In knit weaving, the knit carriage is threaded with the main yarn as usual. The choice of pattern is determined by needle selection. The most basic technique involves pulling the desired weaving needles forward manually or by using needle pushers which are available in a range of selection options. Automatic needle selection makes the process faster, consistent, and capable of more variations.
The weaving yarn, according to instructions in manuals, may be threaded through the tension mast and guided through the weaving yarn guide. Feeding thicker yarn smoothly through the standard mast may become problematic. Moving yarn from the groove on one side to that on the other is cumbersome. The punchcard machine manual for the 860 machines has some clear illustrations and directions 
From the 260 manual: 
The “yarn guide” is that mysterious notch in each arm of the sinker plate. In the Studio accessory, the AW1 weaving arm, the yarn is also fed through the yarn mast, and moved physically from side to side after each pass of the carriage. 
Start the piece with waste yarn and some evenly distributed weight based on fabric width. Make sure the weaving brushes are activated. In Brother standard, their position is changed using the corresponding lever, in the bulky 260 the L and R wheel brushes need to be placed in their corresponding slots. 
A good repeat, to begin with, is one that selects every other needle, every other row. The card is a standard factory issue with punchcard machines. 
In general, the knitting yarn is thinner than the weaving one. The tension needs to be adjusted to accommodate the surface yarn, not the background one. The tighter the tension the firmer and narrower the weave. It is also possible to create soft knits with a lot of drape ie by using sewing thread for the ground and fine mohair for the weft, there is a huge range for exploration.
The “weft” precedes the base knitting yarn which knits the stitch. It is laid over the top loop of the old stitch on a needle selected by a hole in the card and goes underneath the top loop of a previous stitch on a needle not selected by a blank on the card. When card 1, above, is in use, the weaving yarn is caught in a series of two loops, one above, and one below forming a honeycomb effect. The structure is typically illustrated in these ways in Japanese reference books and magazines in particular. 
Early Brother punchcard volumes have illustrations of the over_under structures and in-between floats along with providing the pattern repeats. 
Setting things up: the weaving yarn is in front of the machine, fed from the floor. The short end goes to the carriage side, the long end is away from it. It is laid in front of the gatepegs, atop selected needles. A clothespin can provide enough weight on the short end to keep it from riding up and having to be managed with one’s hand. “Weaving” can begin from either side, here it starts on the left. Knitting in 2-row sequences will return the yarn ends to the starting position. 
Locking the card, as with any other pattern, will repeat the same needle selection, creating vertical repeats that resemble twill weaving on a loom.
a: card set to advance normally, b: card locked 
a: because stitches are actually knitting every other row, slipping while the needles on each side of them knit, they will alternately be a bit elongated; b: same needles knit every row, so their appearance is consistent. 
Depending on the difference in yarn thickness, the knit stitches in the ground become forced apart with what can be significant “bleed-through” on the reverse of the weaving to make that a really interesting fabric feature as well.
Some weaving patterns with variable floats will produce better edges if the end needles are brought out to E in every row if not selected to that position by the reader.
If a hairy or fuzzy yarn such as mohair is used the fabric may start to bunch up, it may be necessary to reach up from behind the knitting and gently pull to release the little hairs from the gate pegs.
Most punchcards designed for weaving aim for short floats formed by unpunched areas, longer ones on occasion are planned for added manipulation.
Moving the yarn from the groove on one side to that on the other is cumbersome. Another way of working: the main yarn is threaded as usual and the weaving yarn sits on the floor. The method is often referred to as intarsia weaving. The shapes may be created using various punchcard designs ie diamonds, squares, etc, free-forming, or even through following planned drawings on knitleader mylar garment shapes.
The knitter guides the yarn. If the yarn is held too loosely it may jump off the knitting while weaving and thus create long loops. It should be guided and held just enough to slip through the hand as the carriage is passed.
Preselect for the first row of knitting. Lay the weaving yarn across selected needles in the direction in which the carriage will be moving.
If using yarns of different yarn weights within the piece, multiple strands of the thinner yarn may be used together, but test how the strands feed and if plying might lead to problems. Using wrapping methods on some rows or even creating floats and hooking them up periodically can produce added interest.
If using more than one yarn per row, the approach is similar to intarsia. In true intarsia, every needle is in use. These illustrations are from an intarsia carriage manual; positioning the yarns for a first row from right to left, 
the “wraps” needed in each direction 
In knit weaving, assuming the first pattern row is preselected from left to right, with COR, the short end of the yarn of the carriage side, bring the first weaving yarn up from the floor, and lay it to the left across the selected needles, bringing it down between the last selected needle for A, and the first selected needle for B. 
In one method, bring the long end of the second yarn, B, up on the right side of the needle over which A just crossed, and lay it over the remaining selected needles and down to the floor.
Small clothespins may be used to hold the short ends in place. When all the yarns have been laid in, grasp the ends loosely, pass the carriage to the left, and the first woven row will have been completed. The carriage will now be on the left, COL. For the next row begin on the right, bring A up and between the two needles directly above it, take it over selected needles to the end of selected needles, and down to the floor. Then take yarn B and bring it up around the left-hand needle, over and to between the two needles that served as the starting position for A. The yarns do not overlap the same needle going to the right, but they do to the left.
The more traditional intarsia crossings may also be used, with the new yarn passing under and over the old between needles, as seen here with the next row to be knit from left to right. 
a: crossings made using the traditional intarsia method, b: wrapping over the adjacent needle moving from left to right, c: no crossing at all also revealing single knit stitches between weaving yarns. In some spots, my weaving yarn split and got knit along with the ground yarn. 
To create isolated shapes: lay the yarn in any chosen area 
Shaping may happen in a straight vertical, a, there may be a slight separation along that edge. Increases are possible on both sides at the same time, and are best done by adding single new selected needles to the pattern, b. Moving further out crossing over more weaving needles will cause floats, as seen in c and d. The woven segment forces the knit stitches apart, so the stocking stitch on either side of the shapes, e, appears to be formed by smaller stitches, and pulls in toward the shape
The ground yarn and color may be changed for added striping and color interest. Sharp angles are created by crossing over two weaving needles, and more gradual ones by crossing over more needles. Blank areas of ground may be left as well.
The intarsia approach may also be used with other cards designed for all-over patterning.
Using far thicker yarns may be made manageable when changing the card repeat or using weaving repeats with 12-stitch wide repeats, working on specific needles on a punchcard machine, or simply programmed twice as wide on electronic ones. The expanded version of every other needle set up for the punchcard models. 
Sometimes plain knit rows need to be added between lines of weaving to help manage thicker yarns in any configuration or to add color interest and width changes to the piece.
Woven rows may be used to create folds in pleats.
Other weaving techniques include the pulling-up method, as a stand-alone or combined with lace patterning: from a Brother punchcard volume 
Three more hooking-up variations, including latching graduated-size floats 
A later experiment combining weaving with tuck patterning 
Hand techniques: e-wrap rows may also be incorporated with any of the above or used alone, sketches of some varieties may be used around every needle or every other depending on the thickness of the yarn: a sketch eons ago 
Commercial warp knit structures are often represented as in this illustration. 
On domestic knitting machine models, a knit ground is needed to anchor the moving loops, which in turn are added on as a hand technique, referred to as vertical weaving, sometimes simply as embroidery.
Japanese instructions that came with the purchase of the standard garter bar had schematics for a variety of surface treatments. The accessory came with foam-backed strips intended to be clipped onto the width of the garter bar segment being used, useful in maintaining even spacing between yarn threads when working on wide areas of vertical weaving, as well as providing helpful weight. Any weight used to help handle the long ends of the weaving yarn on any number of threads will need to be moved down periodically. 
More wrap ideas
Variations can happen by changing the spacing between wrapped stitches, the number of rows between the moves, spacing threads apart, and using yarns in different thicknesses and colors.
In terms of tools to hold the weaving yarns, in addition to the garter bar, multiple transfer tools may be used, even bobbins. That said, the most efficient way is to have a guide suitable for the overall fabric, especially when creating wider pieces with spaced weaving repeats. It is possible to create cardboard guides with holes based on gauge, whether on the standard or the bulky and with 3D printing nowadays a whole other world for custom tools is open. Matching the gauge with guides has some leeway, but the closer the match, the faster and easier the process. When using thicker yarns for the warp knit, spacing in both stitches and rows becomes a necessity.
A half-hearted attempt at a template. Markings were generated to be point/mm specific. If working in narrow panels, individual segments may be more effective to manage if a bit slower to use than a wider tool.
This is the wrong way to feed the yarn, as the row gets knit woven in, the yarn will be locked in place and cannot be advanced to proceed up the knit 
The way to have continuously available yarn 
Adding a second set of holes for the yarn stabilize the short yarn ends and maintain even spacing throughout, some tape could be used in addition to secure the ends on wider widths of vertical weave 
A spreadsheet or graph paper may be used to plan the configuration of the weaves including double wraps, this was executed using Numbers, individual bobbins might be a practical consideration 
In my own experience most hand techniques and single bed textures are far easier to execute with the ribber removed. It is easier to view progress, move up weights, and correct mistakes. That said, my machines are all set up with the ribber brackets, not flat, I feel it helps slide the knit down toward the gate pegs, and in my opinion that makes textures and even lace easier to produce. I have ribber covers, they can be improvised if needed with paper or cloth, never use them since I see no reason for moving the knit on the top bed in front of the ribber. If the ribber is removed, it is worth checking its balance once more prior to returning to any rib knit. Ultimately this sort of thing is about personal preference, no steps are ever universally applicable and correct.
Tufting may be created with the help of a sewing machine.
“Weaving” foreign objects can be achieved by picking up loops from other knits, woven, trims, crochet chains, etc. Beads may be threaded onto weaving yarn as well.
chenille over cotton, tests for a pillow 
hooked up floats 
vertical weave, the second with a scorched spot from an iron, experimenting with direction of wraps, 
wool ground, felted, monochrome acrylic weft, cut floats 
wool weft over cotton, cut floats, further trimmed in the top photo 
The same card 3 ways: the weft is too soft, the effect is lost in monochromatic version, cut floats become muddied with wear 
crochet start as cast on 
beads strung through dental floss hooked on periodically, horizontal wraps;
automated pattern with added weaving through ladders 
“loop embossing”, separate threads were worked in and out vertically through ladder spaces 
worked on bulky 260, tension 2, using card 1 
weaving and lace combinations. 
Weaving yarns may be laid in between the beds with the ribber in use. This is the option for “weaving” on the Passap. 1: shows the rib needle configuration, 2: racking is added, 3: floats are teased out. In the latter, a sewing machine could always be used to anchor added float arrangements. 
In this swatch, a waffle weave effect of sorts was intended between EON rib columns. The horizontal pairs of treads are an easy guide for feeding the yarn across rows with the work off the machine. Here the chenille was “woven in” off the machine using a tapestry needle, double-strand at the top 2 rows, single below them. Beads can also be threaded and laid in one at a time between the rib columns, 
Any fabric with eyelets may be used as a ground for inserting fabric strips, very thick yarns, even hard objects such as rods or twigs. A quick grab of random studio bits resulted in these: torn fabric has frayed edges that can be used to create secondary patterns depending on the fabric, and the way the strips behave depends on the width of the cut. A bodkin is useful in the threading process. Bodkins measure about 3 inches, and cost about $3 in US sewing supply stores 
using thick yarns 
used in a wearable made during my student days for a “recycling” art day. 
roving
strips of torn silk individually placed 
hair decor and kite string
In terms of positioning the carriage, a wire that is akin to that found on Passap strippers is on its underneath. In positioning the carriage on the beds, check visually that it is indeed lying between the gate pegs of both beds prior to attempting to travel with it to the opposite side 
For my test I used EON needles on the ribber, planned alternating selection for each new transfer. This could be done by selecting dashes and blank spots on needle tape ie. dash in the above photo, blank spaces below 
My first attempt at creating shapes includes a band at the bottom where the EON transfers as above were made, but every row. Simply bringing needles into work on the opposite bed creates an eyelet. They can be eliminated by sharing stitch “bumps” on the opposite bed, but for the moment they are a design feature. The texture created appears in the areas involved on both sides of the knit 
It is possible to transfer single needles at sides of shapes ie 
or whole rows, but the change lever needs to be set to position accordingly.
The enclosed punchcards: 
Transfers of stitch groups, whether by hand or using the accessories are made on rows where no needle preselection occurs on the main bed 
This series is a proof of concept for my approach to developing electronic cues
The original repeats were modified to include 2 blank rows between segments that allow for transfers between beds not hampered by needle preselection on the top bed. The motifs are color reversed, but not the blank rows between them. 
The knit carriage is set to select needles KC I or II, end needle selection does not matter. All needles on the top bed knit every stitch, every row, whether or not those design rows contain black pixels. No cam buttons are pushed in. Blank areas between black ones indicate the number of needles that actually need to pick up loops on the ribber to create shapes, filling in spaces between selected needles until an all-blank row is reached for making transfers. The chart on the far right illustrates a shape where the easiest method becomes one where stitches on the ribber are manually transferred to the top bed in order to reverse the shape and maintain every row preselection. The selected needle corresponding to the black square marked with the top of the red arrows is pushed back, the ribber stitch below is transferred onto it, the needle with the couples stitches is brought to E position, moving across the bed in proper locations prior to knitting the next row. 
In this repeat, the side vertical panels of ribbed stitches are added. The knit stitches on each side of them roll nicely to the purl side, creating what in some fabrics can actually be planned as an edging. 
My takeaway is to test the accessory with some patience, sort out the sweet spot for the ribber needles in relation to main bed ones in terms of handling transfers and yarn thickness, use colors that allow for easy recognition of proper stitch formation, keep good notes, and “go for it”.
In the first sample, equal thickness yarns were used, the colored yarn was a rayon slub with no stretch and slippery nature. 
The bottom of this test used a wool yarn of equal weight to the light color, which proved hard to knit. The red is a 2/48 cash-wooll 
Cast on for EN or EON rib. Transfer all the main bed stitches down to the ribber. Extra stitches can be cast on and transferred in addition to the planned width of the repeats to create a border on either side of the designs. During patterning there will be stitches in work on both beds at intervals, so the pitch needs to be set to H while knitting. When the top of the piece is reached, transfer all ribber stitches to the main bed and bind off.
If any stitches are pushed all the way back or in mixed alignment during transfers, 
A closer look 
The same repeat may be used to produce a tucked version. In many punchcard machines, a card is supplied with a 2X2 check. With the main color, in a suitable yarn, cast on for 1X1 rib. Set the knit carriage to tuck and the ribber carriage toknit. Knit 2 rows with the contrast color, followed by 2 rows with the main color, repeating for the desired length of the rib. Knit the last row in the main color with both carriages set to knit. Transfer the ribber stitches to the main bed to continue knitting single bed.
The repeat is suitable for punchcard machines as well. The first preselection row is toward the color changer, end needle selection is on. Cable crossings, 1 front, 3 back, are made every 4 rows except where the color reverses at the midpoint, where 4 all knit rows are preselected and occur. The fourth, extra non selected needle, X, is removed on a tool and held in front of the work. The three adjacent stitches are then also removed on a tool, moved to fill in the now empty needle to the left in the bottom segment of the repeat, to the right in the top half. The remaining held stitch is then transferred onto the newly empty needle. All stitches in the transfer group are brought to D, the remaining needles should have been preselected. If any have been disturbed, line them up as well so all the needles will knit with the carriage set to slip. 
The color is changed, and the row with the completed transfers becomes the first all knit row in the next color pair or rows. 
Working on a single bed is for me, more user-friendly than double bed. I like to program the width of my repeats when possible, they can then be treated as single motifs, the default in the 930 with downloads using img2track, and I do not have to rely on notes, memory, or position programming to place the work predictably on the needle bed. My full repeat
The knit carriage was set to KC I and to slip in both directions, the same design and execution methods were used as for the first swatch. The yarn is 2/18 wool, the tension was set at 4.., the slipped and crossed stitches pull the fabric in both width and height, the swatch was steamed and pressed to flatten it. Small eyelets occur along the edges where the single stitches were moved to one side or the other across three needle positions. It was not possible to produce a 3X3 crossing at the center of the shapes. 
Over time I have encountered illustrations of unraveled knit or slipped stitches being brought out to the purl side, creating thread patterns on the knit surface, and changing the color structure on the purl. This illustrates a slip stitch being created via a hand technique 
Here the dropped stitch is hooked up on the purl side 
In testing techniques, a simple design that is recognizable with the preselection of needles makes it easier to track progress and accuracy. Though these patterns may be executed in a single color, working in contrasting, bright yarn colors is helpful in isolating stitch formations and understanding their structures. More than one stitch may be moved at any one time. I found when using more than 2 rows of slip the ground fabric began to look gathered and distorted, so my tests are knit using 2X2 pixel blocks.
push tool back toward the needle bed 
insert a latch tool from behind between the prongs of the multiple eye tool, 
lift the floats over the eyes of the tool, placing them behind it and the slipped stitches, being careful not to hook them up onto gatepegs,
now lift the original slipped stitches back onto their previous place on the needle bed, they will be part of the first all knit row in the contrasting color; 
bring the needles with the restored stitched out to E, thus making certain they will knit as the carriage makes its next pass 
The pattern is charted below in development, color changes were planned every 2 rows. The third blank row in each slip stitch location marks the spot for the above manipulations to take place, noted in the chart with grey cells marked with pink dots. After the initial preselection row toward the color changer, only for the first all knit pattern row, push non-selected needles out to hold, E, to ensure all stitches will knit in the ground color. Subsequently, the first design row is part of the continuing repeat. The next color change will begin to form the floats. 
The sequence at the bottom of the swatch is off because I had a change of heart about which color I wanted to form the solid color shapes 
To my surprise, the process became oddly meditative, and I moved onto a different motif built with 2X2 pixel blocks. As seen with mazes and mosaics, a design intended for standard fair isle, tuck, or slip, with color changes every 2 rows, will produce an altered final shape, 
Combining hand techniques: the starting chart begins to address the movement of stitches. On the left, the placement of crossed colors is shown, but technically the design produced is different. On the rows marked with X and red cells, cable crossings are made. All stitches in that row are then pushed out to E, the color is changed and the result is that row and the preselected next one are going to knit on every stitch, those rows are highlighted with red cells on the right as well. Black cells reflect punched holes or repeat for a 24 stitch brick repeat
Two types of crossings were used in the swatch, one moving the elongated slipped stitches on the knit side of the work, the simpler process, 
A design with each color being crossed: the attempted visualization and repeat. 
The repeat appears to use slip-stitch in a vertical column, not ever possible in standard knitting. The explanation is that on those blank rows, crossings are made prior to knitting the next row. The chart on the left reflects the needle placement of each color after the crossings. All pattern needles are then brought out to E, maintaining the needle selection. Slipped stitches will have been replaced by knit ones in the alternate color.
The charted repeat 
A couple more ways to transfer those slip stitch floats to the front of the fabric: floats can be lifted on top of the needles that formed them and behind the stitches on them, a fine knitting needle or tool can be inserted through the stitches across the row, a few, or a pair at a time, being careful not to twist the stitches. In turn, the stitches can then be dropped off the main bed, held on the needle or tool, and be replaced carefully on the needles in question across the row. Crossings are then made, the proper needle set up is manually chosen for the next carriage pass, and the process starts over again. Folks who like lifelines could thread a ravel cord threaded through a needle and use them to remove the same stitches off the bed instead of the knitting needle. 
The charted repeats are for the red cable with the second spacing, illustrating options for cabling on row 7 or row 11, pulling needles out to E after making the transfers before knitting the last row of the design. Pairs of slipped and all knit rows are added to lengthen the distance between cables and to reduce some of the extra lengths in all striped areas 
This idea may work in a border or a trim as well. I did not test bringing the slipped stitches to the purl side. The chart shows adjustments in the placement of the repeat to make tracking crossings easier 
The actions taken
One more to try 
Another approach is to bring elongated stitches created manually up on the purl side. The resulting fabric will be more gathered on the knit side, with no formation of slip stitch floats, it is referred to as 
Proof of concept: the bottom half is knit using the slip stitch setting, the top half in the tuck setting. The added texture on the tuck stitch purl side makes the fabric a more interesting, reversible one, and wider than its companion. 
For a different way of working with two-color initial images using only Gimp, see tips in 
Numbers processing to ready the repeat for final gimp editing: 
Getting back to clearer pattern results: when using electronics, it is possible to create far wider and taller repeats for download. The technique to achieve them uses the same process. That said, there are quicker ways to attain the final repeat illustrated in the 2024 posts on using Gimp color to alpha through the Layer> Transparency option or Colors> Color to Alpha.
the isolated repeat, double-length 
the color separation in progress
When knit, that white cell pair of rows break up the overall shapes and shifts the pattern in the top and bottom half 
The final adjusted repeat 
knit using the tuck stitch setting in both directions, KCI, first row left to right, leading with the dark color 
and here with the lighter color 
In progress, on the km 
the relaxed, 3D-ish view on the reverse 
why projects can take longer than planned 
The finished, relaxed scarf with pressed edges only, retaining the conical striped forms
The repeat knit double length, changing colors every 2 rows, becomes something quite different, with a sharp curl to the purl side 
with my color changer in this threading sequence throughout
where normally each color in each design row knits twice. Because selection occurs for pairs of rows, the first preselection row is from right to left. To decrease the backing rows, the ribber is set for birdseye. I prefer to have an end needle on each end on the ribber, keeping in mind that the total number of needles in use there needs to be even. The machine provides reminders as to which color should be knitting. My samples are knit using KCI on the top bed. Because the preselection happens twice, it is easy enough to knit in pattern from left to right, 
when the carriages have reached the right side, simply use a ribber comb to push all needles back to B. 
Speeding things up with color separation, beginning with the method that will have each color, each design row knitting twice. The repeat is 10 rows high, so it is expanded X6 to 10 by 60 rows. In the final result, the second row for each color in the separation is in turn erased. The red was added to make all 3 colors visible while working the separation, avoiding confusion with the white ground. The knittable result as usual is in a black and white png 
The img2track settings are for now for 2 color knitting, the prompts for the color changes are lost.
The ribber can also be set to knit every row, resulting in elongation on the knit side, while creating an interesting striper backing
Comparing this version to the birdseye backed one for repeat height 
Comparisons: HoP, pushing back needles to B, and color separation results. In the latter, the design is likely elongated in part due to a change in the distribution of thinner yarns to larger design areas with no tension adjustments 
The Ayab lettering as opposed to numbers move from right to left. The manual states that the color separation order is: white C, grey B, black A with their sequence = C (3), B (2), A(1). If the prompts for changing colors as given are followed it provides a very valuable in tracking them, but if out of habit one knits in the usual 1,2,3 sequence, the color placement occurs in an unexpected order and may result in errors. The on-screen letter prompt corresponding to the anticipated color change sometimes occurs with the knit carriage on the right, sometimes as it approaches the changer, and the size of the font was hard for me to see since the screen was not close enough for easy visibility.
If the png is copied from the post it is likely to appear in RGB mode and it will require conversion to 3 color bitmapped. Its grey color map entry is seen below 
The small file makes for a quick test of proper color selection for each of the three colors used 
Having some idea of stitch counts for each color in the design in the first few rows can help identify proper, planned color placement errors 
My first swatch using the heart of Pluto separation and a greyscale motif 
My tested color change sequence is #1, #2, #3 colors throughout, I disregarded the prompts for color changes at the bottom of the Ayab screen. Some things to ponder: in pieces that require color changes, starting with waste knitting in the same colors can help assess the best tension, whether each color will be picked up properly, and if the colors work well together. Looking at these 3 small tests, it appears that a choice should be made when casting on about using color 1 or 2 for the preselection and cast on rows. If the setting to slip is forgotten for the first move to the left, the color in the feeder will knit every stitch rather than a pattern selection. Always check settings when on the right, making certain lili buttons are set as well. This pattern does not contain 3 colors on every row. In addition to that, when working DBJ with other color separations one is likely used to seeing knit bed needle selections on every row. That is not true here, is a function of the technique, not a patterning error. On rows that have colors missing, when that color is in use, the main bed slips, the ribber works every other needle, first in one direction, then the other, adding to the row count on the purl side of the knit. 
The mess at the bottom was due to the green yarn getting caught on the needle bed and not knitting the necessary stitches on the ribber, so dropped stitches were formed 
The assumption is that if the C, B, A rotation and prompts are to be followed, the middle color 2 can stay in place, and the placement of 1 and 3 can be exchanged.
a partial illustration of 
Text may be activated by choosing text in the image/ tools menu 
by clicking on the tool icon A in the toolbox 
or by using t as the keyboard shortcut, then clicking anywhere on the canvas.
At the top of the Text tool dialog, the current Text Size, 11 in above, is shown in either pixels or points. A pixel is the smallest component in a bitmap image, and all measures in pixels depend on the screen resolution. A point is a fixed value, one inch is the same as 72 points. Standard screen resolution is often 72 pixels per inch, in which case text in pixels will be the same size as text measured in points.
The choices listed at 
After the text is entered on the canvas, right-click on the inside of the text box to change text direction 
After the chosen text is placed change its mode from RGB to B/W indexed, then crop the image to your chosen size. Export.bmp, the result loaded into img2track and Ayab
The usual text alignment rules apply in text boxes as well, left to right 
Getting more control of the process: after the text tool is highlighted and clicking anywhere on your canvas two things appear automatically. The four little boxes represent the text box, which is dynamic by default and grows in size to accommodate typed text. Anytime you click on the canvas a new text box is created.
The spacing between the lines and between the letters may be adjusted as well. Clicking on the arrows to change the values here is one option, negative or positive numbers may be used 
or what appeared easier to me, the same may be done here 
Very small fonts are likely not to have any room for decreased spacing in the between letters in strings of text.
The units in many such illustrations are not square, and the goal is to end up with a PNG where each square unit represents one stitch, one row.
and alter the cell borders to a bright, contrasting color. I chose red, 3-point thickness. 
Copy and paste the completed table. Make certain there is a different color cell in any white squares at the far corners of the image, in this case, upper right and upper left (yellow), remove cell borders 
A quicker process using only Gimp version 2.10.34, 2023 
Proceed as for the first image, being mindful of an unnecessary row at the bottom. The saved image can be tweaked in size by turning off Constrain Proportions and adjusting values for width and height for proper placement under the table grid. It soon becomes evident that the card is composed of smaller repeat segments, which can be copied and pasted making for faster filling in the whole punchcard minimum row # requirement. 
Check the repeat alignment by tiling it. 
The smallest adjusted electronic repeat, 12X20 pixels. 
The converted, partial punchcard repeat 
2023: ArahPaint‘s weave from grid tool makes working with the full repeat possible. The final repeat was cropped by 2 rows at the top to 24X206 to avoid a 4-row solid color line produced when the original was tiled vertically.
if used, will change the numbering on the side of the card, but not the design content 
In the past I have found lace repeats, in particular, to be particularly cranky when scaled down in Gimp due to the paucity of black cells. After the above steps, I decided to try color invert, resize, and color invert again, which in this instance, produced what appears to be an accurate repeat. Of course, the final png is likely to need mirroring for use in some electronic models 
The process did not work for me in using Gimp alone to edit test repeats from the website directly. The white dots, in that case, disappear with scaling to the desired size.
2023: a different approach:
