank rows rule occur when the lace shape reverses direction such as in zig-zags, or when plain knit or pattern rows are planned deliberately to mix and interact with the lace design. 
Please see the previous 
The electronic preview continues to have a series of 4 blank rows between transfer segments. The punchcard template has 2 blank rows between each transfer segment and matches the published pattern with a 3-row exception toward the top of the card. The renderings below begin with the DAK punchcard template on the left with its confused numbering, the extra empty row at the bottom of the repeat was eliminated. The overall repeat is mirrored. It is followed by the published pattern associated with the chart, pixels are then marked for left and right transfers, followed by my amended final repeat, which when knit on the 930 required mirroring. 
Lace tool use instructions begin on page 299 of the third module user manual, Stitch designer. From the manual: when the Lace tool is clicked, lace patterns can be created by using the LMB or RMB to click and hold on the stitch cell where the eyelet needs to be, after which the mouse can be dragged in the required transfer direction and let go on the stitch that needs the corresponding decrease. Intermediate transfer stitches will be added automatically where appropriate. If the button is clicked and the stitch pattern has a method that is incompatible with lace, the warning that is shown on the right will be displayed. The Wrong side facing texture is probably the most natural choice because this is generally considered the normal method of knitting on Japanese knitting machines. Sections of Lace and Fair Isle may be used in the same stitch pattern and either Fair Isle or Wrong side facing texture are good choices when working with lace patterns.
The associated template preview for the punchcard nearly matched the one that was obtained with the pencil tool chart, but had some differences: the previous image was mirrored although no dak settings were changed. As in all punchcard template numbering, the knit row numbers are skipped in the sequence on the left, so they will not match design row numbers, and the small flower motif is placed differently 
A wider swatch
When attempting to use this repeat for a continuous one, unless the total number of rows is an even number, the second repeat will reverse the direction of the transfers, resulting in mispatterning and multiple side-by-side empty needles. Changing the total repeat to 48 rows by adding another blank row places all transfers properly. The 12X48 png
Adding extra knit rows at the top of the repeat ie. 6 or 8 may make the alignment of the 2 shapes to each other more pleasant.
A half drop repeat is also possible. To achieve this test of a repeat drawn in a paint program, I knit 2 rows after the last “flower” eyelet and had to flip the repeat horizontally before continuing for the top half of the repeat, producing a very different look. 
There is a transfer error in the knit swatch on the right where I “repaired” a dropped stitch. Edits would be needed if one is determined to make this pattern automated as a continuous design.
my edit in a spreadsheet, the yellow cells mark rows missing in order to get the lace carriage back to the left side before the next pair of all knit rows. 
opened in ArahPaint, and drawn in brick repeat, shifting the top by 6 cells. The green lines mark the original single blank rows followed by the pairs of added blank rows with no markings, the needed corrections 
the Arah image was saved as a png, knit on my 930 using img2 track, and mirroring
The proof of concept swatch for the now fully automated pattern 
The information available to me as I began this post:
When exploring design potential in any paint program, it is best, to begin with, to use a small repeat that can be clearly identified when tiled in various configurations, resized, and pixel edited. If drawing is with the goal to produce a BW bitmapped image for download of 2-color patterns, drawings can happen in those colors to start with. If color separations are planned in the development of the design, then 2 color images including black may be preferable.
To work on the image, magnification will be required. This may be achieved several on the Mac, one is to click repeatedly on the magnifying lens icon in the toolbox, and the other is to press any number from 0 to 9 on the keyboard, and the zoom will instantly change for 1 at 100%, to 6 for 600%, to 0 for 1000. The latter is minimal for building repeats on a viewable grid, the magnifying lens may be used to reach a comfortable starting view. The zoom level for both increases and decreases may be changed during drawing operations as well.
and the program may be used in full-screen mode on your device by making the very last selection in the View menu. 
In addition to the image grid, like Gimp, ArahPaint 6 also allows for positioning aids: guides. They are horizontal or vertical lines that are temporarily displayed on an image. To create a guide, double-click on the dark blue arrow displayed on one of the rulers in the main window. The guide is then displayed as a dashed line following the pointer. To move a guide after it has been created, hover a mouse pointer over the blue arrow and click and drag it to remove the guide to a new location. To delete a guide, double-click on the arrow. After a guide is created, another triangle in a different shade of blue appears below it. Use that to create the next guide, repeat as often as wanted both horizontally and vertically. To remove all guides choose View, Remove Guides. 
One use for the lines can be to mark plain knit rows between transfer markings in lace punchcards as illustrated in this Gimp image 
The foreground (upper square) and background color (lower square) are used in drawing operations. They are numbered 1 and 0, not to be confused with the same numbers assigned to colors in the working palette. The starting palette may be altered to include black. Double-click on the foreground color at the top, the #1, not in the space below the palette icon. A color selection window will appear, choose, and click OK. This change is lost if one quits the program. 
If satisfied with the drawn repeat, use the selection tool to isolate the final motif. 
Pillar repeat also using offset in pixels 
Other offset options through the use of fractions
Playing with mirroring positions, producing a minimum 2 by 2 repeat, 
the result looks akin to the pillar repeat drawing above, but tiling again to check for alignment may yield surprises that can be viewed as design features or errors, 
Repeats may be built in a more controlled manner using the image/duplicate X menu, 
a half drop was added 
and the repeat was tiled to test alignment 
The duplicate tool enables the repeat of an image or part of an image in a fast way. All duplicate tools with the exception of Mirror X-1 and Diamond work similarly to the drawing in repeat tool if the new picture option is enabled. The mirror X-1 works the same as the normal mirror, except the last pixel of the image is omitted from the image 
Eliminating those double pixels can be achieved by cropping. The first mirror is for Y-1, the cropped image is tested for tiling by drawing in repeat 
Drawing lines: use the straight-line icon button to activate the tool, select the line thickness by selecting a number of pixels to be used then move the mouse pointer to a line starting point on the canvas and press the left side of the mouse, dragging it until the line is of the desired length and angle. When the line is at that desired length release the mouse.
The thick lines option works only at line width 1, which will keep the single pixels connected 
If you double-click on the line icon, the Straight-line icon is activated. Now you can draw horizontal, vertical, or diagonal lines. If you move a mouse horizontally—it doesn’t need to be perfectly straight, the drawn line is horizontal. If the angle between a line and the horizontal axis exceeds the angle of 23 degrees, the drawn line will be diagonal at 45 degrees. If you move the mouse toward the vertical axis, the line will be drawn as a vertical line.
The same process, using an 8X8 repeat drawn in repeat X3 in width to 24 stitches and X5 to 40 rows in height meeting the punchcard minimum height 
Finding the repeat first on the complete resulting new image on left and testing its tiling, followed by finding the repeat again, cropping to the selection, and tiling that as well on the right 
If the goal is to knit a scarf, 72 stitches wide, crop either repeat to a chosen 72 stitches in width, tile in length in either program to visually check alignment. If knitting in DBJ for approximately 1200 rows is the goal, one may obtain a visualization of the results ie for 1296 consecutive rows. 
A black pixel border could be added to the 72 stitches by copying and pasting the image on a larger canvas that will accommodate that border, or the border may be added by filling in pixels vertically to the edges of the original. Some repeats to play with: the 120 X 96 png 
The bottom half, 120 X 48, isolated in Gimp, 
tiled in length X4 to get a sense of some of the possible differences I c
I can see the process becoming addictive once a single personally pleasing starting repeat is developed, and its, in turn, becoming a possible source for collections of designs. 
October 2021: I have recently purchased both a PC and DAK software. At the moment I am not planning the purchase of any cables, the initial patterns 
Create a new picture in the same dimensions, fill in the proper cells
The resulting punchcard image 
The color exchange was easy and straightforward with self-drawn images in the opening palette when creating new documents in Gimp. It failed when working on a segment of published patterns. The Arah manual helped me find the solution. Converting the images from true color mode to color palette mode: the original image and its palette, this is not a “correct” working repeat, 
Converting for use with an expanded palette
To change the color of the foreground, double click on it, choose black from the upper left corner of the colors window, the image and its foreground color will change accordingly. 
The successful exchanges 
This repeat would work fine with a reduction to 3 colors, but the proof of concept uses a reduction to 4 colors for both repeats. The two shades of green will need to be exchanged separately, each shade is processed using the sliders on the far right, also note the crosshair. 
With added experience, I discovered part of the problem is that after restarts or working on multiple images, the interpolation setting changes randomly to cubic, and issue are resolved if the setting is changed to none again. 
The Arah scaling appears to be quicker and far more accurate also when used on some published images that would require a lot of clean-up after resizing in Gimp. That said, when working with very large images Gimp offers the opportunity for controlled scaling to any size, keeping the image aspect ratio or not. This reference is described in translation as a pattern design course for Silver Reed knitting machines. 
The publication offers many large-scale repeats that are suitable for punch lace, but also for what translates to “braided patterns” which when studied may be intended for fair-isle with enormous floats or for DBJ. No stitch and row counts are given, the goal is to match the manual 54X56 stitch and row count.
In Gimp, reducing colors: A 
Use scale image to desired dimensions, checking first that values are a full multiple of the expected final repeat pixel count. If not, scale first to a full multiple of each value with aspect ratio off (broken chain link), then scale again with aspect ratio on (intact chain link), edit with a superimposed grid, cleaning up the repeat: C. 
single click on the yellow above to place it in this selection, double click on it 
use sliders again to achieve the white, click OK
ArahPaint will also scale larger images in pixel units. Resizing may be achieved through the use of the image menu Resize option, 
I found the final Arah scaling to be less accurate and requiring more cleanup than the repeat obtained using both programs 
Planning a repeat suitable for a punchcard, the uncropped repeat F is opened in Gimp, and pattern fill is used in white areas to ready the file for tuck knitting. The image is then map tiled to check alignment once more, and if satisfactory, it can be saved, ready to be knit 
With experience, one can quickly imagine ways to clear errors and alter images. Electronic machines free us from repeat width constraints. Widening the zag repeat to 48 stitches, working in Arah, check vertical alignments first, 
Pattern fill may be accomplished in ArahPaint using brushes made from selection and then enabling those brushes with bucket fill. This functionality using multiple brushes to replace colors in the original is shown in this video: 
Working on a possible tuck repeat using only Arah Paint: draw and save the image you wish to superimpose on the ground. I chose to use the color red for visibility. Draw a new image, keeping magnification constant, ie using 0 for 1000 X. Draw a repeat unit for the brush you wish to use, choose repeat from the View menu, click on the stamp icon shown outlined in red, and the available brush will appear immediately below it. 
Lots of knitters appear to be interested in large, nonrepetitive images. Depending on the machine used and its memory, the repeat may need to be split horizontally or vertically. Before electronic machines, many art-to-wear pieces were created by knitting repeats broken down horizontally into the punchcard widths, completing the height of each panel and then joining the strips together. Nowadays there are online tools for many tasks including dividing large images. For DIY, in the first instance, Arahpaint is used to split the “large” file in half horizontally, the resulting image saved. The action happens from left to right, so to achieve the split for the second half, the full-size original is flipped horizontally, split, and flipped again. Followers of my blog have seen the images of my friend Rocco recurring intermittently over the years. Dividing the image horizontally 
The same may be done vertically in a matter of seconds beginning with Image, Halve Y, and then using the mirroring tool 
Color separations: the critical difference in the use of the Arah rectangle tool from that in Gimp is that it cannot be used for sequential selections of pairs of rows in color separations such as those for DBJ or mosaics. In those instances, the Arah image, scaled to the appropriate height may be saved, then opened, and processed in Gimp. For DBJ with each color in each design row knitting twice, design the shape and scale in length in Arah, save and open in Gimp for the separation, see post on working with 
Mosaics: draw the desired repeat in Arah, double it in height, save the image, open in Gimp and proceed with mosaic color separation 
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.
For some reason, I found the commands erratic when working on the translated version of the site, and fared much better in the original language publication.
Screengrab the final image surrounded by extra white cells, and open it in GIMP.
Getting a preview of how a finished garment might appear, here the tiled version is 192 pixels in width and one may glean some idea as to whether that repeat should ever really be used in a sweater or even a blanket. Further image scaling or cropping can happen based on the knit gauge. 
A very quick rendering imagining pattern and color placements using a simple sweater outline 
Collections of every other needle repeats for processing with a similar approach may be found in these volumes, available for free download
Both volumes include accompanying swatch illustrations.
For a better, printed match size, after capturing the image from the PDF for a single page outside image edges, opening it in Gimp, and cropping it to content, it is then possible to scale the results to measurements of a factory punchcard equal in width and adjusted for the number of rows in the image. My card required print measurements were 14.1cm by 26.1. Scaling executed with an aspect ratio that is too long. 
breaking the chain-link, removing size constraints 
The results with the selection of even rows simply shift the result up a row 
Test in your version of the program to see whether releasing the shift key prior to making edits changes them. Either way, being consistent in the choice makes for less confusing results. Experimentation takes a matter of seconds.
using the rectangle tool, either odd or even rows may be chosen, remaining consistent for the height of the repeat in a scale to suit the end fabric goal. Here the original file is lengthened X2
working with the original file lengthened x4. The selections can happen on every row or every other, whether singly or in pairs. Note the difference between making the first selection on the first pair of rows or the second. 
2021: 
single click on the filing cabinet icon on the right, 
double click on the patterns folder, and its own window will appear, 
and the new folder will be added within the brushes one 
For future use, any saved brush may be dragged and dropped into the named personal pattern folder icon, or into the folder after it has been expanded or opened in its own window. My opened brush folder 
When exporting self-drawn brushes, the option is offered for adding spacing surrounding the shape, here a 10% addition was chosen 
To save personal patterns, instead of choosing the file cabinet icon in preferences, one may choose the folder icon, following a similar series of steps to those above, including verifying the contents of the newly created folder 
Use Windows, Dockable Dialogues, choose Pattern. The patterns will show on the right
Click on the paint bucket, then on the pattern you wish to use on right, hover over the canvas with the paint tool, click on it and the image will fill in the chosen pattern.
Foreground and Background colors: in RGB Mode, click on the foreground color to select a new color for the grid, click OK 
This command is found in the image menubar through 
You can create as many guides as you like, positioned wherever you like.
Built-in or custom brushes may be superimposed on a bucket-filled ground. Create an image in the desired width and height, here 24 X 24, and magnify at least X 800 for a grid view.
The color exchange window will appear. Here the white “from color” is left undisturbed. Select the dropper next to the “to color”, then click on the image on the color you wish to change, a palette window will appear. Make your choice, the color exchange window will now have substituted the chosen color for black, click OK, and white design areas are now changed to the chosen blue globally. 
The process may then be repeated with the second color if desired. The color exchange window will show white as the default “from color”. Click on the white bar, choose black from the palette window or use the dropper to select black from the image. The from color will then appear as black. Repeat selection with the dropper from the right of the “to color” bar on any black pixels in the image, choose the color from the palette window to replace it, and the color exchange window will display the new “to color”. Click OK, and job done. 
The process may be repeated multiple times on the same design or used on large-scale ones, giving one some idea as to whether or not to really commit to the estimated colors. 
I recently had reason to review old PC files from my Passap knitting days and came across several cut files that when converted to png format appeared in colors rather than black and white, leading me to experiment with color exchange again. The image for the first experiment is part of a crib blanket by Cheryl Giles
It is possible to colorize images originally drawn in black and white. The color exchange options will remain fixed throughout the process. The image may be worked on continuously and exported when color exchanges are completed, or saved and imported again after each step. The color exchange here happens consistently on the chosen background color, changing that quickly becomes familiar and easy. There are times that the repeat being processed will turn black onscreen, trust in the process and continue.
Developing custom palettes in order to visualize different colorways while using the same repeat:
this window will open with selections for possible palette choices 
click on your choice, then click on the palette icon, and your color choices will appear, click on the white, to create a new background color. 
My success with series of other images in using color exchange has been spotty. Online forums reveal this is a recurrent issue with no clear solutions. Suggestions include stipulating that the cause may be the version of Mac OS in use. Color reductions using 
The image itself may be scaled concurrently to tweak grid border alignments. The final grid size below is 18X18, the image size is shown after scaling from a width of 277 pixels (with a broken link at that time) to a final 270 pixels in width 
The screengrab of the above center, with a superimposed new grid; note the image, in this case, was also offset for better placement, a 3-pixel pencil was used to isolate the border of the possible smallest repeat 
Translating the colored image to BW indexed may take several steps and some clean-up if only Gimp is used to process it. With the colored large-scale isolated repeat, the image is opened in Gimp. The Threshold tool transforms the current layer or the selection into a black-and-white image, where white pixels represent the pixels of the image whose Value is in the threshold range, and black pixels represent pixels with Value out of the threshold range. It may be activated from the pull-down colors menu or from the toolbox. 
Color separations: there are occasions where very small repeats need to be scaled in height only for color separations. I have found such scaling to be inaccurate using the option, such as here, both of the small, single repeat, and in scaling its tiled version. The triangle motif was used in many of my early posts on color separations for DBJ and its backing options. 
The appearance of the final repeat when color is reversed 
Another comparison of the 2 options for altering every other pair of rows in the specific color separation for a mosaic repeat. There is less filling in of cells with a different color, but in large files especially, I feel the result would become far more visually confusing to track. 
Working with potential knit repeats the scale is reduced further. Magnification is useful for the evaluation of repeats. The smallest repeat segments for use on electronic machines may be isolated. The filter, map, and tile option easily verify how the repeats line up overall. Cropping a 24-stitch width and tiling that also visualizes the suitability of the repeat for use on punchcards with the 24-stitch limitation. Grid view helps identify any need for “clean up”.
and a type of symmetry and accompanying settings, click on pencil tool, the motif will appear as on the above right, paste the image on the new canvas, undo and repeat setting adjustments until satisfied with the distribution of motifs.
The 24X50 repeat: 
To decrease crowding, using the original image, the new canvas is now 40X60, with the shift decreased from 12 to 8 pixels. The result did not tile properly when mapped, using magnification 800X with a viewed grid the final repeat, 29X60 was isolated 
Being more deliberate with the math leads to a full, successful repeat 
Using that small triangular 8X8 repeat
Again, preemptive math will yield images that avoid further processing. It is up to the user to recognize any problems, the repeat here needs to and can be isolated correctly from the file on the left, it is actually only 16 rows high. Here the adjusted repeat is created on a 24X16 canvas with the same symmetry settings, and filter/mapped/tiled 
The above repeat was cropped and adjusted to 16 stitch width and 8 row height, the file saved, and the process repeated 
Using symmetry once more, remember to adjust the pencil size. 
I was unable to use color exchange successfully on the above images, but with the saved 2 colors indexed red and white repeat both img2track and ayab appeared to load the repeat successfully. 
The map color exchange was successful using the steps described at the top of the post when beginning with the repeat drawn in a black and white version. 
