Mostly these are done by combining or inverting other intervals. A major third is 5/3 so a minor sixth should be 3/5 (and moving to the same octave) 6/5; likewise a minor second is the inverse of a major seventh giving 8/15 becoming 16/15 in the 1.0 to 2.0 octave.
A minor seventh is the inverse of a major second so 8/9 going to 16/9 but this isn't necessarily the minor seventh which is a major third above the fifth; that would be 3/2*6/5 which gives 9/5 (both are close to each other.) There's also the 7/4 major seventh.
Just Intonation need on-the-fly adjustments. For example, 5/4 is the just major third but two whole tones give 81/64; an adjustment is often made making another major second being 10/9. A tritone has different frequencies depending on definition: half an octave, three whole tones, two minor thirds, etc.
This all makes Just Intonation difficult to use consistently.
There are some adjustments that can be made in performance by looking both forward and backward in the score. I'll try to post a bit more later.
I didn't find the article I wanted, but here a link to a bunch of pretty good articles on just and other intonations.
I did provide the computation of everything except the tritone. A problem arises in that there may be more than one relation that we wish tones to satisfy. For example, the ratio of 4-5-6 is desired for a major chord. Just intonation gives 1-5/4-3/2 which exactly that relation. Just Intonation as usually described uses ratios of 2,3, and 5 and their powers. No seven or larger prime is needed. However, as no powers of 2, 3, and 5 (or any other prime powers) are close (except for the zeroth power = 1), things become a problem. Seven octaves do not exactly equal twelve fifths. (For a guitar, four perfect fourths at 4/3 and one third at 5/4 give a ration of 4/34/34/35/44/3 which is 320/81 whereas 2 octaves is a ration of 320/80 or 4/1. One either has to temper the notes or play with some chords slightly out of tune or move dynamically (which addressed in the paper I can't find.)
One can adapt in that for some chords one plays "pure" intervals based on the root and in other places on the third or fifth. Doing this nicely shows up in good choirs or string quartets.
Back to the tritone. Three Just Major Seconds gives 9/89/89/8 or 729/512; using two minor thirds gives 6/56/5 gives 36/25. Two semi-tones don't equal one whole-tone 16/1516/15=256/225 which is neither 9/8 nor 10/9. An augmented fourth would be a semi-tone above a fourth 4/316/15=64/45; a diminished fifth is 3/215/16 or 32/45; these are n to equal either.
In performing a piece, one must (if trying to use Just Intonation) choose at each note which version to use so that the preceding and following harmonies (and melodies) make sense.