INTERNATIONAL LIBRARY of TECHNOLOGY A SERIES OF TEXTBOOKS FOR PERSONS ENGAGED IN THE ENGINEERING PROFESSIONS AND TRADES OR FOR THOSE WHO DESIRE INFORMATION CONCERNING THEM. FULLY ILLUSTRATED AND CONTAINING NUMEROUS PRACTICAL EXAMPLES AND THEIR SOLUTIONS GLOSSARY OF WEAVES ELEMENTARY TEXTILE DESIGNING ANALYSIS OF COTTON FABRICS ANALYSIS OF WOOLEN AND WORSTED FABRICS TWILL WEAVES AND DERIVATIVES SATIN AND OTHER WEAVES COMBINATION WEAVES CONSTRUCTION OF SPOT WEAVES WEAVES FOR BACKED COTTON FABRICS WOOLEN AND WORSTED PLY WEAVES LENO WEAVES .......... .FUg-.WEAVES: : C&LfrWp+.-Tfefrl Lfr DESIGNING" DESIGNING:-TNi'SE^ERAL SCRANTON: INTERNATIONAL TEXTBOOK COMPANY 81 \ Copyright, 1906, by International Textbook Company. Entered at Stationers’ Hall, London. Glossary of Weaves: Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Elementary Textile Designing: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Analysis of Cotton Fabrics: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Sta¬ tioners’ Hall, London. Analysis of Woolen and Worsted Fabrics: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Twill Weaves and Derivatives: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Satin and Other Weaves: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Sta¬ tioners’ Hall, London. Combination Weaves: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Sta¬ tioners’ Hall, London. Construction of Spot Weaves: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Weaves for Backed Cotton Fabrics: Copyright. 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Woolen and Worsted Ply Weaves: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Leno Weaves: Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Pile Weaves: Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Color in Textile Designing: Copyright, 1900, by Christopher Parkinson Broor§. Copyrygjhf, \90*,* by! iNTi^u^ATV^NAf/^li^rfrBfloiJ* W_Jd5*i>*{n^-.‘.E ntered at Sta- tionej^’J London. j • .* . .* J*. !.* I • • !••• • V* * ** Designing in General: Copyright, 1901, by Christopher Parkinson Brooks. Copyright, 1905, by lNi'pt’i/ATi*c!tJ^i! jT6«x6<3ok Company. Entered at Sta¬ tioners’ Hall, Londoii.* ! * ,* ! j All rights reserved. Printed in the United States. THE GETTY RESEArtCfel INSTITUTE LIBRARY PREFACE The International Library of Technology is the outgrowth of a large and increasing demand that has arisen for the Reference Libraries of the International Correspondence Schools on the part of those who are not students of the Schools. As the volumes composing this Library are all printed from the same plates used in printing the Reference Libraries above mentioned, a few words are necessary regarding the scope and purpose of the instruction imparted to the students of—and the class of students taught by— these Schools, in order to afford a clear understanding of their salient and unique features. The only requirement for admission to any of the courses offered by the International Correspondence Schools, is that the applicant shall be able to read the English language and to write it sufficiently well to make his written answers to the questions asked him intelligible. Each course is com¬ plete in itself, and no textbooks are required other than those prepared by the Schools for the particular course selected. The students themselves are from every class, trade, and profession and from every country; they are, almost without exception, busily engaged in some vocation, and can spare but little time for study, and that usually outside of their regular working hours. The information desired is such as can be immediately applied in practice, so that the student may be enabled to exchange his present vocation for a more congenial one, or to rise to a higher level in the one he now pursues. Furthermore, he wishes to obtain a good working knowledge of the subjects treated in the shortest time and in the most direct manner possible. in IV PREFACE In meeting these requirements, we have produced a set of books that in many respects, and particularly in the general plan followed, are absolutely unique. In the majority of subjects treated the knowledge of mathematics required is limited to the simplest principles of arithmetic and mensu¬ ration, and in no case is any greater knowledge of mathe¬ matics needed than the simplest elementary principles of algebra, geometry, and trigonometry, with a thorough, practical acquaintance with the use of the logarithmic table. To effect this result, derivations of rules and formulas are omitted, but thorough and complete instructions are given regarding how, when, and under what circumstances any particular rule, formula, or process should be applied; and whenever possible one or more examples, such as would be likely to arise in actual practice—together with their solu¬ tions—are given to illustrate and explain its application. In preparing these textbooks, it has been our constant endeavor to view the matter from the student’s standpoint, and to try and anticipate everything that would cause him trouble. The utmost pains have been taken to avoid and correct any and all ambiguous expressions—-both those due to faulty rhetoric and those due to insufficiency of statement or explanation. As the best way to make a statement, explanation, or description clear is to give a picture or a diagram in connection with it, illustrations have been used almost without limit. The illustrations have in all cases been adapted to the requirements of the text, and projec¬ tions and sections or outline, partially shaded, or full-shaded perspectives have been used, according to which will best produce the desired results. Half-tones have been used rather sparingly, except in those cases where the general effect is desired rather than the actual details. It is obvious that books prepared along the lines men¬ tioned must not only be clear and concise beyond anything heretofore attempted, but they must also possess unequaled value for reference purposes. They not only give the maxi¬ mum of information in a minimum space, but this infor¬ mation is so ingeniously arranged and correlated, and the PREFACE v indexes are so full and complete, that it can at once be made available to the reader. The numerous examples and explanatory remarks, together with the absence of long demonstrations and abstruse mathematical calculations, are of great assistance in helping one to select the proper for¬ mula, method, or process and in teaching him how and when it should be used. This volume deals with the classification, analysis, and construction of the principal weaves. Beginning with a comprehensive collection of weave varieties, there follows an outline of the principles of designing. Then, methods are indicated by which the construction and material of cot¬ ton, woolen, and worsted cloth samples may be ascertained. The following varieties of weaves are taken up next and considered in detail: twill weaves and derivatives, satin and its derivatives, combination weaves, spot weaves, backed cotton fabrics, woolen and worsted ply weaves, leno weaves, and pile weaves. These descriptions are followed by others that explain the effects of colors in designs. After a classi¬ fication of the colors, there follow descriptions of their attributes, of the influence of the nature of the fibers on color, and of the application of colors to textiles. Defini¬ tions are also given of simple and compound colorings, with instructions for the design of stripes, checks, and spots. The volume closes with practical rules relating to the duties of a designer and the equipment of a designing room. The method of numbering the pages, cuts, articles, etc. is such that each subject or part, when the subject is divided into two or more parts, is complete in itself; hence, in order to make the index intelligible, it was necessary to give each subject or part a number. This number is placed at the top of each page, on the headline, opposite the page number; and to distinguish it from the page number it is preceded by the printer’s section mark (§). Consequently, a reference such as § 16 , page 26 , will be readily found by looking along the inside edges of the headlines until § 16 is found, and then through § 16 until page 26 is found. International Textbook Company 81 CONTENTS 'Glossary of Weaves Section Page Weaves Complete on 2 Ends.70 3 Weaves Complete on 3 Ends.70 4 Weaves Complete on 4 Ends.70 4 Weaves Complete on 5 Ends.70 7 Weaves Complete on 6 Ends.70 9 Weaves Complete on 7 Ends..70 11 Weaves Complete on 8 Ends.70 12 Weaves Complete on 10 Ends.70 15 Weaves Complete on 12 Ends.70 18 Weaves Complete on 16 Ends. 70 22 Weaves Complete on 20 Ends. 70 29 Weaves Complete on 24 Ends ...... 70 33 Elementary Textile Designing Fundamental Principles of Designing . . 71 1 Weave.71 2 Method of Indicating the Weave on Design Paper.71 5 Harness Draft.71 9 Chain Draft.71 11 The Effect of the Weave.71 16 Standard Types of Harness Drafts ... 71 17 Effects of the Harness and Chain Drafts . 71 23 Points to be Considered When Construct¬ ing Harness Drafts.71 27 Analysis of Cotton Fabrics Particulars to be Determined by Analysis . 72 1 Warp Pattern.72 3 Filling Pattern .72 4 iii IV CONTENTS Analysis of Cotton Fabrics —Continued Section Picking Out.72 Harness or Drawing-in Drafts.72 Chain Draft.72 Additional Points to be Determined by Analysis.72 Analysis of Woolen and Worsted Fabrics Particulars to be Determined by Analysis 73 Dissecting or Picking Out .73 Additional Points to be Determined by Analysis.73 Twill Weaves and Derivatives Twill Weaves.75 Derivatives of Twill Weaves.75 Fancy Twills.75 Entwining Twills.75 Curved Twills.75 Skip Twills . .*.75 Pointed Twills.75 Diamond Weaves.75 Diagonal Weaves.75 Satin and Other Weaves Satins .76 Derivative Weaves .76 Granite Weaves.76 Basket Weaves.76 Rib Weaves.76 Corkscrew Weaves.76 Honeycombs.76 Combination Weaves Stripes and Checks.77 Striped Weaves. 77 Check-Weaves.77 Weaves Resulting From Other Combina¬ tions .77 Contents v Combination Weaves —Continued Section Page Weaves Formed From Motives. 77 20 Four-Change Method of Constructing New Weaves. 77 22 Construction of Spot Weaves Spot Weaves Formed With One System of Warp and Filling.78 1 Warp-Spot Weaves .78 1 Filling-Spot Weaves.78 8 Spot Weaves Formed With an Extra Sys¬ tem of Yarn.78 - 11 Spot Effects With Extra Warp.78 11 Spots Formed by Extra Filling. 78 22 Weaves for Backed Cotton Fabrics Filling-Backed Cloth.79 1 Warp-Backed Cloths.79 8 Harness and Chain Drafts.79 11 Piques and Bedford Cords.79 15 Piques.79 15 Bedford Cords. 79 20 Woolen and Worsted Ply Weaves Backed Fabrics.80 3 Filling-Back Fabrics.80 3 Cut Filling-Backed Fabrics.80 9 Filling Reversibles .80 10 Warp-Backed Fabrics .80 13 Drafting of Backed Weaves.80 19 Triple Cloths. 80 36 Leno Weaves Plain Gauze.81 1 Plain Gauze on Close-Shed Looms ... 81 3 Plain Gauze on Open-Shed Looms .... 81 26 Additional Mechanisms Required .... 81 26 Fancy Gauze or Leno ..81 34 Methods of Producing Fancy Gauze Effects 81 34 Dissecting Leno Weaves.81 64 VI CONTENTS Pile Weaves Construction of Pile Fabrics Color in Textile Designing Principles of Coloring . . Theory of Color. Classification of Colors . . Methods of Applying Color to Textiles Color Effects. Analyzing Color Effects. Simple and Compound Colorings . . . Four-Color Patterns Stripes, Checks, and Spots Stripes. Checks. Spots. Designing in General Duties of a Designer . . . Designing Department . . Methods of Producing Sam] Origin of New Styles . . Trial Samples . Section Page . 82 1 . 82 4 . 82 16 . 82 18 . 82 27 . 82 33 . 83 1 . 83 1 . 83 3 . 83 12 . 83 14 . 83 14 . 83 19 . 84 1 . 84 2 . 84 12 . 84 16 . 84 19 . 84 24 . 84 31 . 85 1 . 85 1 . 85 12 . 85 26 . 86 1 . 86 2 . 86 7 . 86 7 . 86 7 . 86 16 GLOSSARY OF WEAVES INTRODUCTION The weave, or method of interlacing the warp and filling yarns, is, in the majority of fabrics, of primary importance, since it not only determines the actual structure of the cloth, but also greatly affects its ultimate appearance. Thus, fabrics composed of warp and filling yarns of the same material and counts vary greatly in appearance if woven with a plain weave or with a twill weave, etc. In designing fabrics of various types and constructions, it frequently happens that difficulty is experienced in obtain¬ ing a suitable weave with which to construct the cloth. It is also of great advantage to the designer if, when designing a fabric, a weave can be selected from a number of weaves that will give the best result and is best suited to the type of fabric that it is desired to produce. The utility of a collection of the more common and valuable weaves used in textile designing, arranged and classified in a compre¬ hensive manner, is therefore readily apparent. In this glossary, a large number of valuable weaves are given, classified according to the number of ends on which they are complete. Thus, in case a designer is laying out a fabric that it is desired shall be woven with a weave com¬ plete on 8 ends, a large number of weaves complete on this number of ends are available, from which a suitable weave may be selected. It will be understood that this collection of weaves does not contain every known weave, since it is possible to construct many thousands of differ¬ ent weaves; in fact, the number of weaves that may be For notice of copyright , see page immediately following the title page § 70 2 GLOSSARY OF WEAVES §70 made is unlimited. The collection of weaves given, how¬ ever, is complete enough for all ordinary purposes and con¬ tains examples of those types in most frequent use and that are therefore of more particular importance. While in some cases it may be found that none of the weaves contained in the glossary exactly meet the requirements of a designer who wishes to produce a certain fabric, yet the weaves shown will often be of service in suggesting new ideas for the construction of a weave suitable for the cloth that it is desired to produce, or it may even be found that a slight alteration of some one of the weaves shown will so change its structure and the effect that it will produce in a fabric as to render it perfectly adapted to the purposes of the designer. The weaves given are numbered consecutively, and throughout the following Sections dealing with the vari¬ ous features of textile designing, frequent reference is made to them. §70 GLOSSARY OF WEAVES 3 WEAVES COMPLETE ON 2 ENDS 9 10 11 12 □■□■□■□a □ananana nananana □■□■□ana anananan anananan anananan anananan □ananana nananana nananana nananana anananan □ananana □ananana nananana anananan anananan anananan anananan ■□anBDBn anananan anananan anananan □ananana □ananana □ananana anananan anananan anananan anananan anananan □ananana □ananana □ananana anananan □ananana □ananana □ananana □ananana anananan anananan anananan anananan 13 14 15 □nnnnnnn nnnnnnnn □ananann □ananann ananannn □ananann □ananann ananannn □nnnnnnn □ananana □ananana □ananana anananan anananan anananan anananan □nnnnnnn □nnnnnnn □nnnnnnn □ananann □ananann □ananann □ananann ananannn 16 17 18 4 GLOSSARY OF WEAVES 70 WEAVES COMPLETE ON 3 ENDS □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ ■□■□■□an □□□■□□□a □□□■□□□a 19 20 21 □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□■■□□■a □□□□□□□□ □□□□□□□□ □■□□■□□□ ■■□Banco ■□□■□□□□ 22 23 □□■□□■□□ 24 □□■□□■□□ □□□□□□□□ □□□□□□□□ □□■□□□■a □□■□□□■a □□□□□□□□ □□□□□□□□ ■■□□■■□□ □■■□□□■a □□□■■□□a ■■□□■■□□ □■■□□□■a □□□■■□□a □□□□□□□□ □□□□□□□□ 25 26 27 WEAVES COMPLETE ON 4 ENDS 28 29 30 31 32 33 34 35 36 37 38 39 70 GLOSSARY OF WEAVES 5 WEAVES COMPLETE ON 4 ENDS — (Continued) 40 41 42 43 □BDDDBDD □BDBDBDB BBDDBBDD □BDBDBDB □□BBDDBB □BDBDBDB BBDDBBDD □BDBDBDB □□BBDDBB BDBDBDBD □BBDDBBD □BDBDBDB □BBDDBBD BDBDBDBD DBBDDBBD □BDBDBDB □BBDDBBD □BBBDBBB BDDDBDDD □DBDDDBD BBDBBBDB □BBBDBBB BDDDBDDD □DBDDDBD BBDBBBDB 44 45 46 47 □□□□□□□□ □□□□□□□□ ■■□■■■□a bdddbddd □□□□□□□□ □□□□□□□□ □BDDDBDD BBDDBBDD □BDDDBDD □DBDDDBD □□BBDDBB □DBDDDBD □□□□□□□□ □□□□□□□□ BDDBBDDB □BDBDBDB BDDBBDDB □BBDDBBD □BDBDBDB □BBDDBBD □□□□□□□□ □□□□□□□□ BBDDBBDD □BDBDBDB □DBDDDBD □BDDDBDD BDBDBDBD □□BBDDBB 48 49 50 51 □□□■□□□a □□□■□□□a □DBDDDBD □dbdddbd □bdddbdd □BDDDBDD bdddbddd bdddbddd BDDDBDDD BDDBBDDB □DDBDDDB □□BBDDBB □DBDDDBD □BBDDBBD □BDDDBDD BBDDBBDD BDDBBDDB □□BBDDBB □□BBDDBB □BBDDBBD □BBDDBBD BBDDBBDD BBDDBBDD BDDBBDDB □□BBDDBB □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD BBDDBBDD BDDBBDDB 52 53 54 55 □BDBDBDB BDDBBDDB bdbdbdbd □□BBDDBB □BDBDBDB □BBDDBBD BDBDBDBD BBDDBBDD BDDBBDDB □BDBDBDB □□BBDDBB BDBDBDBD □BBDDBBD □BDBDBDB BBDDBBDD BDBDBDBD □DDBDDDB □BDBDBDB □DBDDDBD BDBDBDBD □BDDDBDD □BDBDBDB BDDDBDDD BDBDBDBD □□BBDDBB □DDBDDDB □BBDDBBD □DBDDDBD BBDDBBDD □BDDDBDD BDDBBDDB BDDDBDDD 56 57 58 59 □DDBDDDB BBDBBBDB □dbdddbd bdbbbdbb □aomam □BBBDBBB bdddbddd BBBBflBl □BDDDBDD □DDBDDDB BDDDBDDD DDBDDDBO DDDBDDDB DBDDDBOD DDBDDDBD BDDDBDDD □BBDDBBD BBDDBBDD □BDBDBDB □□BBDDBB BDDBBDDB BBDDBBDD BDBDBDBD □□BBDDBB BDBDBDBD BDDBBDDB □BDBDBDB □BBDDBBD BDBDBDBD □BBDDBBD □BDBDBDB BDDBBDDB 60 61 62 63 6 GLOSSARY OF WEAVES 70 WEAVES COMPLETE ON 4 ENDS —(Continued) ■□■■□■□□ BBDBDDBD □□BDBBDB □BDDBDBB BDBBDBDD aanannan □□BDBBDB □BaaaaBB □■□■□■□■ □□■■□□■■ □□■■□□■■ ■□■□■□■□ □■□■□■□■ ■■□□■■□□ ■■□□■■□□ ■□■□■□■□ □□■□□□■□ ■□■□■□■□ □□■□□□■□ □■□■□■□■ ■□□□■□□□ ■□■□■□■□ ■□□□■□□□ □■□■□■□■ □□■■□□■■ □□■■□□■■ □□■■□□■■ □□■■□□■■ ■■□□■■□□ ■■□□■■□□ ■■□□■■□□ ■■□□■■□□ 64 65 66 67 BBBBaaaa □BBBBDQD □□□□■■■■ ■□□□□BBB ■■■■□□□□ □■■■■□□□ □□□□■■■■ ■□□□□■■■ □■■■□■■■ ■□□□■□□□ ■■□■■■□■ □□■□□□■□ ■□■■■□■■ □■□□□■□□ ■■■□■■■□ □□□■□□□■ ■□■■■□■■ ■□□□■□□□ ■■□■■■□■ □□□■□□□■ □■■■□■■■ □■□□□■□□ ■■■□■■■□ □□■□□□■□ ■□■□■□■□ □■□■□■□■ ■■■□■■■□ □■□■□■□■ ■□■□■□■□ □■□■□■□■ ■■■□■■■□ □■□■□■□■ 68 69 70 71 □□■□□□■□ 73 74 □□■□□□■□ 75 □■■■□■■a ■□□□■□□□ ■■■□■■■□ 76 □■■□□■■□ □□■□□□■□ ■□■■■□■ ■□□BBDD □■□□□■□□ ■□■■■□■■ ■□□■■□□■ ■□□□■□□□ □■■■□■■■ □□■■□□■■ □□□Banna BBB BBB 77 §70 GLOSSARY OF WEAVES 7 WEAVES COMPLETE ON 5 ENDS ■□□□■ □□□■■ ■■□□□ □■■■□ □□■■■ ■■■□□ 78 79 80 81 82 □■□□□ □□□□■ □□□■□ ■■■□■ □■■■■ ■■■■□ ■□■■■ □□□■■ ■□□□■ ■■□□□ 83 84 85 86 87 □■■■□ ■□□□■ □□□□■ ■□□□■ □□■■■ □■■■□ ■■■□□ ■□□□■ □■■■□ □■■■□ □■■■□ ■□□□■ □■■■□ ■□□□■ □■■■□ ■□□□■ □■■■□ ■□□□■ □■■■□ ■□□□■ □□□■□ □□□■□ □■□□□ □■□□□ ■□□□□ ■□□□□ ■■□□□□□□ □□□□□□■■ 88 89 90 91 92 □□□■■ ■□□□■ ■□□□■ □□□□■ ■□□□■ □□□■■ ■■□□□ ■□□□■ ■■□□□ ■■□□□□□■ □□□□□■■□ □□■■■ □■■■□ ■■■□□ □□□■□ □□□■■ □■□□□ ■□□□□ ■■□□□ 93 94 95 96 97 □□□□■ ■■□□□ □□□□■ □□□□■ □□□■□ ■□□□■ □□□■■ □■□□□ ■□□□□ □□□■□ □■□□□ ■□□□□ ■■□□□ ■□□□■ ■□□□■ ■■□□□ □□□■■ 98 99 100 101 102 8 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 5 ENDS—(Continued) ■□□□■ □□□■■ □□□□■ ■■□□□ ■□□□■ □□■■■ □□□■■ □□□■□ □□□■■ ■■■■□ ■□□□■ □□□■■ □■■■□ □□□■■ □□□■□ □■□□□ □□□■■ ■■■□□ ■□□□■ □■■■■ ■■□□□ ■□□□■ □□□□■ □■□□□ ■■■□■ ■■□□□ ■□□□■ ■■□□□ ■□■■■ ■□□□□ ■■□□□ ■□□□□ ■■□□□ 103 104 105 106 107 □□□■■ □□□□■ ■□□□□ □□□□■ □□□■□ ■■□□□ ■■■□□ □□■■■ □□□□■ □□□□■ ■■□□□ □□□□■ ■■□□□ □□□■□ □■□□□ □□■■■ □□■■■ □□□■□ ■□□□■ □■■■□ □■■■□ □□□■□ ■□□□■ □□□■□ ■□□□■ □■■■□ ■□□□□ □■■■□ ■ ■□□□ □■□□□ □□□■■ □□□■■ □□■■■ ■■■□□ ■■■□□ □□□■■ □■□□□ □■□□□ □□□□■ □■□□□ ■□□□■ ■□□□□ ■□□□□ □■□□□ ■□□□□ ■□□□□ □□□■□ 108 109 110 111 112 □□□■■ □□□■■ □□□■■ □□□■■ ■□□□□ □V ]□■ □□□□■ □■□□□ □□□□■ □□□■□ ■□□□□ ■ ■□□□ ■ ■□□□ □□□□■ ■□□□■ ■■□□□ ■■□□□ ■■□□□ ■■□□□ ■□□□■ □■□□□ □□□■□ □□□■■ ■□□□■ ■□□□■ ■□□□■ ■□□□■ □□□■■ □■□□□ ■□□□□ 113 114 115 §70 GLOSSARY OF WEAVES 9 WEAVES COMPLETE ON 6 ENDS □□□□□■ □□□□■□ □■□□□□ ■□□□□□ □□□□■■ □□□□■■ ■■□□□□ ■■□□□□ 116 117 118 119 120 ■□□□□■ ■□□□□■ ■□□□□■ ■□□□□■ □□□□■□ □□□□□■ ■□□□□□ □■□□□□ □□□□■■ ■■□□□□ 121 122 123 124 125 □□□□□■ ■□□□□□ □□□□■□ □■□□□□ ■■□□□□ 126 127 128 129 130 ■□□□□■ ■□□□□■ □■■■■□ 131 132 133 134 135 ■■□□■l 1 136 137 138 139 □■■■■□ ■□□□□■ □■■■■□ ■□□□□■ □■■■■□ ■□□□□■ 141 142 140 143 10 GLOSSARY OF WEAVES 70 WEAVES COMPLETE ON 6 ENDS—(Continued) □□□□■■ ■■□□□□ ■□□□□■ ■■□□□□ □□□□■■ ■□□□□■ 144 145 146 147 148 □□□□□■ □□□□■□ □■□□□□ ■□□□□□ □□□□□■ □■□□□□ □□□□■□ ■□□□□□ 149 150 151 152 153 154 155 156 157 158 □□□□□■ ■□□□□□ □□□□■■ □■□□□□ ■□□□□■ ■■□□□□ □□□□■■ ■□□□□■ □□□□■□ 159 160 161 162 163 70 GLOSSARY OF WEAVES 11 WEAVES COMPLETE ON 7 ENDS □□□□□□■ □□■□□□□ □□□□□■□ □■□□□□□ □□□□■□□ ■□□□□□□ 164 □■□□□■a □□□■■□a □aanana anannna 165 annannn annnann □annann □annnan □nannan □□annna □□□anna 166 □nnanan anannnn □□□□ana □anannn annnnan □nanann □annnna 167 □aannaa annnaan □nnaana □naanan □aanann aanannn anannna 168 169 170 171 172 annnaan annannn □aannaa □annann anannna □nannan ananann □nanana □ananan annanan □nanana □annana annanan naaannn nannana nnaaann anannan nnnaaan aannnan aanannn □nanaan annnaan □aannnB □aanann aannnan annannn □aannnB □annann anaannn □nannan aanannn □□□anna □aanann annnann □naanan □annnan □nnaana □□annna annanan anannan □annana □ananna anannan ananann □ananna □ananan □ananna nnnnaaa ananann annnnaa □ananan aannnna □nanana aaannnn □□□anaa □aannaa anaannn □naanan annnana anannna □anaann □nnaana □anaann □□□anna □nanaan annnann □□□anaa □annnan annnana □□annna 173 174 175 176 177 annanan aannnnn ananann □□□naan □annana □aannnn aannann annannn □aannan □annann □naanna □nannan aanannn anannnn annnaan □□□□ana □aanann □anannn □nnann □nnann nnanan annnna □annna nannan anannn aanaann □nnanan aannaan anannnn □aanaan □□□□ana □ananan □□□□□BB anannan □□aannn □nanana annnnna □ananna □nnaann annaann □□□anna □annaan annnann □nannaa □annnan annanna □□annna □annnaa annnnan □naanan □nanann anannna □annnna □nnaana □nnanan □□annnan □□annnna □□nanann □annannn annnannn annnnana □anannan □aannaa □anannn □naanaa annnnan anaanna □nanann annaana □annnna 178 179 180 181 182 □aannaa □□□naan annnnna aannaan □nnaann □nnanna anannnn □nnaana □nannan □annnna anannan □□Baann annnann □ananna □□□Baan □aannaa □nannnn □nnaana annnaan □annnnn annnnan □nnaann annaann □annnna □□□naan □□□□□BB annaana □□aannn □□□naan □naanaa - □aannnn □nnaann □aanaan □naanan □annann annnnan □aanann annannn □□□□ana aanannn □□annna □annnan ananann □□□□ABB □□annna □ananan anannaa annannn □nanana □naanan □nnaana annnnnn □aanann □naanan □□□□□□a aanannn □aanann □annaan anannnn □□□□□BB □nannaa □anannn annnnna annaana □nanann aannnnn □□aannn aanaann annnnna □aannnn anaanna □□□□□BB aannnnn □nnanan anannna □annnan □nanann □aannaa annnann □anannn annnaan aannana □annann annanan aaannnn □nannan □annana □aaannn □□□anna □□□□□an anannna aanannn □□nnann □annnaa anannna □nnannn annnaan aannnnn aannann □nnanan □aannnn □aannan □□□□ana □□aannn □naanna 183 12 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 8 ENDS 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 §70 GLOSSARY OF WEAVES 13 WEAVES COMPLETE ON 8 ENOS-(Continued) 204 205 206 207 208 209 210 211 212 213 214 515 216 217 218 219 220 221 222 223 L 14 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 8 ENDS—(Continued) ■■■□■■□a anaannaa □BBBDDBB BBBQBB'MB BBDBBBBD □□aanaafl □BBDDDBB anaamna BDDDBBOB BBDDDBBD □□aanaan □□□BBDBB aanaanm □BBDBBDD □□BDDIBD □bbddbdd BBDBBDDD BDddBBDB □annDBaa □bbdddbd □□□BBDBB 224 225 226 227 □BdDBDBB BDBDDBBB BDDBDBBB □BDdBDBB anaanann □BBBBDDB □ BBBBiJBn anaaDana ■■□BdflDD □□BDBDBB BBBDBDDD □BBBDDDB □BDDBBDB bdbbddbd BDDDBBBD □DDBDBBB □□BBDBDB BQBDBBQD bddddbbb □□□BBBBD □BDBDDBB BBDDBDBD □BBBBDDD BBBDDDDB 228 229 230 231 ■□■□■□□a BDBDBDBD □BDBBBDB anananan □BBBDBDB BDBDBDBD BBDBdBdB ananadan □BDBDBBB BDBBDBBD □□■□anna BBDBBDBD anannaan □BBDBDBB bddbddbd bdbdbbdb □BDDBDBD □□BDBDBB □□□BDBBD □bbddddb bbdbddbd BDBBDBDQ dbbdbddd bddddbbd □aonaana 232 233 234 235 236 237 238 239 240 241 242 §70 GLOSSARY OF WEAVES 15 WEAVES COMPLETE ON 8 ENDS—(Continued) BDnBDBDn BDBODBDD □BnDBDBn □BDBDDBa □□BDDBDB □□BDBDDB BDDBnDBn BnDBDBDD anaanaDB aaaaaaaa □□□□BDBB □aaaaaaa □□□anaan aaaaaaaa □□aaaaaa □□□□□ana □BDDBDDB □BDDBDBD BDBCOBlin □□Banana □aaaaaaa aaaaaaaa □□aaaaaa □aaaaaaa □anaaDDD □□□□anan aaaaaaaa □□aaaaaa □aaaaaaa □□aaaaaa aaaaaaaa □aaaaaaa 243 244 □□□□□BBB □□aaaaaa □□□□BBBQ □aaaaaaa anannann □□Baaaaa □aaaaaaa □aaaaaaa aaaaaaaa □□aaaaaa □aaaaaaa □□aaaaaa aaaaaaaa □□□□anan □aaaaaaa □aaaaaaa aaaaaaaa aaannnnn □□aanana ■■□□□□□■ □Baaaaaa aaaaaaaa aaaaaaaa □□□□□ana □□anannn aaaaaaaa □□□anann □BDnaana □□□□anan aaaaaaaa □□□□□ana 247 248 annnanna □□□aama □aaaaaaa aaaaaaaa □□aaaaaa □aaaaaaa □□□BDDna □□Baaaaa □Baaaaaa □aaaaaaa aaaaaaaa □□□□□aaa □□□BBaaa □BBaanaa BaaaaaaB aaaaaBBa aaaaaaaa aaaaaaaa □aaaaaaa aaaaaaaa □□annnan □aaaaaaa □□aaaaaa □□aaaaaa □□□BBaaa □BBaaaafl BaaaaaaB aaaaaaaa □aaaaaaa aaaaaaaa aaaaaaaa □□□□□aan 245 246 aaaaaaaB BflBDaaflB BBQBDDDD □□aanann □aaaaaaa □BBaaaaa BaaaaaaB BBaBaaaa □BaaaaBB BaaaaaaB aaaaaBBa aaaaaaBB □□Baaaaa BBBBaaaa amnaanna BBBanaaa □□aaaaBB BBBBaaaa □BaaoBBa BBBBaaaa aaaaaaaa aaaaaBBa □aaBBaan □□Baaaaa aaBBaaaa aaaflBaaa □BBaanaa aaBBaaaa aaaBaaaa 249 250 WEAVES COMPLETE ON 10 ENDS □□ □□ □□■□■□■a □BBDOBDB BDDDBBCD BDBDBDBB □□□□BBBD □BBBCUZD BBDBnBDB □□BBDDDB BDBDDBBD □□□BDBDB BBBDBBm □BDBDBDB BDBBDDBD □BDBDBm BBDDBDBB □BDanDDB □□BDBBBD □BDDDBDB BDBBBDBB □B an □□ Bfl □ B □B □□ 251 252 253 16 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 10 ENDS—(Continued) □□□BBDDD Bfl □BDDBBnn Bfl BDDDBBDD □■ □□BDDBBD BB BDDBBDBD □B □DBBDBDB ■□ BBDDDBBD □□ BDBIDBDB □□ BBDDDBBD □□ BBDDBDDB an □BBDBB! ]□ BD DBDBBDDD ■ ■ □□■■□□□■ an □BDBBDBD Dfl □BBDDDBB □□ anaaDDBa □a ■□■■□' IBB □□ BDDDBBDB □■ BDDDBBnn □B □BBDDBDB BD □DBBDDDB ■ □ □BBDIBDD an □BDDBDBD Bfl BBDBDBBD □□ □BIDDDBB □□ BDDBDDBB □B □DDBBDDD ■ ■ ■□□BBDBB □□ BDBDDBDB BD □BBDDDBB □■ 254 255 256 BBDDDBDD BDBBDDBD □□ □DBBBDDB □■ □■□□■□□□ BB BDDBDDDB □B BDBDDBBB □□ BDBBDDDB □□ BDDDBDBB □□ BDDBDBDD ■■ BBDBnaaa □□ CB 1 JBBDC B □□ □BBBDDBD ■□ □□anaam □a BBDDBDDD BD □BDDBBBD □ ■ □□■■□■□□ BD □BDDDBDB BD □DBDBDDB ■ ■ □BDDBaaa □□ □DBDBBDD BD BBBDDBDB □□ aaaDBana □□ □BBDDBDD □B BDDBBBDD ■□ □□□■□□■□ aa □DBDDDBD BB □BDBDDBB ■ □ □□BDDDBB □B □DDBDBBD □B ■BDDBDBD □■ 257 258 259 □□■□■□□■ □■ BBDBBDBB ■□ □■□■■□□■ ■□ □□□■□■■□ BD □BBBDBBD ■ ■ ■□■□□■■□ □■ □■□□■□□■ □□ BDBDDDBB □■ ■□■□■□□■ ■U ■□□□■□□■ □□ BBDDBDDB ! JBDBBBUB □□ □□□■□■■□ BD □■■□□□■□ ■ ■ ■BDDBDBD ■□ □B ■□■■□■■■ □■ □□■■□□■□ ■ ■ ■■□■□□□□ BD ■■■□■■□■ ■□ ■■□□■■□■ □□ □□■□□□■□ □ B □■□■■□■■ □□ □□■■□■□■ □■ □□■□□■□□ □■ □□■■□■■□ ■□■□□□■□ ■ H ■■□■□□□□ BD □■■□■■□■ □□ □■ 260 261 262 ■■□□□□■□ ■ ■ ■■□■■□■□ ■□ ■□■□□■□□ ■□ □■■■■■□□ □□ ■BBDDBDB □□ □BDDBDBD □■ □□□□■□BB BB □■■□■□■□ ■ ■ ■□■□□■□□ ■D BBBBDDDD □ B ■□□■□■□□ ■ ■ □■□■□□□■ □■ □DBDBBBB □□ ■□■□■□■■ □■ □□■□■□■□ ■□ ■BDDDDDB BB □■□■□□■■ ■□ ■□□■□■□■ □□ ■DBBBBDD □□ ■□■□■■□■ BD □BDDBDBD □■ □DDDDBBB ■ B □■□□■■■□ □■ ■□□■□■□■ □□ BBBBDDDD BD ■□■■□■■□ ■□ □□■□■□■□ □DDBBBBB □□ □□■■■□□■ □■ □■□■□□□■ □■ 263 264 265 IDBBBBDD !□□■□□□■ IDDDBBD □□□■■□■a □■□□■□□■ □□ □anaciai □■□■■■□■ □■■■□■□■ ■■■□■□■□ ■□■■■□■□ □BDBBBaa BDflDBBBD ID □BBDDBDB □□■■□■□ □□■□■□■ □BBDBDBD □■□■□■□■ BDBDBDBD □BDBDBBD ■□■□■□□■ □BDBBDDB BDBDDBBD 266 267 268 70 GLOSSARY OF WEAVES 17 WEAVES COMPLETE ON 10 ENOS—(Continued) BDBBDDBB DB DBDDDBDB BD BDDBDDBD DD BDfDBBODB BB DOBDDBBO BD DBBDBBDD UD BBOOBBDB BD DDDBDBBD DB DDBDBDDO BD □BBDDBBB BD BDDBHDBD DD DDDBDDDB DB DDBBDBBD HB DBDBBDDB DD BDDDDDBB DB HDDBBBBD DB DBBDBDOD BD DBODDBDD BD BBDBBDBfl DD DBBDDBDD DB BDDDDDBB DB OBBBflOOB BD BDBDDDBD DB DDDBDDDB DB □BBDBBDD Bfl BDDBODDB DB DDBDBDDO BD BIBDDBBD DB BDDDBDDB BD DBBDBBDD DD 269 270 271 BDBBDBDD DB ODDBDDDB DD □BBDBDBD BB DBBDDBBD BB BDDDBDBO DD BDBBDBDB BD BBDBDDDB BD DBDBDDDB DB BBDBBDBfl DB A Bfl BK DB DDBDDBDD BD OflflOflflflD BB DBDDDBBD BB BDDDBDBD DD BOflflOBOfl BD □BBDBBDB BD DDBDDBDD BD OBOflflOBfl DB DDDBBDBB DB DBDBDDDB DB BDflBDBDB BD BUBBDBBD DB BDDDBDBD DD □BBDflflflf J BB DBBDBBDB DD DDDBDDDB DD BBDBflDflfl DB BBDBBDDB BD BDBDDBOD BD BDflBDBDB BD 272 273 274 BDDDDBBD BD BDBBDDDB BD BDDDDBDD DD DBDBBDDD DB BBDBDBBD DD OflOOBDBD DB BDBDDBBD BD DDDBBDBD BB DDflBDBDfl BD DBDBDDDB DD DBBDDDBB DB DDBDBDBD BD BGBT1BDBG BD BDBDBBDD DB DflDflDBDfl DB BDDBDBDC BD DDBBDBDB BD BDBDBDBD BD DBDDBDBC DB BBDDDBBD BD DBDBDBDB DB DBDBDBD® DB DBDBBDDD BB DDBDBDBD BD ODBOODBO BD DBBDBDBB DD DDBBDBDB BD DBDBBDDB DB BDDDBBDB DB DBDDBDBD DB 275 276 277 IOOBOOOB ■*' !□■□□□■■ Dr □□ □□ □□ !78 □□■■■□□a □□ an □a □□ an □a 279 IOOBBBOO laamaDB an □□ oobobdo dbddbbbd DBBBODBD bdobobdd boboobb~ dobbbdo bbdobdbd □bdbddi' - □a an Bfl □□ □a □a an OBDBDBDB DDBOBBBO □B BD □□ BD □a BD DD BD DB BD DBDBDBBB BBBDDDBD BBDBDDDB BDBDBDBD DBDBDBBB BBBDDDBD BBDBDDDB BDBDBDBD 280 281 18 GLOSSARY OF WEAVES 70 WEAVES COMPLETE ON 12 ENDS □■■■ ■□□□ ■■■□ ■■■■ □□□■ ■□□□ ■■■■ □■■■■□□a □■□□ □□■□ □□□■ ■□□■ ■■■□ □■■■■■□□ □□□■■■■a ■■■■■□□□ ■■■□ □■■■ ■■■□□■□□ ■□■□□□an ■□□anemia ■□□□■□□a □■□□□■□a □□■□□■■a □□□■□■■a ■□□■■■■□ □■□■ □■■■ □■■■ ■■■□ ■■■□ ■□■□ ■□□■ ■□□□ 282 283 284 ■□■■■□■□ ■■□■□■□a ■■■□■□□□ □■□■□■□□ □□■□ □□□■ ■□■□ □■■■ ■□□■■□■a ■□□□■■□□ □■■■□■□□ □■■■□□■a □□■■ ■□■■ ■■□□ □■■□ □■□■■■□□ ■□■■■□■□ □■■■□□■a ■■■□□■□a □□■■ □■■□ ■□□■ ■■□□ ■□■□□□■d □■□■□□□a ■□□□■□■□ □■□□□■■a □□■□■□■a □□□■■■□a ■□■□■■■□ □■■■□■□a ■□■■ ■■□■ ■■■□ □■□■ ■□■□ □■□■ ■□□□ □■□□ □■■■□■■□ ■□□□■■□a ■■□■■□□a □□■■□□□a □□■□■■■□ ■■□□■■■□ □■■□■■■□ ■□■■□□□a □□■■ ■■□■ ■■□□ ■■□■ □□■■ □■■□ ■■□□ ■□■■ ■□□■■□■□ □□□□■■□a □□□□■■an ■□□■□■■a □■■■□□■a ■■■□■□□a ■■□■□■■□ ■□■□■■□□ ■■■□ □■■■ ■□■■ □■□■ ■□■□ ■■□□ □■□■ □□■■ 285 286 287 ■□■□■□■a □□■■□■■a ■■□□■□□□ □■□■■□□□ □□□■ □□□■ ■■■□ ■■□■ ■□■■□■□a ■□■□■■□a □■□■■■□□ ■■□■□□■a ■■□□ □□■■ ■□■■ ■□■□ ■■■□■■■□ □■■■□■□a ■□■■■□■a ■■□■■■□a ■■■□ ■■□■ ■□■■ □□□■ □■□□■■□a □■■□■□■□ □■■■□■■□ ■□□□■□□a ■□□□■■□a ■□□□■■■□ □■■■□□□a ■□■■□□□a ■□□■ □■■□ ■□■□ ■■□■ □□■□ □■■□ ■■■□ □□□■ ■■□□■□■a □□■■■□an ■□■■□■□a ■□■□■■□a □■□■■■□□ ■■□■□□■a ■■□□■□■a □□■■■□■□ □■□■ ■■□■ ■■□□ □□■■ ■□■■ ■□■□ □■□■ . ■■□■ ■■■□■■■□ □■■■□■■a ■□■■■□■a □■□■■■□a ■■■□■■■□ ■■□□□■□a ■□□□□□■a □■□□□■■a □□□□ □□□■ ■□■■ □■■■ ■■■□ ■■□■ ■□■■ □■■■ 288 289 290 □□■□□□■a □■□□□■■a ■■□□■□■a ■■□■□□■a ■■■□ ■■□□ ■□□□ □□□■ □□□□■□■a □■□□□□■□ □□■□■■■a □□□□■□■a ■■□■ ■■■■ □■□□ ■■□■ ■■■■□□■.a ■■■■□□da ■■■□■■■□ ■■□■■■■□ ■■□□ ■■□■ □□■■ □□■■ □□□■□□□a ■□□□■□□□ □■■■■■□□ □□■■■■■□ □□□■■■■a ■□□□■■■a ■■□□□■□□ ■■■□□□■□ □□■■ □■■■ ■□■■ □□■■ □□■□ □■□□ ■■□□ ■■□■ ■□■■■■□a □□■□■■■a ■■■■□■□□ ■□■■■■□a ■■□■□□□□ ■■■■□■□□ □■□□□□■□ ■■□■□□□□ □□□□ □■□□ □□■□ □□□□ ■□■■ □□■□ ■■■■ ■□■■ ■□■■■■■□ □■■■■■□a □■■■■□□a □■■■□□□a ■□□□■■■□ ■□□□■■■a ■□□□■■■a □■■■□■■a □□■■ ■■□□ ■■■□ ■■■■ ■■■■ □■■■ ■□■■ ■■□□ 291 292 293 §70 GLOSSARY OF WEAVES 19 WEAVES COMPLETE ON 12 ENDS-(Continued) □□□□ ■■■□□□■■ □□□■ ■□□□ ■■■□ □■■□■■□a ■□□□ □□□■ □□□■■■□□ □□■■■□□□ □■■■□□□■ ■■■□□□■■ ■■□□□■■■ ■□□□■■■□ □□□■■■□□ □■■■ ■□□□ □■■■ 294 ( 295 296 □■■■□□□■ ■■■■ □□■■□□ID □□BBmflfl BDBDBflm ■□□□■■■■ ■■■■□□□□ □□□□ □■■■ ■□□□ □□□■ 297 298 299 ■ BBU □□□□ BBBB □□□□ BBBB □ ■■■ ■■■□ BDIDIDBB ■□■□■□□□ ■□■□■■■■ ■□■□□□□□ ■□BBBBBB ■□□□□□□□ □□□■BBBB ■□□□ ■ ■■■ □□□□ ■ ■■■ □□□□ ■ ■■■ □□□□ □■□□■□□a □■■■ ■■■□ □■■■ 300 301 302 □□□■ ■■■■ ■■■■ □□□□ □□□□ ■■■□ ■■■□ ■■■■ ■■■■ ■■■■□□□□ ■■■■□□□□ □□□□■■■■ □□□□■■■■ BBIZO ■non ■□□□■BUM ■□■■■□■■ ■■□■■■□■ □■■■ □□□■ ■□□□ □■□□■■■■ ■□□□■■■■ ■■■■□□□■ ■■■■□□■□ □□□■ ■□□□ 303 304 305 20 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 12 ENDS —(Continued) □□■□■■□■ □□□B □aan □BOB BDBD ■■■□□□□□ ■■■□□■■■ ■■■□□■■■ □□□□□■■■ ■■■□ □□□□ □□□□ □■■■ □■□□■■□□ ■□□■□■■□ □■□■■□■■ □■■■ □■□■ ■□■□ ■■□■□□□a □ ■■□ ■□□□ ■ □BB □□■□ ■ ■□■ ■□■■ ■■□■ □□■■■□□□ □□■■■□□□ □□■■■□■■ ■■□□□□■a ■■□□□□■■ ■■□■■■□□ □□□■■■□□ □□□■■■□□ □■■■ □■■■ ■□□□ ■□□■ ■□□■ □□□■ ■■■□ ■■■□ ■■□□□□■■ □■■□□□■□ □□□■■■□a ■□□■■□■□ □□□■□■□□ ■■■□■□□■ ■■□■□□■■ ■□■□□■□■ □■□□ ■□□■ □□■■ □■□■ ■ ■□□ □■■□ □□□□ ■□□□ 306 307 308 □□□□ aann □□□□ anno ■ana flflflD ■□■■ □■■■ ■ ■■■ □□■■■□□■ □■■■□□■■ ■■■□□■□■ □■■■ □□■■ ■□□■ ■■□□ ■□□□□□■■ □■□□□□■■ □□□■□□■■ ■■■□ ■■□■ ■□■■ □■■■ □■□□■□□■ □□□□■□■B □□■□□■■■ □□■□■■■■ ■□□■■■■□ ■□■■■■□■ □BBaama ■■■■□■□□ ■ ■■□ ■ ■□■ ■ □□■ □■□□ □□□□ □□■□ □□■□ □■□□■■□□ ■□□■■■□□ ■□■□□□■■ □■■■□□■■ ■□□■■■□□ ■■□□■□□■ ■■■□□■■□ ■■■□ □■□■ ■□□■ □□■□ □■■■ ■■■□ ■□□□ □□□□■□■□ □□□□□■□■ ■■■■■□■□ ■■■■□■□■ ■■□■■■□□ ■□■■■■□□ □■■■■■□□ ■■■■ ■■■■ □□□□ □□□□ ■□□□ □■□□ □□■□ □□□■ 309 310 311 ■□■□ □ana □□□□ □□□□ □□□□ □□□□ BDBD □ana ■ ■■■ ■ ■■■ ■ ■■■ ■ ■■■ ■■■□■■■□ □■■■■■□■ ■□■■■□■■ □■■■■■□■ ■■■□ ■■■■ ■■■■ ■■■■ ■□□■■□■□ □□■■□■□■ □■■□■■□□ ■ ■□■ □■■□ □□■■ ■□□■ ■□■□■□■□ □■□■□■□■ anaiBaan □BBBBBDB ■□■■■■■□ □BBBBBDB BDBDBDBD □■□■ ■□■□ □□□□ □□□□ □□□□ □□□□ □ ■□■ ■■■□■■■□ ■■□■□■■■ ■□■■■□■■ □■■■■■□■ ■■■■■■■□ □■■■■■□■ ■□■■■□■■ ■■□■□■■■ ■ ■■□ □■□■ ■□■■ ■■■■ ■■■□ ■■■■ ■□■■ □■□■ ■■□■■■□□ ■□■■■■□□ □■□□□□■■ □□■□□□■■ ■□□■□□■■ ■■□□■□■□ □■■□□■□■ ■□■■□□■■ □■□□ □□■□ ■■□■ ■□■■ □■■□ ■■□□ ■□□■ □□■□ 312 313 314 ■■■□■■■□ BB ■■■ B ■□■■■□■■ □BBBDBDD ■□□□ ■□□□ ■□□□ □■■■ □■■■□□□■ ■■■□□■■□ ■■□□□■■□ ■□■□ □■□□ ■□□■ ■■■□■■□□ ■■■□□■□■ ■■■□□□■■ □□□■■■□□ ■□□□ ■□□□ ■□□□ □■■■ BBBDBBDD BBDBBBDD ■□■□□□BB □BBDDQBB BBBDDDBD □□□BBBDB □□□BBDBB □□□BDBBB □■■□ □■□■ ■ □■■ □■■■ ■■■□ ■ ■□■ ■□■■ □■■■ ■□□■■□□■ □■■□□■□□ □■■□■□□■ ■□□■□□■■ ■□■□□■■■ □■□□■■■□ ■□□■■■□□ □□■■ □■■■ ■■■□ ■■□□ ■□□■ □□□■ □■■□ □■■□ ■□□■■■□□ □□■□□□■■ □■■□□□■■ ■■■□□□■■ □□□■■■□□ □□□■■□■□ □□□■□□■■ □■■□ □■□□ ■□■■ ■□□■ ■□□□ □■■■ □■■■ □■■■ 315 316 317 §70 GLOSSARY OF WEAVES 21 WEAVES COMPLETE ON 12 ENOS—(Continued) ■■■□ ■□□■ ■□■■ □■■■ ■■■■ ■■□□ ■■■□ ■■□■ ■□■■ □■■■ ■■■■ ■■■■ ■■■□ ■□■■ □□□■ ■■■□ ■■■□ □□□■□■■a □□■□■■■□ □■□■■■□□ ■□■■■□■a □■■■ □■■■ □■■■ ■□□□ ■□□■■□■a □■■□□■HI □■■□■■■■ ■□□■■■■□ ■□■■■■□a □■■■■□■□ ■■■■□■■□ ■■■□ ■■□■ ■□■□ □■■□ ■□□■ ■□□■ □■■□ □■■□ □■■■□■■■ ■■■■■□■a ■■■■□□□■ ■■■□■■■□ ■■□□■■■□ ■□■□■■■□ □■■■□□□a ■■■■■□■a ■■■■□■□a ■■■■■□□a □■■■■■□a ■□■■■■■□ □■■■□□■a ■■■□□□■a ■■□■■■□□ ■□□■■■□□ □□□■■■□a ■■■□□□■□ ■■■□□■□a ■■■□■□■a ■□□■ ■□■□ □■□■ ■□■■ □■■■ ■■■□ ■■□□ ■□□□ 318 319 320 ■■■■□□■a ■■■■■□■a □■■■■■□a □□■■■■■□ ■□■■ □■■■ ■■■■ ■■■■ □□■■□□■a □□■■□■■a ■■□□■■an ■■□■■■□□ ■□■■ □□■■ ■am ■■□□ □■□■■□■□ ■□■□■■□a ■■□■uaaa □■■□■□■□ ■■□■ ■□■□ □■□■ ■□■■ ■■■■□□□a ■■■□■■■□ ■■□■■■an □■■■■□■a □■■■□■■a □■■■ ■□□□ ■■□□ ■■■□ ■■■■ ■■■■ □■■■ ■□■■ ■■□□■■□a ■■□□■■□□ □□■■□□■a ■□■■□□■a ■■□□■■□□ ■■■□■■□□ □■■■□□■a □□■■■□■a □□■■ □□■■ ■■□□ ■■□■ □□■■ □■■■ ■■■□ ■■□□ ■□■■□■□a ■■□■■□■□ ■□■■□■□a □■■□■□an ■■□■□■■a ■□■□■■□a □■□■■□■□ ■□■■□■■a □■■□ ■■□■ □■■□ ■□■■ □■□■ ■□■□ ■■□■ □■■□ 321 322 323 ■■□■□□■□ ■□■□■■□□ □■□□■■□a ■□□■□□an □■□■ ■□■■ □■■■ ■■■□ □□■□□■□a ■■□□■□■a ■■□■□■■a □□■□■■an □■□■■■□a ■□■■■□■□ □■■■□■□□ ■■■□■□□a ■■□■ ■□■□ □■□□ ■□□■ □□■□ ■■□□ ■■□■ □□■□ 324 □□□■□□■a □□■□□■■a ■■□□□■■□ ■□□□■■□□ ■□□■ □□■□ □■□□ ■□□■ ■□□■□□□a □□■□□□■□ □■□□■■□□ ■□□■■□□□ □□■■■□□a □■■■□□■□ □■■□□■□□ ■■□□■□□a □□■■ □■■■ □■■□ ■■□□ □□□■ □□■□ ■■□□ ■□□□ □□■□□□■a □□□■□□■a ■□□□■■□□ □■□□■■□□ □□■■ □□■■ ■■□□ ■■□□ □□■■□□■a □□■■□□■a ■■□□■am ■■□□■■□□ □□■■□□■□ □□■■□□□a ■■□□■□□□ ■■□□□■□□ □□■□ □□□■ ■□□□ □■□□ □□■■ □□■■ ■■□□ ■■□□ 325 ■■□■□□□a ■□□□■□an □■□□□■□□ □□■□■□□□ □□□■ □□■■ □■■■ ■■■□ ■■■□■□□□ □■■■□□□a □□■■■□an □□□■■■□□ ■□□□■■an □■□□□■■a □□■□□□■a □■□■□□□a ■■□■ ■□□□ □■□□ □□■□ □□□■ ■□■□ □■□□ ■□□□ 32G 327 22 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 12 ENOS—(Continued) ■□□■ ■□□■ □□■□ □□Bfl □BOB □ ■■□ ■□□□ BDDB ■DDBDBDB ■DBBBDBD BDDBDBDB DDBDBDBB □BDBDBDB BBBDBDBD DBDBDBDD BDBDBBBD □BBBDDDD □DBBBBBD BDDDDBBB □BDBDDBB □□□□DBDB □BDBDBDB □□□□BDBD BDBDBDBB □DDBDBDB □BDBDBBB □DBDBDBD BDBDBBBB DBDB BBBB BDBD BBBD DBDD BBDB BDDD BDBD □□Bfl □BAD BBj[] BDDB □□Bfl □ BAD BBCZO BDDB □BBBDDDD □DBBBBBD BDDDDBBB □BDBDDBB BDBBBDDD □BDBDBDB BDBDBDBB □BDBDBDB BDDB ■DBA BDDB DDBD DflDfl BBBD DBDB BDBD □BDBDBDB □BDBBBBB BDBDBDBD BDBBBBBD DBDBDBDD □BBBBBDB BDBDBDDD BBBBBDBD □□□□ DBDB □□□□ BDBD □DDB DBDB DDBD BDBD ■□□■□□■a ■□□■□■■□ □□■□■■□□ □□■■■□□■ □BDBDDBB □■■□□■■□ ■□□□■■□□ ■□□■■□□■ DDBB DBBD BBDB BDDB DDBD DBBD BBDD DBDD BBBDBDBD □BDBDBDB □DDDBBBD BBBDDBDB □BBBDDDD □DBBBBBD BDDDDBBB □BDBDDBB DBDB BDBD DBDB ■ DBA DBDB BDBD DBDD BBBD □BDBDDDD BBBBBDB BDBCDDDD BBBDBDBD □BDDDDDB BBDBDBDB BDDDDDBD BDBDBDBD DBDB DBDB BDBD BDflfl DBDB □BBB BDBD BBBB 328 329 330 WEAVES COMPLETE ON 16 ENDS BBDDDDBB BBDDDDBB □□□□BBDD □□□□BBDD □□□□BBBB □□□□BBBB BBDDDDBB BBDDDDBB □□□□BBDD □□□□BBDD □□□□BBBB □□□□BBBB BBDDDDBB BBDDDDBB □DBBBBBB □DBBBBBB □DBBDDDD □DBBDDDD BBBBDDDD BBBBDDDD BBDDDDBB BBDDDDBB □□□□BBDD □□□□BBDD □□□□BBBB □□□□BBBB 331 BBBDBDDB BBDDBBDD ■DBDDBBD □DBBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □DBBDDBD ■□□■■□□■ ■■□□■□■a □■■□□■■■ □□■□■■■■ ■□□■■■■□ ■□■■■■□□ □■■■■□■□ ■■■■□□■■ BBBBDDDB □BBBBDBB □DBBBBDD BBDBBBBD ■□□□BBBB □□■■□■■■ □■■□□□■■ ■■□□■■□■ ■■■□■□□■ ■■□□■■□□ ■□■□□■■□ □□■■□□■■ ■□□■■□□■ ■■□□■■□□ □■■□□■■□ □□■■□□■□ □□□■■■□□ □□■■■□□□ □■■■□□□■ ■■■□□□□■ ■■□□□■■□ ■□□□□■■□ □DDBBDDB □□□■■□□■ □■■□□■■□ □■■□□■■□ ■□□■■□□□ ■□□■■□□□ □■■□□□□■ □■■□□□■■ ■□□□□■■■ ■DDDBBBD □■■□□■■□ □■■□□■■□ ■□□■■□□□ ■□□■■□□□ □■■□□□□■ □■■□□□■■ ■□□□□■■■ ■DDDBBBD □□□■■■□□ □□■■■□□□ □■■■□□□■ ■■■□□□□■ ■■□□□■■□ ■□□□□■■□ □□□■■□□■ □□□■■□□■ 332 □■□□■□■■ □BDBDBDB ■■□■□□■□ □DDBDBDB ■■■■DBDD □□□□□■□■ ■□■■■■□■ □■□□□□□■ ■□■□□■□■ ■□■□■□■■ ■□□■□■■■ ■□■□■■■□ □■□■■■□■ ■□■■■□■□ □■■■DBDB ■■■□BDDD ■□■□□■□■ ■□■□■□■■ ■□□■□■■■ BDBDBBBD □■□■■■□■ ■□■■■□■□ □■■■□■□■ ■■■□■□□□ ■■□■□■■■ ■□■□□□□□ □■□■■■■□ ■□□□□□■□ □■■■■□■□ □□□□■□■□ ■■■□■□□■ □□■□■□■□ 333 334 §70 GLOSSARY OF WEAVES 23 WEAVES COMPLETE ON □■□■□■□a 335 □□■■□□□a □bbbddbd □BBDBBDB BDQBDDBB □BBDDDBB BBBDDBBB BBDDDBBD BBDDBDDB BDBBDBBD DBDDBBBD BDDDBBDD BDDBBBDD DDDBBDBB DDBDDBDD BBDBBDDD BBDDBDDB BDBBDBBD □BDDBBBD bdddbbdd BDDBBBDD □DDBBDBB DDBDDBDD BBDBBDDD DDBBBDDB DDBBDDDB DBBBDDBD DBBDBBDB BDDBDDBB DBBDDDBB BBBDDBBB BBDDDBBD 337 BDDBDDBB DBBDDBDB BDBODBBD BBDDBDDB □DBBDDBD DBDBDDBB DBBDDBDD BDDBBDDB DDBDBDDB DDBBDDBD DBDDBBDD BDDBDBDD BDDBBDDB DDBDDBBD BBDDBDBD DBDDBBDD DDBDBDDB DDBBDDBD DBDDBBDD BDDBDBDD BDDBBDDB DDBDDBBD BBDDBDBD DBDDBBDD BDDBDDBB DBBDDBDB BDBDDBBD BBDDBDDB DDBBDDBD DBDBDDBB DBBDDBDD BDDBBDDB 16 ENOS—(Continued) BBDBBBDD BBDDBDDD DDBBDBBB BDBBDDBD DBDDBBDB BBBDBBDD DDDBDDBB DDBBBDBB DBDDDBDD BDDDBBBD DDDBDDDB DDBDDDBB BBDDDBDD BDDDBDDD DBBBDDDB DDBDDDBD DBDDDBDD BDDDBBBD DDDBDDDB DDBDDDBB BBDDDBDD BDDDBDDD DBBBDDDB DDBDDDBD BBDBBBDD BBDDBDDD DDBBDBBB BDBBDDBD DBDDBBDB BBBDBBDD DDDBDDBB DDBBBDBB 336 □BBDBBDB BDDDBBBD BDBBDBBB DDBBBDBB BBDBBBDD BBBDBBDB DBBBDDDB BDBBDBBD BBDDDBBB BBDBBDBB □DDBBBDB □BBDBBBD □BBBDBBD BDBBBDDD BBDBBDBB BBBDDDBB BBDDDBBB BBDBBDBB □DDBBBDB □BBDBBBD □BBBDBBD BDBBBDDD BBDBBDBB BBBDDDBB □BBDBBDB BDDDBBBD BDBBDBBB DDBBBDBB BBDBBBDD BBBDBBDB DBBBDDDB BDBBDBBD 338 DDBDDBDD □BDBDDBD BDBDBDDB □BDBDBDD BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDD BDBDBDDB □BDBDDBD DDBDDBDD BDDDBDDB □BDBDDBD □DBDDBDB □BDBDDBD BDDDBDDB BDDDBDDB □BDBDDBD □DBDDBDB □BDBDDBD BDDDBDDB DDBDDBDD □BDBDDBD BDBDBDDB DDBDDBDD □BDBDDBD BDBDBDDB □BDBDBDD BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDD 339 340 24 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 16 ENDS—(Continued) ■□■■□□■a □■■□□■ID ■□□■■□□■ □□■■□□■■ □aannaan ■■□□■■□■ ■□□■■□■■ □□■■□■■a □■■□■■■■ ■■□■■■■□ ■□■■■■□■ □■■■■□■■ ■■■■□■■□ ■■□□■■□a ■□□■■□■■ □□■■□BIB □■■□■■■■ ■■□■■■■□ ■□■■■■□■ □■■■■□■■ ■■■■□■■□ ■■■□■■□□ ■■□■■□□a ■□■■□□■■ □■■□□■■□ ■■□□■■□□ ■□□■■□□■ □□■■□□■■ □■■□□■■□ 341 □□■■□□■■ ■□■■□□■■ □■□□■■□n □□■□■■□□ ■■□■□□■■ ■■□□■□■■ □□■□□■□□ □■□□□□□■ □■□□□□□■ □□■□□■□□ ■■□□■□■■ ■■□■□□■■ □□■□■■□□ □■□□■■□□ ■□■■□□■■ □□■■□□■■ ■□□□□□■□ □□■□□■□□ ■■□■□□■■ ■■□□■□■■ □□■■□■□□ □□■■□□■□ ■■□□■■□■ ■■□□■■□□ □■□□■■□□ □□■□■■□■ ■■□■□□■□ ■■□□■□□□ □□■■□■□□ □□■■□□■□ ■■□□■■□□ ■■□□■■□■ 343 □■□■□■■□ ■□■□□■□■ ■□■□■□■□ □■□□■□■□ ■■□■□■□■ □□■■□■□■ ■■□□■□■■ ■■■□■□■a ■□□■□■■■ ■■□■□■■□ ■■■□■□□■ ■■■■□■■□ ■■■■■□□■ □■■■■■□■ ■□■■■■■□ □■□■■■■□ □■□□■■■a □■□■■■■□ ■□■■■■■□ □■■■■■□■ ■■■■■□□■ ■■■■□■■□ ■■■□■□□■ ■■□■□■■□ ■■□■□■□■ □■□□■□■□ ■□■□■□■□ ■□■□□■□■ □■□■□■■□ □■□■■□□■ ■□■□□■■■ ■□■□■■■a □■■■■■□□ □□■■■□□■ ■□□■□□■■ ■■□□□■■■ ■■■□□□■■ ■■□□■□□■ ■□□■■■□□ ■■■■■□■■ ■■■■□□■■ ■■■□■■□□ ■■□□■■□■ ■□■■□□■■ □□■■□■■■ ■■□□■■■■ □□■■■■■□ ■■□■■■■■ ■■□□■■■■ □□■■□■■■ ■□■■□□■■ ■■□□■■□■ ■■■□■■□□ ■■■■□□■■ ■■□□■■■□ ■■■□□■□□ ■■■■□□□a ■■■□□□■■ □■□□■□□■ ■□□■■■□□ 342 □■■□□■□■ □■■■■□■□ □□■■■■□■ □■□■■■■□ ■□■□■■■■ ■■□■□□■a ■■■□■□□□ ■■□■□□□■ ■■□□■□□□ ■■■□□■□□ □■■□□□■□ □□□■□□□■ ■□□□■■□□ □■□□■■■■ □□■□□■■■ □□■□□■■■ □■□□■■■■ ■□□□■■□□ □□□■□□□■ □■■□□□■a ■■■□□■□□ ■■□□■□□□ ■■□■□□□■ □□□■□■■■ ■■□□■□■■ ■■■■□■□■ □■■■■□■□ ■□■■■■□□ □■□■■■■□ ■□■□□■■□ 344 □■□□■□□□ □■■■□□□■ ■□□■□□■□ ■□□■■■□□ ■■■□□■□□ □□■□□■■■ □□■■■□□■ □■□□■□□■ ■□□□■■■□ □□□■□□■□ □□■□□□■■ □■□□□■□□ ■□□□■□□n □□□■□□□■ □□■□□□■□ ■■□□□■□a ■□□□■■■□ □□□■□□■□ □□■□□□■■ □■□□□■□□ ■□□□■□□□ □□□■□□□■ □□■□□□■□ ■■□□□■□a □■□□■□□□ □■■■□□□■ ■□□■□□■a ■□□■■■□□ ■■■□□■□□ □□■□□■■■ □□■■■□□■ □■□□■□□■ 345 346 70 GLOSSARY OF WEAVES 25 WEAVES COMPLETE ON 16 ENDS-(Continued) 347 ■□■■□□□a □■■□■■□a a aa aa □□IBDBBD DDBDBBDB □BDBBDBB □□□BQBBD ddbdbbob □□BBDBBD ■DDBBDBB i BB BB B ■bdbdbbd hdbbdddb dbbdbddd ■bdbbdbd BDDDBBDH □BBDBDBfl BCJBBDBBD BB BB B DBBDBBDD ■□■■□■dd ■bdbbdbd dbbdbddd ■OBBDBDD □BBDBBDD BBDBBDDB ■DBBDBBD DBBDBDBB ■dddbbdb DDDBDBBD □BDBBDBB 349 BDDDflflBD □□□BflBflB BBBDDDBB BBDDDflBfl flBBflBDDD □BBBDDDB □□BBBBflD BBDBaBDD BflDDBBBB □□BBDBBB BDBBDDBB BBDDBBDI BBBDBBDD BBBBDDBB DDBBBDBB BflDDBBBB DDBBDBBB BDBflmBB BB BB B BBBDBBDD BBBBDDBB □DBBBDBB BDDDBBBD DDDBBBBB BBBDDDBB BBDDDBBB BBBBBDDD DBBBDDDB DDBBBBBD BBDBBBDD BBBDBDBD BBDBDBDB BDBDBDBB DBBBDBBB BBBBBDBB BBBBDBDB BBBDBDBD BBDBDBDB DBDBBBBB BDBDBBBB DBDBBBBB BBBBBBBD DBBBBBDB BBBBBDBB BBBBDBBB BBBDBBBB ■BMDBBBD ■BDBBBBB BBBBBDBB BBBBDBDB BBDBDBDB BBDBBBBB ■DBBBBBD DBDBBBDB BDBDBDBD OBDBDBDB BDBBBDBD DBBBBBDB ■DBBBBBD 348 ■BBDBDDB ■DDBDDBD ■DBDDBDD DBDDBDDB ■DDBDDBD DDBDDBDB DBDDBDDB ■DDBDBBB DDBDDBDB DBDBBBBD ■DDBDBBB DBBBBDBD DBDBBBBD ■BBDBDDB DBBBBDBD ■DBDDBDD DDBDDBDB DBDBBBBD ■DDBDBBB DBBBBDBD DBDBBBBD ■BBDBDDB DBBBBDBD ■DBDDBDD ■BBDBDDB ■DDBDDBD ■DBDDBDD DBDDBDDB ■DDBDDBD DDBDDBDB DBDDBDDB ■DDBDBBB 350 DDDBDDBD ■DDBDDBD DBDDBDDB DBDDBDDD DOBODBBB DDBDDDBB ■DDBBBDB BDDDBBBD DBBBDBBB DDBBBDBB BBDBBBDD ■BBDBBBD DBBBDDDB ■DBBBDDB ■BDDDBDD ■BBDDBDD DBBBDBBB DDBBBDBB BBDBBBDD ■BBDBBBD DBBBDDDB ■DBBBDDB ■BDDDBDD ■BBDDBDD DDDBDDBD ■DDBDDBD DBDDBDDB DBDDBDDD DDBDDBBB DDBDDDBB ■DDBBBDB BDDDBBBD 351 352 26 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON □■■□■■□a ■■□■■□□a 353 ■□□aaam BBBDDBBB BBBBDDBB □DBBBBDD □BBDBBDD BBDBBDBB BDDBBDBB □BBDDBBB BBBDDBBB BDDBBBDD DDBBBBDD BBBBDDBB BBDBBDBB □BBDBBDD □BBDDBBB BDDBBDBB BBBDDBBB BDDBBBDD □DBBBBDD BBBBDDBB ■BDBBDBB □BBDBBDD DBBDDBBB BDDBBDBB BDDBBBDD BBBDDBBB BBBBDDBB □DBBBBDD □BBDBBDD BBDBBDBB BDDBBDBB □BBDDBBB 355 BDDBBDDB □BDDBBBD □BBDDBBB □DBBBDBB BDDBBBDB BBBDBBBD □BBBDBBB BDBBBDDB BBDBBBDD BBBDDBBD □BBBDDBD BDDBBDDB BBDDBDDB □BBDDBDD □DBDDBBD BDDBDDBB BBDBBBDD ■BBDDBBD □BBBDDBD BDDBBDDB BBDDBDDB □BBDDBDD □DBDDBBD BDDBDDBB BDDBBDDB □BDDBBBD □BBDDBBB □DBBBDBB BDDBBBDB BBBDBBBD DBBBDflBB BDBBBDDB 16 ENOS—(Continued) □BBDDBBD □BBDDBBD BDDBBDDB BDDBBDBD □BBDDBBD □BBDBDBD BDDBBDDB BDBDBDDB □BBDDBDB BDBDDBBD BDDBDBDB BDDBBDDB DBDBDBBD □BBDDBBD □BDBBDDB BDDBBDDB □BBDDBDB BDBDDBBD BDDBDBDB BDDBBDDB DBDBDBBD □BBDDBBD □BDBBDDB BDDBBDDB □BBDDBBD □BBDDBBD BDDBBDDB BDDBBDBD □BBDDBBD □BBDBDBD BDDBBDDB BDBDBDDB 354 □BBBDBBB BDBBBDBB BBDBBBDB BBBDBBBD □BBBDBDB BDBBBDBB BBDBDBDD BBBDBBDD □BDBDDBB BDBBDDBD □BDDBBDB BBDDBDBD □DBBDBBB □DBDBDBB BBDBBBDB BDBDBBBD □BDBDDBB BDBBDDBD □BDDBBDB ■BDDBDBD □DBBDBBB □DBDBDBB BBDBBBDB BDBDBBBD □BBBDBBB BDBBBDBB BBDBBBDB BBBDBBBD □BBBDBDB BDBBBDBB BBDBDBDD BBBDBBDD 356 □BBBDBDB BBBDBDBD BBDBDBDB BDBDBDBD □BDBDBDB BDBDBDBB □BDBDBBB BDBDBBBD □BDBBBDB BDBDBBBD □BDBDBBB BDBDBDBB □BDBDBDB BDBDBDBD BBDBDBDB BBBDBDBD □BDBBBDB BDBDBBBD □BDBDBBB BDBDBDBB □BDBDBDB BDBDBDBD BBDBDBDB BBBDBDBD □BBBDBDB BBBDBDBD BBDBDBDB BDBDBDBD □BDBDBDB BDBDBDBB □BDBDBBB BDBDBBBD 357 358 70 GLOSSARY OF WEAVES 27 WEAVES COMPLETE ON 16 ENDS-(Continued) ■□■■□□□a □□■□□□■□ ■■■■■■ □□■□□■□a 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IBB Bnaannna □naanaan aannnBBB aanaanaa □nnaaana □aanBaan □Baanaan anBBannn aana aaan naan annn anaa □naa aann aana aanaanaa aaannnBB □aanaann BnnnaanB BnaannnB □naanaan aannnaan aanBBnnn □□□a naan naan annn anaa □naa aann aana □■□■□■□a anananan □ananana 373 anananan □anBaana anaaBaan □anBaana anan □ana anan aana anananan □ananana anananan □BDanana anananan □ananana anananan □Baanana anananaa □Baanana BBBBBnan □BaanaaB ananaaBB □ananaaB anananan □ananana aaan aana anan □ana anan □ana anan □ana □Baanana aaaaanan □BaanaaB ananaaBB aananaaB BBBcanan aanaBana anananan □ananana anananan □ananana anananan □ananana anananan □ananana anan □ana anan □ana anaa □ana anan □ana 375 □nan BBBB aann □naa BBBB aann □naa BBBB aanaanan annanaan □aananna □anaanaa □nan BBBB aann □naa □aanaana □aananna anaanaan anannana aanaanan annanaan □aananna □anaanaa anannana □aanaana annanaan anaanaan □anaanaa aanaanaa □aanaana □aanaana anaa anaa aana aana naan naan anaa anan anannana □aanaana annanaan anaanaan □anaanaa aanaanaa □aanaana □aanaana anaanaan anaanaan aanaanaa aanaanan □aanaana □aananna anaanaan anannana aana anna naan □ana anan naan anna anaa □naannan ananaann aannanan anaannaa anaannaa aananann aannaana □anannaa □ana aann □ann □nan □nananaa aannaana ananaann □□Banana anaannaa aananann aannaana □anannaa □naanana □annaann aananann □naannan □anannaa aannanan □annaann □nananaa □naa anan aann anaa □nan aann anan □naa □naanana □annaann aananann □naannan □anannaa aannanan □annaann □nananaa □naannan ananaann aannanan anaannaa □nananaa aannaana ananaann □naanana anaa aana aann □ana □naa □ann aana □naa □□□annna BnnnaanB □annnann □naanaan 374 □□□annna annnannn □annnaan □□annnan anaa annn aann □nan □□□annna aanBBnnn □annnann □aannnan □□□annna annnannn □annnaan □nannnan □nnaanaa annnannn □aanaann □□annnan BnaannnB annnannn aannnann □naannaa □□□a annn □ann □naa □□□a aana □ann naan □nnaanaa annnannn □aanaann □nannnan BnaannnB annnannn aannnann □naannaa □□□annna annnaanB □annnann □naanaan □□□annna aanBBnnn □annnann □aannnan □□□a annn □ann □nan □□□a annn naan □nan □naanaan annannaa aanaanaa □annaana 376 aannanna □aanaann □nannann anaannan □□□a annn nann □nan □aanaann □□aanaan anaannan aanaanaa aannanna □aanaann □nannann anaannan annannna aannannn □annnann □□annnan □nnannaa annnanna □annaana □nannann □naa anna aana □ann naan □naa anaa aana annannna aannannn □annnann □□annnan □nnannaa annnanna □annaana □nannann □naanaan annannaa aanaanaa □annaana □aanaann □naanaan anaannan aanaanaa aann naan □nan anaa anna aann □ann □nan 377 378 §70 GLOSSARY OF WEAVES 31 WEAVES COMPLETE ON 20 ENOS—(Continued) ananman □arnnana Baananm □□□Banna anna □□□B aaaa □ana BDBBBDBn aaannann □□anaaan □Baamna annaanaa □aaBaam mamnan □aaaaBBB □□an □ana anna □□□B aaaa □ana aaaa □□□B □■■■□□□a anmannn □manana ananman □anmana □nanannn □anaanna annnanan □nnanann BQBB aam □□an □BBB annn □ana □□an □ana □□annana 379 □nannnan □aanama annanann □amama □□an □ana anon □□an □□■□□■□a □nannnan □ananana annnannn □□annana □anaman □□amann IDGDIGDI □ananann □ana □□an anna □ana □□an anna □am anna □■□■□□an ■□□□■□□a □□■□□□BD amanana □amanm amaman □nannnan aananana □annannn annannan □□annana □anannan arnnanm nanananB man □ana anna □ana □□an □aan aaaa □am 381 Banmaan □□■■■am □□□■■□□a BBaanma □□□a aam □□□□ BBBB aam □□BB BBBB □□□□ maa □aan BBBB anno aamaaBB □□□□□■■□ □aamma aBBannaa □Baamaa aanmnca □anaannn nnaBaann Bmaaann aaaamm BGDBGBBG □□□□■ABB BaamaaB □□bbbbdu Baamana anamnaa ananmaa ioigdiid aamaaBB annaannn □□BBaam □aamnaa BBaamaa aamaaBB aananaan □□BBaam □maama BBBBanaa □aamana aamnana annanaan □nnanaan aaaa □□BB □□□B BBBB □aaa aaaa aaaa □□□a □ana □aaa □aaa □aaa aaaa aaaa aaaa aaaa anannann BBDBBmB □□mama □amman mamaan □□□□anna anaannan □anannaa anna □ana anna naan □aamnaa □□□aanna amnaana □aananan □ananana annaanaa □anaannn aannnann anannann aanaama □□□□anna □annnnan □aanaann annanann □□ananna □naanaan man □□□□ anaa □ana anaa aaaa □□□□ □ana aannanan □annaana annannnn □aannann □nannaan □□□□anna anaannan □anannaa □aananan annannnn annaanaa □□annana aannanaa □annaana annannnn □aannann □aaa aana □nan maa □ana aaaa anaa □nan aana aaan □ BBB □□BB aana □□□□ BBBB aaaa 380 anBaanaa □BBBnBBB BaanBaan aanBaann anaa □nan anaa anaa □□BBinBB □BBBnBBB BBB BBB BanaBBaa a aaa aa 'jflflariBBB bbbi jaaan aanBaann anaaBnan □BBBnnan ■aananaa aannanaa ananaana □nanaana aaBanann anaanana aana aaaa □ana □aaa maa □BBB aaaa aana anaaBnan □Baannan BaanaiiBB aannanaa Bnanaana □nanaana anaanann anaanana aananaaB ■ BLiBiJBBB □amaaan □anBaana □□BBBGflfl □BBBnBBB BaanBaan aanBaana anaa □BBB aaan aaaa anaa □BBB aaaa aaaa 382 anaanana aananana Bannnaan □ananaBB anaaBnan aanaanna Baananan □aananaa anaa aana aaaa □ BBB □nnaanaa □anBaana □aanaaBn □flaanaan anaaBnan aanaanm Baananan □aamnaa □BBBnBBB aaannnnn aanBaana anaaamn □BBBnBBB BBBjBBBG □□□Baana anBaanaa aanBaana annnnnaa □BBBnBBB aaannnnn □aaaaBBB aaannnnn aanBaana anaaanm □BBBnBBB BBanaBan □□□Baana anBaanaa anaanana aananana Baannaan □ananaaB □□□aanaa □anBaana □BanaBan □Baanaan □BBBnBBB □□□□aaan aanBaana anmnnaa 383 384 32 GLOSSARY OF WEAVES 70 WEAVES COMPLETE ON 20 ENOS—(Continued) IDDBDBD IBDBDBDD JDBDBBDD □BDBDDBD JDBBDDDB dbddbddd _jdddbdd □DBDDDBB □□□BDDBD IDDDBBDB □BDDBDBD □□BBDBDB □□BDBDBB IBDBDBDD JDBDBBDD □BDBDDL_ BDBBDDBD □BDDBBD _l□□□B□□I □DBDDDBB[ □□□BDDBDI DDDBBDB f □BDDBDBn1 □□BBDBDB[ □□BDBDBB( tBDBDBDD I JDBDBBDDI DBDBDDBB[ _DBBDDBDI □BDDBBDBI _IDDBDBDi DDBBDBDBI □□BDBDBBI BDBDBDDI JDBDBBDDI □BDBDDBDI BDBBDDDB □BDDBDDD IDBBDBD □BDBBDBB □BBDBDDD □ BBDBBDB □BDDDDB □BBDBBD □DDDBDD BDBBDBB □□□BDDBB □BBDBBDD □BDDBBDB □BBDDBD □DDBDDI □BBDBBDD □BDDBBDI □BBDDBD □□BBDBBD IDDBDDD IDBBDir □DBDDDDI □BBDBBDI □DDDBDI □BBDBBD □DDBDBBD □□BBDBBD BBDDBDDD BBDBHDBI □DBDDDDI □BBDBBD BDDDDBD BDBBDBBD □DDBDBBD IDBBDBD □BDBBDI □BBDBDDD □BBDBBDr BDBDDDDI BDBBDBBD BDDDDBDD BBDBBDr 385 386 □□BBDD □BBDDBBB □□BBDDB □□ BBDBBD □□BBDB □BBBDDBB □DBBBDD □BBDDBBD ■DBBDD □DBBDDBB □□BBDD □BBDD ~ BDDBBDDB □□BBDBBD BBDDBBD DBBBDDB BDDBBBDD □BBDDBBD BBDBBDD DDBBDDB □BBDDB DDBBDDBB □DBBDD DB1DDBBB DDBBDD DDBBDBBD ~DDBBD DBBBDDB □DBBBDD □BBDDBBD □BBDD □□ BBDDB _DDBBDD □BBDDBBB BDDBBDD □□BBDBBD BBDDBBD DBBBDDB BDDBBBDD □BBDDBBD □DB □BAD □B □DBA □□ □BBD □DB □DBB □□ DBBB BDDB □BBD BBDB □DBB BBDD DBBD BDDB □DBB BBDD DBBB IDBBBDD □BBBDDBB □BBBDDDD IDDBBDD IDDDDBB □DBBDDDD □□□□BBDD IDDDD □DBBDDDD □□□□BBDD IDDDD 1 □DBBDD □DDDBBBD BBDDBBBD □DBBBDB □DBBBDD BBBDBBD BBBDD ■DBBD BDDBBBDD □DBBDDDD □□□□BBDD IDDDDBB DDBBDDBB □DDDBBBD IDDBBBD □DBBBDB □DBBBDD BBBDBBD BBBDDBB BDBBDBB BDDBBBDD BBDBBBDD DBBBDDI □BBBDDDD BBDDBBDD BBDDDDI □DBBDDDD □□□□BBDD BBDDDDI 387 388 BBDDDBBB _IDBBBBD □DDBBBBD □BBBBDDD □BBBBDBB BBDDDBB BBDBBBD IDDDBBBB JDBBBDDB □DBBBBDD IDDBDD '□□ BD IDDBDD JBDDBDD DBDDBBB □DBDDBB_ □DBBBBDD □DBBBD _BBBDDD □BBBDBB DBBBDDI □DBBBBDD □DBDD BDDBD □DBDDBI BDDBDDI □BDDBBBI □DBDDBBI □DBBBBDD ^DDBBBDI BBBDDDI □BBBDBBI ■BDDDBBI BBDBBBBD □DDBBBBD □BBBBDDD □BBBBDI BBBDDDI BBBDBBBD BDDDI 389 §70 GLOSSARY OF WEAVES 33 WEAVES COMPLETE ON 24 ENDS ■□□□□□■□ □□■□□□□□ □□□□□■□□ □■□□□□□■ □□□□□■□□ □■□□□□□■ ■□□□□□■□ □□■□□□□□ ■□□□□□■□ □□■□□□□□ □□□□□■□□ □■□□□□□■ 390 annnanna BBDBBBDD BLODBBBD □□BDOBCO annannna BBCnUBDD BBBDBBBD □■□□□BBB □nannnan □□□BDDBD □annannn BBBODdBD □BBBDBBB □□BCODBB BDDDBDDB □nannann □BBBDDDB □■■■□□□a □□BBBDBB annannna □annnann □□□BDDBn BDBBBmn □□□BBBIHB □annannn □nannnan BBBBQmi annnnnan ■□BBBBDD anannnnn □□BDBBBB □nanannn □■□□BDBB BDDDBnBn □□□□□ana □□BHBBQB □annnnna BDaDBBBB □□□annnn □naannaa aannnann □□□□anna anannnnn anBBBBDD annnnnan BBBBnnna nnnnannn aannnann nnaannaa nnnannnn □□□□□BDB □□BBBBDB □annnnna BDDDBBBB □□□ancon !□□■□□□■■ aannaaan □□□□anna anannnnn BDBBBBDa annnnnan BBBBnnna □□□□aann aaannann □naannaa □nnannnn BBBBnnna annnnnan anaaaaan anannnnn nnanaafla □nanannn □annanaa amnanao anannnnn BDBBBBnn annnnnan BBBBnnna □nnnannn aamnann □□ananas □nnannnn BBBBanna annnnnan BCflBBBQQ anannnnn □□BQBBBB □nanannn □annanaa anananan □nnannnn □naannaa aananann nnnnaann BBBBnnna annnnnan anaBaann anannnnn 391 □ananana anaanaan aannanna nnaanaan aananana anananaa naanaann annannaa anaannan nannaana anaanana anananan nanaanaa naannann annaanaa naananan naanaana anananan nananaan aanaanna nnannaan aanaanan □ananana ananaana naanaana anananan nananaan aanaanna nnannaan aanaanan □ananana ananaana □ananana anaanaan aannanna nnaanaan aananana anananaa naanaann annannaa anaannan nannaana anaanana anananan nanaanaa naannann annaanaa naananan anaannan nannaana anaanana anananan nanaanaa naannann annaanaa naananan naanaana anananan nananaan aanaanna nnannaan aanaanan □ananana ananaana □ananana anaanaan aannanna nnaanaan aananana anananaa naanaann annannaa 392 393 34 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 24 ENOS—(Continued) ■□□□■■an □■□□□□□a □□■■■□□□ □□□□□■□□ ■■■□□□■a □□□■□□■a ■□□□■■□□ □■□□■■□□ □□■■□□■□ □□■■□□□a ■■□□■□□□ ■■□□□■■a □□■□□□□□ □□□■■■□□ ■□□□□□■□ □■■■□□□a □■■□□□an ■■□□□■□□ ■■□■■□□□ ■□■■□□□a □■■■□■■□ ■■■□■■□□ ■■□■■ana ■□■■■□■a ■□■■■□■a ■■□■■■□a ■■■□■■■□ □■■■□■■a ■□■■■□□a ■■□■■■□□ ■■■□□■□□ □■■■□□■□ ■□□■□□□a ■■□□■□□□ □■□□□■□□ □□■□□□an □□□■□□□a ■□□□■□□□ □■□□□■□□ □□■□□□an □■□□□□□■ □□□□□■□□ □□■■□□an □□■■□□□a ■■□□■□□□ ■■□□□■■a □□■□□□□□ □□□■■■nn ■nnnnnan naaannna □□□□■□□a ■■□□□■■□ □□■□□■an □□□■■□□a ■□□■■□□□ □■■□□■□□ □■■□□□■a ■□□■□□□□ ■□■■■□■a ■■uaaaaa ■■■□■■■□ □■■■□■■a ■□■■■□□a ■■□■■■□□ ■■■□□■□□ □■■■□□■□ ■□□■□□□a ■■□□■□□□ □■□□□■□□ □□■□□□an □□□■□□□a ■□□□■□□□ □■□□□■□□ □□■□□□an □□□■□□■a ■□□□anna □■□□■■■□ □□■□□■■a □□■■■□■a ■□□■■■□a ■■■□■■■□ □■■■□■■a □□■□□□□□ ■□□□□□■□ □□□□anna ■■□□□■an □□■□□■an □□□■■□□a ■□□■■□□□ □aannann □■■□□□■a ■nnannnn ■□□□■■an □■□□□□□a □□■■■□□□ □□□□□■□□ ■■■□□□■a □□□■□□■a ■□□□■■□□ □■□□■■□□ ■□□■□□□a ■■□□■□□□ □■□□□■□□ □□■□□□an □□□■□□□a ■□□□■□□□ □■□□□■□□ □□■□□□■□ □□□■□□■a ■□□□■□□a □■□□■■■□ □□■□□■■a □□■■■□■a ■□□■■■□a ■■■□■■■□ □■■■□■■a ■□■■■□■a ■■□■■■□a ■■■□■■■□ □■■■□■■a ■□■■■□□a ■■□■■■□□ ■■■□□■□□ □■■■□□■□ 394 395 □■■■□□■a ■□■■□□■a ■■□■□□aa ■■□□■■an □■□□■■□a □□■■anna □□■■naan ■aannaaa ■auaanna anuaaaaa □aannaaa □■■■■□□a ■□□■■■■□ ■■■□□■■□ □■■■■□□a ■□□■■□■a ■■■□□■■a □■■□■■□□ ■□□■■■□□ ■□■■□□■□ ■■■□■■□□ ■■■□□■■□ ■■■□□□■a □□□■■■□a □□□■■■□□ □□□■■■□a ■■■□□□■a ■■■□□■■□ □■■■□□□a □■■■□□□a □■■■□□□a ■□□□■■■□ ■■□□■■■□ □■■□■■■□ □□■■□□□a □□□■■□■a ■■□■□■■□ ■■□□■■□□ ■■□■■□□□ □□■■□■■a □■■□□■■a ■■□□□■■a ■□■■■□□□ □□■■■□□□ □■□□■■□a □□■■■□□a □□■■□■an ■■■□□■■■ ■■□Banna ■□□■■■an □■■□□■■a □■■■■□□a ■□□■■■an ■■■□□■an □■■■■□□a ■nnaanaa ■aannaaa □■■□■■□□ ■□□■■■□□ ■□■■□□■□ □■■■□□■a ■■□□■□■a ■■□□■■□a □□■□■■□□ □□■■□■□□ ■□■■□□■a ■■□■□□■a ■■□□■■an ■■■□■■□□ □□□■■□□□ □□■■□■■□ □■■□□□■a ■■□■■■□a ■□□■■■□□ □□□■■■□□ ■■■□□□■a □□□□□■an □□□□■■□a □□□■■□□a □□■■□□□a ■□■□■■■□ ■■□□■■■□ □■■□■■■□ ■□■■□□□a □□■■■□□□ ■■□□□■■a ■■□□□■■a ■■□□□■■a □□■■■□□□ □□■■■□□a □□■■■□■a ■■□□□■an ■□□■■■■□ ■aannaan □■■■■□□a ■□□■■□■a ■■■□□■■a □■■□■■□□ ■□□■■■□□ ■□■■□□■□ □■■■□□■a ■■□□■□■a ■■□□■■□a □□■□■■□□ □□■■□■□□ ■□■■□□■a ■■□■□□■a ■■□□■■■□ □■□□■■□a □□■■■□□a □□■■□■■□ ■■■jnaaa ■■□■■□□a ■□□■■■■□ □■■□□■■a □■■■■□□a ■■■□□□■a ■■■□□□■a □□□■■■□□ ■□□■■■□□ ■■□■■■□□ □■■□□□■a ■□■■□□■a □□□■■□■a ■□□■■□□a ■□□□■■□a □■■■□■■□ □■■■□□■a □■■■□□□a ■□□□■■■□ ■□□□■■■□ ■□□□■■■□ ■■□□■■□□ ■■□■■□an □□■■□□■a □■■□□□□a ■□□□□□□□ ■■□□□□□□ □■■□□□□a □□■■□□■a 396 397 70 GLOSSARY OF WEAVES 35 WEAVES COMPLETE ON 24 ENDS—(Continued) OBBOOBBD BDDBBDDB DBBDDBBD DBBDDBBD BDDBBDDB BDDBBDBB BBBDDBBB BBDDBBBB DDDBBBBD DBBDDBBD BDDBBDDB BDDBBDDB BBBDDBBD BBBDDBBD DBBBBDDB ■□□■■■■■ □■■□□■■a BDDBBDDB BDBBBBBD DBBBBDDB DBBBBDDB DBBDDBBD DDBDDBBD BDDBBDDB BBDBBDDB BBBDDBBD DBBDDBBD BDDBBDDB BDDBBDDB DBBDDBBB DBBDDBBB BDDBBBBB BDDBBBBD DBBBBBDB BBBDDBBD BBBDDBBD BQDBBDDB BQDBBDDB DBBDDBBD □BBDDBBD BDDBBDDB BDDBBDDB DBBDDBBB DBBDDBBB BDDBBBBB BDDBBBBD DBBBBDDB BBBBDDBD BBBDDBBD DDDBDBBB □BDDDBBB BDDDBDBB BDBDDDDB BDDBBBDD DDBBBBBD DBBBBDDB 398 DDBBDBBB BBODDDBB BBDBBBDB ODDDBBDB DBBBDBDB DDBBDBBB BBDBDBBD BBDBBBDB DBBDDDBB BDBBBBBB DBDBBDDD BDBDBBBB BBDBDBBD DBBDBDBB BBBBDBDB DDDBBDBD BBBDBBDD BDBDBBBD BDBBDDDD BDBBBDBB BBODDDBB BBBDBBDD DDDDBBDB BDBBDDDD DBDBBDBD DBBBDBDB DBBDBDBB BBDBDBBD BDBDBBBD DBDBBDBD BDBBBDBB DBBDBDBB DDBBDDDB BDBDBBBB BDDDBBDD DBBDBDBB DBBDDDBB DDDBBDBD DBDBBDDD DDBBDBBB BBODDDBB BBDBBBDB DDDDBBDB DBBBDBDB DDBBDBBB BBDBDBBD BBDBBBDB BBBDBBDD BDBDBBBD BDBBDDDD BDBBBDBB BBODDDBB BBBDBBDD DDDDBBDB BDBBDDDD BBDDDBBD BDBBBBBB DDBBDDDB BDBDBBBB BDDDBBDD DBBDBDBB DBBDDDBB DBBDDDBB BDBBBBBB DBDBBDDD BDBDBBBB BBDBDBBD DBBDBDBB BBBBDBDB DDDBBDBD 399 BBDDBBDD BBBBDDBD DDBBDDBB BBDDBDBB BBDDBBBB DDBDBBBB DDBBBBBB BDBBBBDB BBBDDBBB BBDDBBBB BBBBBDDB BBBBDDBB BBDDDBBB BBDDBBBB BDBBDDDB BDBBDDBB DBBDBBDD DBBDBBDD BBDDBBBB BDDBBBBB BBBBDDBB BBBDDBBB BBDDDBBB BBDDBBBB ■DBBDDDB BDBBDDBB DBBDBBDD DBBDBBDD DBBBBBBD BDDDBBBB BDDBBBBB DBBDDDBB DBBDDBBB BBDBBDDD BBDBBDDB DDBBDBBD DDBBDBBD BBDDBBDB BDDDBBDB BBBBDDBB BBBDDDBB BBDDBBDD BBBBDDBD DDBBDDBB BBDDBDBB BBDDBBBB DDBDBBBB DDBBBBBB BDBBBBDB BBBBBBDD BBBBDBBD BBBBDDBB BBDBBDBB BBDDBBBB DBBDBBBB DDBBBBBB BDBBBBDB 400 ELEMENTARY TEXTILE FUNDAMENTAL PRINCIPLES OF DESIGNING INTRODUCTION 1. In the manufacture of textile fabrics, other than plain, standard goods, no branch of the business is more important than that of designing, nor does anything affect the desir¬ ability and selling qualities of a fabric more than the design. The material may be costly, the yarn perfect, and the weav¬ ing and finishing well executed, but if the design is not well conceived, or is not adapted to the purpose for which the cloth is intended, the fabric will be inferior. The designing of a textile fabric is an operation peculiar to itself and some¬ what foreign to the general conception of the term designing, in that the actual construction of the fabric must be consid¬ ered in order to obtain the desired effect, or design, on its face. In order that the best methods of manufacturing any class of goods may be intelligently understood, it is first of all essential to acquire a thorough knowledge of woven fabrics, since if the results obtained, or in other words the finished cloths, are not understood, it is unreasonable to sup¬ pose that the reasons for the processes through which the yarns pass before becoming cloth can be intelligently com¬ prehended. The person who can take a small sample of cloth and reproduce it in the loom or who can originate a For notice of copyright , see page immediately following the title page 2 ELEMENTARY TEXTILE DESIGNING §71 design of merit with only the necessary yarns and mecha¬ nisms with which to work, even if this work is not in his direct line, has a great advantage over a person who cannot. Designing may be said to be as old as weaving, since no cloth can be produced unless the manner in which the ends are drawn through the harnesses, the order of raising the harnesses, and the order of interlacing these ends with the filling are known. Cloth analysis, or the process of finding the method of construction employed in a fabric, and designing, which strictly speaking, is the process of originating new fabrics, are studies that are closely allied, and the benefit derived from a close study of the structure of the various fabrics frequently met with cannot be overestimated. WEAVE 2. Construction of Fabrics. —All woven fabrics are constructed of two series of yarns; namely, the warp , which is the system of parallel threads running lengthwise of the goods, and the filling , which is the system of parallel threads running across the cloth at right angles to the warp. A single thread of the warp is known as a warp end , or simply an end , and a single thread of the filling is known as a pick. By the weaving process the picks of the filling are interlaced with the ends of the warp so as to produce a woven fabric of a texture depending, to a great extent, on the method of interlacing. 3. Plain Weave. —The simplest method of interlacing the warp and filling is by that system known as plain weave. Fig. 1 is a diagrammatic view of a plain woven fabric, in which the threads shown in a vertical position are the warp ends, while those running from side to side are the picks of filling. If this diagram is examined closely, it will be noticed that one pick of filling is over all the odd-numbered ends of the warp and under all the even-numbered ends, while the next pick of filling interlaces with the warp ends in reverse order. This method of interlacing the warp and §71 ELEMENTARY TEXTILE DESIGNING 3 filling is the simplest that can be devised, and is therefore called the plain weave. It should be understood, however, that the interlacing of the warp and filling is not the same in all cloths; in fact, it is by changing the manner of this interlacing that different effects are formed. 4. Design Paper. —Since there are many methods of interlacing the warp and filling, some system must be employed to represent these methods, or weaves , on paper. Fig. 1 The one universally used employs an especially ruled paper, shown in Fig. 2, known as design paper. It is made in several styles but the kind commonly used is shown at (a); the others are used in special cases. The common form of design paper is divided by heavy lines into blocks of eight rows of squares each way. Each vertical row of squares of the design paper represents a warp end, and each horizontal row, that is, those that run from side to side, represents a pick of filling. It should be thoroughly understood that it 4 ELEMENTARY TEXTILE DESIGNING §71 is not the lines but the rows of squares enclosed by these lines that represent the ends and picks; thus in Fig. 2 (a) there are 8 ends and 8 picks represented in each part marked (e) (f) Fig. 2 off by the heavy lines. This is the method of designating different design paper; that is, by giving the number of ends and picks that are shown in the square marked off by the §71 ELEMENTARY TEXTILE DESIGNING 5 heavy lines. In speaking of design paper the number of ends represented is always given first, followed by the number of picks represented. Thus (a) is called 8x8 design paper; (b) is 8 X 12; ( c) is 18 X 4; (d) is 8 X 16; () (a) Fig. 31 §71 ELEMENTARY TEXTILE DESIGNING 29 |[iD[siioi]S]n □EOEOSOE] □□□□□□□a □□®nnn®n □®n®n®n® □□□□mem □□SlDDDOn □®n®n®n® □□□□□□□a □on® □□□□ mama Fig.33 □□ 1 2 3 Fig. 34 through the first and third harnesses, respectively. The twenty-seventh end is similar to the twenty-fifth, and the twenty-eighth is like the twenty-sixth. If the ends are drawn in this manner, the harness draft will be like Fig. 33 and the chain draft like Fig. 34. As previously stated, however, a harness draft should be made out in such a manner that the design can be woven as easily as possible. It will readily be understood that by placing all the ends on 3 harnesses they are more crowded on one or more of the harnesses than if they were placed on more harnesses. Again, increas¬ ing the number of ends in the harnesses always adds to the difficulty the weaver has in drawing in the broken ends, and especially so if the warp contains a large number of ends per inch. Another consideration when drafting is to have as nearly as possible the same number of ends on each har¬ ness, for then there will be a uniform strain on the harness motion of the loom; while on the other hand, if some har¬ nesses contain more ends than others, heavy and light lifts are forced on the loom mechanism at different times, and a jerky movement of the loom is generally the result. By noticing Fig. 33, it will be seen that in one repeat of the drawing-in draft 8 ends are drawn through the first and third harnesses, while 12 ends are drawn through the second harness. As a result of this method it would necessarily take more power to lift the second har¬ ness than the first or third. In order to remedy this, suppose that instead of drawing the ends as shown in Fig. 33, the first end is drawn through the first harness, the second end through the second harness, the third end through the third harness, the fourth end through the fourth harness, and that this order is repeated until the twenty-fifth end is □□□muons] □□sonnso □soanson □□□□mono □□□mmnm □□sonnso □soanson □□□□mom □□□somm □□sonnso □sonosoa □□□□□□□a □□□□ □so® □□□□ mama □□■□ □■■■ ■□■ _□□□ □□■□ □■■■ ■□■ □□□ Fig. 35 12 3 4 Fig. 36 30 ELEMENTARY TEXTILE DESIGNING §71 reached, which is drawn through the first harness, while the twenty-sixth end is drawn through the third harness, the twenty-seventh through the first, and the twenty-eighth through the third. The harness draft for the ends when drawn in this manner is shown in Fig. 35, while Fig. 36 shows the chain draft for this harness draft. It will readily be understood that such an order of drawing in the ends is preferable to that shown in Fig. 33, since the draft is easier for the weaver and drawing-in girl, as well as for the loom. EXAMPLES FOR PRACTICE 1. Fill 8X8 small squares of design paper with the plain weave and show the harness and chain drafts that would be used if the cloth were to be woven on 4 harnesses with a straight drawing-in draft. 2. A plain cloth is to be woven on 4 harnesses with the first end drawn through the first harness, the second end through □232® the third harness, the third end through the second harness, an( ^ t ^ ie ^ ourt ^ enc * through the fourth harness; show the chain draft. Fig. 37 3. Show the effect that would be produced in the cloth by using a regular point draft with Fig. 37 for the chain draft. 4. (a) Show an irregular point draft on 12 harnesses; (6) show the effect that would be produced, using Fig. 7 (a) for a chain draft. ANALYSIS OF COTTON FABRICS PARTICULARS TO BE DETERMINED BY ANALYSIS INTRODUCTION 1. An important part of every designer’s duties is the analysis of fabrics that are sent to the mill from commission houses, from abroad, or from other sources with a view to their reproduction, either as exact duplicates or with certain modifications that the requirements of the buyer or the mill may demand. This analysis, while seemingly of a secondary nature, is of the utmost importance, not only in cases where a mill desires to manufacture certain fabrics for which there is, or is likely to be, a large demand, but also for the pur¬ pose of gaining ideas for the production of other fabrics. By the term clotli analysis is meant the process of finding all the requirements necessary to reproduce a certain fabric from a given sample. It may not be desired to exactly duplicate the sample, as certain changes in the weight of the goods, the quality of the material used, etc., are often deemed advisable in order to produce a fabric, seemingly the same, that can be placed on the market at less cost. Thus, a sample of cloth may be given to the designer with instructions either to reproduce the goods exactly, or with certain alterations tending to reduce the cost of the goods without materially affecting the appearance. In the case of a small mill that For notice of copyright , see page immediately following the title page 172 2 ANALYSIS OF COTTON FABRICS 72 does not regularly employ a designer, this duty is generally performed by the superintendent or boss weaver. A sample of cloth may be analyzed by several methods, but it is only by the systematic application of some one method derived from a thorough knowledge of the subject that the most economical and advantageous results are obtained. This subject cannot receive too much study, since it is one with which a designer must of necessity be in daily contact. A designer or student of designing should therefore avail himself of every opportunity to analyze such samples of cloth as he may encounter. By this means he will become acquainted with many weaves and characteristic effects and learn to associate them with certain fabrics, thus understanding them much better than it would be possible to understand the bare designs marked out on design paper. 2. In analyzing a sample of cloth, the following list of particulars should be found, the desired finished width of the cloth being given, of course, in all cases: 1 . Sley of cloth (average sley if necessary) 8. Width at reed 2. Ends in the warp 9. Yards per pound 3. Warp pattern (if any) 10. Counts of warp 4. Number of patterns in the warp 11. Counts of filling 5. Picks per inch 12. Weave 6. Filling pattern (if any) 13. Harness draft 7. Reed to be used 14. Chain draft There are also other particulars that should be considered when reproducing a fabric; these, however, will be dealt with later. Several of the items in this list of particulars belong to the subject of cotton-cloth calculations and consequently need no explanation here. In demonstrating the methods of obtaining the other requirements to be found, the same cloth sample will be used that was adopted to exemplify methods of making cotton-cloth calculations. 72 ANALYSIS OF COTTON FABRICS 3 WARP PATTERN 3. The warp pattern is a requirement that is necessary only when the cloth contains warp yarns of different colors, counts, or materials. To illustrate the method of making out a warp pattern it will be assumed that it is arranged as follows: 1 end 30s light blue, 1 end 2/20s white, 10 ends 30s dark blue, 1 end 2 / 20 s white, 10 ends 80s dark blue, 1 end 2/20s white, 1 end 30s light blue, 4 ends 30s white, 1 end fancy, 4 ends 30s white, 1 end fancy, 4 ends 30s white, 1 end fancy, 4 ends 30s white, 1 end fancy, 4 ends 30s white. The above shows the warp pattern, but this can be shortened somewhat and made to appear to better advantage by arran¬ ging the list in the form of a column, enclosing with a brace each portion that is to be repeated and indicating the number of times the part thus enclosed is to be repeated, as follows: 1 end 30s light blue 1 end 2 / 20 s white f 10 ends 30s dark blue 1 1 end 2 / 20 s white 1 end 30s light blue J 4 ends 30s white 1 1 end fancy 4 ends 30s white 49 ends in pattern Another convenient method of showing this pattern and one that is to be recommended is as follows: Warp Pattern 2 X 4 X 30 s light blue . 1 1 2 30 s dark blue . 10 10 20 30 s white . . . 4 4 4 4 4 20 30 s fancy . . . 1 1 1 1 4 2 -ply 20 s white 1 1 1 3 Total number of ends in pattern.49 4 ANALYSIS OF COTTON FABRICS 72 Or this could be somewhat shortened, as follows: Warp Pattern 30s light blue .... 1 1 2 30s dark blue. 10 20 30s white. 4 4 20 30s fancy . 1 4 2-ply 20s white .... 1 1 3 2 X 4 X Total number of ends in pattern ........ 49 The marks 2 X and 4 X show that the ends enclosed with a brace are to be taken two times and four times, respect¬ ively. By carefully comparing these last two forms, the method adopted in the second one will be readily understood. In the case of a piece of cloth like the sample that is to be used for analysis, the warp pattern would be known as all white, while the stripe effect produced in the cloth would be obtained by the method of drawing the ends in the reed and the order of raising the harnesses. FILLING PATTERN 4 . By the term filling pattern is meant the manner in which the filling is inserted in the cloth either as regards different colors, materials, or different counts of yarn. In making out the pattern of the filling in any cloth, it is simply necessary to give the number of picks of each color or count in one repeat of the pattern; this can be shown in the same manner as was the pattern of the warp. In case the filling is all one color, material, and counts, there will, of course, be no pattern and it will simply be stated as all white, all black, etc., according to whatever color of yarn is used. With the sample of cloth used for analysis, the filling is white and is all of the same counts; consequently, the pattern of the filling would be stated as all white. §72 ANALYSIS OF COTTON FABRICS 5 PICKING OUT 5 . The weave is one of the most important particulars con¬ cerning a sample of cloth, as without the correct weave it is impossible to reproduce the fabric with a satisfactory resem¬ blance to the original appearance, especially if the fabric has a pronounced weave effect or a color effect depending on the weave for the disposition of the color on the face of the cloth. The method of obtaining the weave from a sample of cloth will require considerable study and practice, although after the weaves of a few samples have been studied and success¬ fully obtained it will be a comparatively easy matter to obtain the weaves of other samples; in fact, many samples will be met with that will not require much more than a glance to determine the weave. The process of obtaining the weave of a woven fabric is known as dissecting, or picking out, although these terms are sometimes applied to the entire process of cloth analysis. The weave obtained from picking out a sample of cloth is often spoken of as a pick-out. By the term weave is meant the manner in which the warp yarns and the filling interlace, and is shown on design paper by means of filled-in squares and blanks; that is, by looking at the weave as shown on design paper it is possible to deter¬ mine just how each thread of the warp is lifted and lowered. 6. When obtaining the weave of a sample of cloth, the first thing necessary is to determine the face and back of the fabric and also which threads form the warp and which the filling. These two points will be dealt with more fully later, but the importance of determining them before com¬ mencing to obtain the weave should be mentioned here. If the back of a cloth were taken as the face, the warp ends would be up when in reality they should be down; the reverse would also be true. On the other hand, if the filling were considered as the warp, a correct reproduction of the sample would not be obtained, because the resulting weave would be turned one-quarter way around on the design paper instead of occupying its actual position as in the cloth. In a twilled 6 ANALYSIS OF COTTON FABRICS 72 cloth this would have the effect of making the twill run in the wrong direction. If the filling were considered as the warp, the weave would also be reversed, since the filling threads would be marked up on the design paper when in reality, since they are filling threads, they should be left blank where they float on the surface of the cloth. After the face and back, also the warp and filling, have been deter- Fig. i mined, the sample should be held in such a manner that the face side will be up and the filling will run from side to side. 7. The operation of finding the weave of a sample of cloth consists of picking out one pick of filling at a time and setting down on the design paper the way in which it inter¬ laces with the warp. Thus, if the filling passes over the first end, the square on the design paper representing where that end intersects with the pick under consideration will be left blank, showing that the warp is depressed and that the §72 ANALYSIS OF COTTON FABRICS 7 filling is on the face of the cloth at that point. If the filling passes under the next end, the square on the design paper representing where the second end intersects with the pick of filling will be filled in, showing that the warp end is raised over the filling at that point. 8. Preparation of Sample. —Before commencing to pick out a weave, the sample of cloth needs certain prepara¬ tion in order to facilitate the operation. Several ends from the left of the sample and several picks from the top should Fig. 2 be pulled out. After the picks have been pulled out, all the loose ends should be cut off, with the exception of those needed to determine the weave. It is not desirable to leave too many ends at the top, only sufficient to form one repeat of the weave being needed. As this number cannot always be determined accurately until the picking out is completed, a number slightly in excess of those probably required should remain. When prepared, the sample will appear as in Fig. 1, which is a slightly enlarged photographic reproduction of the sample under consideration when ready to be picked out. 8 ANALYSIS OF COTTON FABRICS §72 9 . After preparation, the sample should be held in the left hand and laid over the first finger, as shown in Fig. 2, so that when an end has been dealt with, it can be drawn under the thumb and held out of the way while determining the intersection of the next end; in this manner it is possible to keep the ends separate and determine their interlacings more readily. For manipulating the ends and picks when determining the interlacings of the weave and when remov¬ ing the picks from the cloth, an instrument known as a pick- ing-out , or dissecting , needle is used. This consists simply of a stout needle, usually inserted in a wooden handle so that it may be conveniently grasped. A method that may be used to advantage in many cases is to lay the sample on a white surface if it contains dark- colored yarns, and on a black surface if the yarns are light- colored. By this means the interlacings will often show up much more prominently, especially when working by artificial light. When this second method is used, a pick glass will often be of great aid in determining the interlacings of the warp and filling, especially if the sample is woven of fine yarns or if it contains a large number of ends and picks per inch. A pick glass, or linen tester, as it is sometimes called, is a simple lens, or magnifying glass, contained in a suitable support; it is also used to enable the number of ends or picks per inch to be readily counted. A pick glass with a field of less than 1 inch is undesirable for purposes of analysis. In either method, the next step is to draw the top pick up a little from the cloth until its interlacings with the ends that have been left can be readily seen. Beginning with the end on the left and taking each end in successive order, indicate on the design paper whether the pick of filling is above or below each end; that is, if the pick is above an end, the square on the design paper is left blank; if the pick of filling is below an end, the square is marked. Proceed in like manner with each end until a repeat is found. It is well to carry the first few picks out two repeats in order to make sure that a repeat of the weave has been found, after which the extra ends may be cut off, as shown in Fig. 1. §72 ANALYSIS OF COTTON FABRICS 9 The interlacings of the first, or top, pick should be placed on the top row of squares on that portion of the design paper that is intended to be used and the interlacing of the first end, or the end at the left, with the first pick should be shown on the first row of squares at the left on the design paper; that is, the interlacing of the first, or left, end with the first, or top, pick will be shown by the square in the upper left- hand corner of the design paper. The top pick, however, will not be the first pick to be placed in the loom, since this would produce the cloth with the top for the bottom and vice versa. The last pick of the pick-out will therefore be the first pick to be placed in the loom, and consequently the lower left-hand corner of the weave when shown on design paper is considered to represent the interlacings of the first end and first pick. This is difficult for a beginner to understand, but it is simply necessary in this connection to know that when a piece of cloth is picked out after the manner described, the lower left-hand square of the design paper represents the first end and the first pick; this is important when building a harness chain from the draft. After its interlacings have been found and placed on the design paper, the first, or top, pick should be drawn out of the cloth entirely, and the next pick then drawn up among the loose ends, as when dealing with the first pick. The inter¬ lacings of this pick are found and marked on the design paper on the next horizontal row of squares below the row marked for the first pick. After marking the interlacings of the second pick, the third and each successive pick is dealt with in a similar manner until one is found that interlaces in a manner similar to the first pick taken out. This generally indicates that the weave repeats at this point, but it is always a good plan to pick out 3 or 4 picks of filling after it is thought that the weave has commenced to repeat, and compare these with the first picks taken out, to make sure that the weave does repeat at this point. These extra picks must of course be ignored afterwards and only one repeat of the weave used when obtaining further particulars. When one repeat of the weave is obtained, it represents what is repeated as many ANALYSIS OF COTTON FABRICS 10 §72 times as required in the length and width of the same piece of cloth, and therefore, is all that is necessary. Some designers prefer to commence at the bottom of a piece of cloth to pick out. In this case, after the interla¬ cings of the first pick have been marked on design paper it is removed from the cloth and the next pick above it examined and marked on the design paper, but in this case it is set down immediately above the one that was first marked. The interlacings of the third pick taken from the cloth are placed above the second, and so on, so that whether the pick-out is commenced at the top or the bottom of the sample, the final result as shown on design paper will be the same. Some designers also pick out the warp ends instead of picks of filling, marking squares for picks depressed and leaving squares blank for picks raised. 10 . The quickest plan of indicating the weave on the design paper when picking out is to prick, with the picking- out needle, the squares that represent warp ends lifted, and then, after the weave has been found, fill in these squares with ink or pencil. This makes it unnecessary to lay down the picking-out needle and take up the pen or pencil every time a square needs to be marked. • If the sample of cloth to be dissected contains a large number of ends and picks per inch, or warp and filling yarns of the same shade, the yarns are liable to become crossed and the wrong end marked on the design paper. To prevent this, it is an advantage first to place the warp threads in a comb, attaching the ends together with mucilage between two pieces of paper in order to prevent their slipping back. If the ends are crossed or in a wrong order when placed in the comb, this fact will be noticed before the weave repeats, and by making a note of where these crossed ends should be, they may be recopied in their proper order after the repeat of the weave is found. This method will be found useful with any cloth difficult to dissect. A good aid in dissecting warp-backed and double cloths is to cut the backing ends, after the necessary number of picks §72 ANALYSIS OF COTTON FABRICS 11 have been taken out, about I or i inch shorter than the face ends. If the fabric is hard felted or has a nap, singe it and scrape off the fiber, being careful not to injure the body of the yarns. In many cases, where the weave of a cloth is regular and one commonly used, such as a regular twill, it will not be necessary after a little experience to pick out more than 1 or 2 picks, since these will show the manner of the interlacings in the whole weave, which can readily be completed without dissecting. 11. Fig. 3 shows one repeat of the weave of the cloth sample. Several different results might be obtained in pick¬ ing out this one sample of cloth, and yet each be correct. This would be due to the fact that the different pick-outs were not started on the same end or the same pick, in which case the first end of one pick-out would not be the first end □■□Bflaaa □■■■■□■■ ■■□■■■■□ ■■□■■■■□ ■bbb! iaaa ■■■■□ ■□■■a □■□■□■□a ■□■□■□an □BDBBlia ■□■□□BBB ■□■□■■■■ □■□■■□■a ■■■■□■■■ ■□■■■■□■ ■■■□■■■■ □■■■■□■SI ■■□■■■■□ ■■■■□■■■ ■□■■■■□■ ■■■□■■■■ ■□■■■■□a ■■■□■■■a □■■■■□■a ■■□■■■■□ ■■■■□■■a ■□■■■■□a ■■■□■■■a □■■■■□■a ■■■□a □■■■a ■■□■a ■■■■□ ■□■■a ■■■□a □■■■a ■■□■a Fig. 3 of the other, or the first pick of one would not be the first pick of the other; or perhaps the pick-out might have been started on both a different end and a different pick. For instance, if the cloth sample under consideration had been so prepared that the thirteenth end of Fig. 3 was the first end at the left of the sample, with the top pick as there shown still the top pick, the weave in Fig. 4 (a) would have resulted. If the sample had been so prepared that the seventh end of Fig. 3 was the first end at the left, the weave obtained would be that shown in Fig. 4 (b). Again, if the sample had been so prepared that the twenty-eighth end of Fig. 3 was the first end at the left, the pick-out shown in Fig. 4 ( c ) would have resulted. Though each weave appears to be different from the others, and from Fig. 3, in reality they are all exactly alike, since if repeated several 12 ANALYSIS OF COTTON FABRICS 72 times in the cloth the same effect will be produced, yet the difference in their appearance is due only to the end on which the pick-out is started. In a similar manner, if the pick-out had been started on a different pick, it would have had a different appearance, or if it had been started on a different end and different pick from those shown in Fig. 3, the resulting weave would have BDBBBBDB BBBDBBBB BBBDBBBB □BBBBDBB □DBDBDBD BBDBDBDB BDBDB □■□BD □■■■■□■a DBBBBDBB BBDBBBBD BBBBDBBB BDBBBBDB BBBDBBBB □BBBBDBB BBDBBBBD BBBBDBBB BBDBBBBD BBBBDBBB BDBBBBDB BBBDBBBB □BBBBDBB BBDBBBBD BBBBDBBB BDBBBBDB BDBDBDBD BBDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD BBDBDBDB BDBDBDBD BBDBDBDB BDBDB □ BDBD BDBDB □BDBD BDBDB □BDBD BDBDB □BDBD BBDBBBBD BBBBDBBB (a) BBBBDBBB BDBBBBDB BDBBBBDD BBBDBBBB BDBDB □BDBD □■□■□■■a ■□■□■□□a □■□■□BBB BDBDBDBB □BDBDBBD BDBDBDBB □BDBDBDB BDBDBDBB BDBBBBDB BBBDBBBB □BBBBDBB BBDBBBBD BBBBDBBB BDBBBBDB BBBDBBBB □BBBBDBB BBBDBBBB □BBBBDBB BBDBBBBD BBBBDBBB BDBBBBDB BBBDBBBB □BBBBDBB BBDBBBBD □BBBBDBD BBDBBBBB BBBBDBBD BDBBBBDB BBBDBBBD □BBBBDBB BBDBBBBD BBBBDBBB BDBDB □BDBD BDBDB □BDBD BDBDB □BDBD BDBDB □BDBD BBBBDBBB BDBBBBDB BDDBDBDB BBBDBDBD (b) □BDBDBBB BDBDBDBD BBDBBBBD BBBBDBBB BBBBD ■ BBB BBBUBflBB □BBBBDBB ■bdbbbbd BBBBDBBB BDBBBBDB BBBDBBBB □BBBBDBB ■BDBBBBD □BDBDBDB BBBDBDBD BBDBDBDB BDBDBDBD BBDBDBDB □BBDBDBD BBDBDBDB BBBDBDBD □BDBDBBB ■DBDBDDB □BDBDBBB BDBDBDBB □BDBDBBD BDBDBDBB □BDBDBDB BDBDBDBB BDBBBBDB BBBDBBBB □BBBBDBB BBDBBBBD BBBBDBBB BDBBBBDB BBBDBBBB □BBBBDBB BBBDB DBBBB BBDBB BBBBD BDBBB BBBDB DBBBB BBDBB (c) Pig. 4 appeared still different. It is usually customary to arrange a combination weave of this character after the manner shown in Fig. 3 or in Fig. 4 ( a ). Designs are sometimes, however, arranged as shown in Fig. 4 ( b ) and (c ). By referring to Fig. 3, it will be seen that the first 12 ends of the cloth sample consist of the plain weave, which is complete on 2 ends and 2 picks. Consequently, when pick¬ ing out a weave of this kind it is only necessary to take out §72 ANALYSIS OF COTTON FABRICS 13 2 picks in order to learn the weave, after which it may be continued for as many ends and picks as may be desired by simply repeating the first 2 ends and picks. With weaves as simple as this it will be possible, after a little practice, to place the weave on the design paper by simply observing the cloth by means of the pick glass. After the first 12 ends, as shown in Fig. 3, a different weave is employed, and one repeat of this weave is complete on 5 ends, although the entire weave occupies 25 ends. This weave is known as a 5-end warp satin. One of these weaves, namely the plain weave, is complete on 2 ends and 2 picks, while the satin weave is complete on 5 ends and 5 picks. It might naturally be supposed that in order to show the complete weave only 5 picks would have * to be taken out, but the two weaves must repeat together, and a plain weave cannot repeat on an odd number of picks. Consequently, while the satin weave would repeat on 5 picks, the plain weave would not. When two separate weaves are combined in a cloth similar to this one, the weave for the sample will not repeat in its picks until it is continued for a number of picks that is a multiple of the numbers represent¬ ing the picks on which each weave is complete. Naturally, the least common multiple will give the number of picks on which the entire weave repeats. For example, the plain weave is complete on 2 picks and the satin weave on 5 picks. The least common multiple of 2 and 5 is 10. Therefore, the entire weave is complete on 10 picks. Another important point that can be illustrated from this sample is the matching up of two weaves when used in the same cloth. By again referring to Fig. 3 it will be noticed that the plain weave is finished on the twelfth end and the satin weave commences on the thirteenth end. In order to have the cloth show as neat an effect as possible, these two ends should cut , or oppose, each other; that is, where a square is marked oh the twelfth end, the next square to it on the thir¬ teenth end should be left blank. By referring to Fig. 3 it will be seen that on the first pick the twelfth end is down, while the thirteenth end is up; thus they oppose each other. 14 ANALYSIS OF COTTON FABRICS 72 On the second pick the twelfth end is up and the thirteenth end down, thus causing the 2 ends to oppose each other. They also cut on the third pick, but on the fourth pick both ends are up and consequently do not cut. The effect at this point will not be as neat in the cloth as it is where the ends oppose. However, it is not possible to have a plain weave cut at every point when combined with a 5-end satin. When desiring to'have two weaves cut, both places where the weaves join should be carefully noticed; thus, in Fig. 3 it will be seen that the two weaves not only join at the twelfth and thirteenth ends but also at the first and last, since in showing a second repeat of the entire weave, the first end would be brought next to the last end. All cloths are not made up of two or more weaves, as this is the exception rather than the rule, and generally a cloth will be found to be made from but one weave repeated a number of times. _ HARNESS, OR DRAWING-IN, DRAFTS 12. It is comparatively easy to make the harness draft from the weave, but regard should always be had to the best manner of weaving the cloth. Thus, by referring to Fig. 3, which is the weave of the cloth sample shown in Fig. 1, it will be seen that there are more than twice as many ends of the satin stripe as there are of the plain, and by examining Fig. 1 it will be noticed that these ends are cramped or crowded together. In such cases as this it is generally better to place these ends on the front harnesses. As the ends of the satin weave will take at least 5 harnesses, since there are 5 ends working differently, the ends forming the satin stripe, or the last 25 ends in Fig. 3, will therefore be placed on the 5 front harnesses. The reason for placing these ends on the front harnesses is that, as there are more of them, more of them are liable to break during weaving, and it is much easier for a weaver to draw a broken end through a front harness than through a back one. There is also not so much strain on the ends drawn through the front harnesses as there is on those drawn through the back; §72 ANALYSIS OF COTTON FABRICS 15 consequently, this lessens to a certain degree the liability of these ends breaking. The ends forming the plain weave will be drawn through the harnesses next to the five on which the ends forming the satin are drawn. The first 12 ends of Fig. 3 could be drawn through 2 harnesses, since they weave plain and every other end works alike, but it will no doubt be found better to draw the ends through 4 harnesses instead of 2 harnesses, since by this means there will be fewer ends drawn through a harness, which will be found to be an advantage in many ways. This draft then will call for 9 harnesses—five for the satin ends and four for the plain. If the loom in which this cloth is to be woven cannot take this number of harnesses but can take seven, the weave must be drafted to 7 harnesses, which is the smallest number on which it is possible for it to be woven. In many cases there will be found circumstances that will influence the number of harnesses on which to draft a weave. Some of these have been pointed out but many others will be met with in practice; consequently, a student of designing should be constantly looking for new information, especially in a weave room where there is an opportunity for examining a sample of cloth and finding the lowest number of harnesses on which it can be woven and also the actual number of harnesses on which it is being made. If more harnesses are being used than the lowest possible number, the reason should be learned; or on the other hand, if the weave is drafted to the lowest number of harnesses, the reason that extra harnesses are not necessary should be ascertained. It should be stated here that with many weaves it will not be possible to learn the exact number of harnesses that it will take by simply glancing at the pick-out, but it will be neces¬ sary to study the interlacings of each end separately and learn if it is similar to any other end in the weave. 13. Beginning with the first end of the pick-out as shown in Fig. 3, this end will be drawn through the sixth harness, the second end through the seventh harness, the third end through the eighth harness, the fourth end through the 16 ANALYSIS OF COTTON FABRICS 72 ninth harness, and then the ends will commence to repeat; that is, the next end will be drawn through the sixth harness; and so on for the first 12 ends. Commencing next with the thirteenth end, or the first end of the satin weave, this end will be drawn through the first harness, the fourteenth end through the second harness, the fifteenth end through the third harness, the sixteenth end through the fourth harness, and the seventeenth end through the fifth harness. At this point the ends will begin to repeat; that is, the eighteenth end will be drawn through the first harness, and so on. Fig. 5 shows the harness draft complete. In Cotton Cloth Calcula- tions it was shown that this cloth contains eighty-eight pat¬ terns and 8 ends over, and since the draft shown in Fig. 5 shows how the ends in only one repeat are drawn in, it must be repeated eighty-eight times in order to draw in all the □□□soon® □□□manna □□□□□□□□ □□□□□□□□ □□□□□ □□□□□□an □□□□□□□@ □□□□□□□□ □□□□□enn □□□□□□an □□□□□□□@ □□□□□□□□ □□!£]□□□□□ □□□□□□□□ £]□□□□□□□ □□□□□□□a □□□□□□□is □□□□□□so □□□□□son □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□a noannson □□□□snna □□□sonaa □□sonnan □□□□□□HO □□□□□□□a □□□□□□□□ □□□□□□□□ □□Eoann® □boqddso soaaason □□□□sonn □□□□□□□□ □□□□□ □□□□□ □□□□□ □□□□E □□□BO □□son □soon □□□□□ Fig. 5 ends in the warp. The 8 extra ends are to be used for the plain; therefore, the person drawing in the warp will finish by drawing in 8 ends of plain after finishing drawing in the eighty-eight repeats. By referring to Fig. 5, it will be seen that if, after one repeat has been drawn in, the first end of the second repeat is drawn through the sixth harness, this will bring the same number of ends on each of the last four harnesses. But for the purpose of illustration suppose that there are only 10 ends of plain; then the last end of plain, as shown in the drawing- in draft, will be drawn through the seventh harness, and if the first end of the second repeat is drawn through the sixth harness, this will bring more ends on the sixth and seventh harnesses than on the eighth and ninth. Consequently, the person drawing in the warp can begin the first end of plain in the second repeat on the eighth harness instead of the sixth. §72 ANALYSIS OF COTTON FABRICS 17 This will give the same effect in the cloth, since the sixth and eighth and the seventh and ninth harnesses work alike; it will also give the same number of ends on each harness. 14. It is always advisable when making out a harness draft first to make it out in such a manner that it will be as nearly a straight draw as possible; this is a great aid to the weaver when drawing in broken ends* Second, as nearly as possible the same number of ends should be placed on each harness; this is a great aid to the good running of the loom. Third, if it is necessary to have more ends on certain harnesses than on others, those harnesses with the most ends should be placed at the front of the loom, unless there is a good reason for not doing so. CHAIN DRAFT 15. Since the cliain draft is obtained from the pick-out and the harness draft, it is necessary to have these two items before this draft can be obtained. By referring to Fig. 5, which shows the harness draft, it will be seen that the first end is drawn through the sixth harness; therefore, the inter¬ lacings of the first end, as shown in the pick-out, must be the workings of the sixth harness; or in other words, the inter¬ lacings of the first end, as shown in the pick-out, give the manner of raising and lowering the sixth harness. The second end is drawn through the seventh harness; therefore, the inter¬ lacings of the second end, as shown in the pick-out, give the manner of raising and lowering the seventh harness. The third end is drawn through the eighth harness, and conse¬ quently the eighth harness will be raised and lowered as indicated by the third end of the pick-out. The fourth end is drawn through the ninth harness, and the operation of this harness, as shown in the chain draft, will be the same as the fourth end shown in the pick-out. The fifth end is drawn through the sixth harness, but since the working of this har¬ ness has already been obtained nothing more needs to be done with this. The same is true of all the ends until the thirteenth 18 ANALYSIS OF COTTON FABRICS §72 is reached, which is drawn through the first harness; conse¬ quently, the interlacing of the thirteenth end, as shown in the pick-out, will give the workings of the first harness. For the same reason, the sec¬ ond harness will work like the fourteenth end of the pick-out; the third harness will work like the fifteenth end of the pick-out; the fourth harness, like the sixteenth end; and the fifth harness, like the seventeenth end. This will complete the chain draft, since the manner of raising and lowering all the harnesses has been learned. Fig. 6 shows the completed chain draft made from the harness draft, Fig. 5, and the pick-out, Fig. 3. !■■■□□■□ IDBBBBDB □■■■■■□■ ■■■■□■□a ■■■□■■□a □aaaanan BBDBBBDB Fig. 6 ADDITIONAL POINTS TO BE DETERMINED BY ANALYSIS 16. In addition to the requirements listed in Art. 2, there are several items that must in most cases be deter¬ mined when analyzing a fabric. Some of these items are unnecessary in themselves, but must be ascertained in order that still others may be accurately found. These, items are as follows: (1) determination of face and back of fabric; (2) determination of warp and filling; (3) determination of the direction of twist in warp and filling; (4) finding the percentage of contraction in the length of the warp during weaving; (5) the number of beams necessary for the warp yarn; (6) the raw material. DETERMINATION OF FACE OF FABRIC 17. As previously explained, when desiring to find the pick-out of a sample of cloth it is always necessary first to determine which is the face and which is the back, in order that the results obtained may be accurate for reproducing the cloth. In most fabrics this is easily done, although some cloths baffle the most experienced designer. The face of a cotton §72 ANALYSIS OF COTTON FABRICS 19 fabric will sometimes show a much clearer and better pattern than the back. By noticing the cloth sample that has been dealt with, it will be seen that the satin stripe on one side of the cloth shows up much more prominently than it does on the other side. The side that shows the design more promi¬ nently is the face. When the fabric is a backed or double cloth, the face can be readily distinguished from the back by means of the style of the cloth or the finish. When dealing with warp-backed fabrics, the face can be readily distin¬ guished from the back, since in this case there will be ends floating for some distance at the back. In a filling-backed fabric, the backing filling floats on the back of the cloth and is generally a soft-twisted yarn in order to give bulk to the cloth. DETERMINATION OF WARP 18. There are several methods by which the warp may be distinguished from the filling. If the sample submitted for analysis contains a part of the selvage, the warp can be readily distinguished from the filling, since the selvage ends always run in the direction of the warp. In many cases the body of the cloth will be found to be woven from single yarn, while the selvage is woven from 2-ply, or double, yarn. If the yarns in one system are harder twisted, or have more turns of twist per inch, than those in the other, the harder- twisted yarns are generally the warp yarns. If the sample of cloth has what is called a face finish, or nap, the direction of the nap indicates the warp, since these cloths have passed through the machine in the direction of the warp. The counts, or numbers, of the yarn used in each system will often assist in indicating which is the warp and which is the filling, since in many cases the warp yarns are of coarser counts than the filling. If in any case one series of yarn is of different materials, such as cotton and wool or cotton and silk, while the other series of yarn is of one system, the series of yarn that is composed of different systems is gen¬ erally the warp yarn, although this is not an invariable rule. If one system of yarns has been sized and the other has 20 ANALYSIS OF COTTON FABRICS 72 not, the former is the warp. This is difficult to determine after the cloth has been finished, but is a good test for brown —i. e., unbleached—cotton goods. If the sample contains reed marks, they will indicate the warp, since they always run warp-way. These marks are caused by the reed wires getting out of place, thereby crowding some of the ends near them and allowing others too much space. In any fabric of a striped character, or in a checked effect in which one direc¬ tion of the lines is prominent compared with the other, the direction of the stripes or the prominent lines in the check usually indicate the direction of the warp. The twill, if the design is a twill, generally runs up diagonally from the left to the right, so that if the face of the cloth is ascertained it will be readily seen which is warp and which is filling. If one series of yarns is ply and the other single, the ply yarns are generally the warp. In samples of cloth similar to that con¬ sidered^ this Section, the stripes always run warp-way. DETERMINATION OP TWIST 19. By the term twist of yarn is meant both the direc¬ tion of the twist and also the amount of twist; that is, the number of turns of twist per inch placed in the yarn. The direction of the twist of the yarns in a cloth becomes an important matter when reproducing cloth, since a different effect will sometimes be produced by simply changing the twist in either the warp or filling. Yarns may be twisted in one of two directions, which are technically known as right twist and left twist. There is considerable difference of opinion as to what constitutes a right-twist or a left-twist yarn, as some mills consider as right-twist what other mills consider left-twist yarn. However, the character of the yarns to which these names are most commonly applied will be explained here. By holding the yarn between the thumb and forefinger of each hand, the direction of the twist may be learned. If when turning the yarn from the body with the right hand it is twisted harder, it is left-twist; but if the yarn is untwisted §72 ANALYSIS OF COTTON FABRICS 21 H when turned in this manner, it is right-twist. Another method of determining the twist of the yarn is to observe which way the twist marks on the surface of the thread are inclined when the thread is held upright. If they slant up to the left, the yarn is left-twist; if up to the right, it is right-twist. This is the method adopted with screws for determining the twist of the screw thread. Fig. 7 represents a yarn that would be known as a right-twist yarn, while Fig. 8 illus¬ trates a left-twist yarn. By closely examining the warp yarns in the sample, it will be seen that they are right-twist. As previously stated, twist also refers to the number of turns of twist that are put in the yarn in 1 inch. In case of a ply yarn this can be readily ascertained by putting the yarn under the pick glass; or it can be found with more accuracy by untwisting a given length of yarn and dividing the number of turns of twist by the number of inches measured. i Fig. 7 Fig. 8 Fig. 9 20. Twist Counter.—The amount of twist in any yarn may be determined by means of an instrument made for the purpose of untwisting the yarn and registering the number of revolutions made in taking out all the twist; this instru¬ ment is known as a twist counter. The simplest and most commonly used form is shown in Fig. 9. It consists 22 ANALYSIS OF COTTON FABRICS 72 primarily of two jaws, one of which b is capable of adjust¬ ment on a bar a ; the other jaw c may be rotated, the exact number of turns that it makes being indicated on a graduated dial d. The counter is adapted for finding the number of turns in a sample of yarn from 1 to 10 inches in length, whether right or left twist. The yarn is held firmly by the jaws at a given distance apart as indicated by the position of b on a ; the jaw c is then rotated until all the twist is taken out of the yarn, the instrument recording the number of turns on the dial d. _ TAKE-UP IN WEAVING 21. In making out an order for the amount of warp yarn to be run through the slasher for any loom beam, it will be necessary to learn the probable percentage of contraction that will take place during weaving. For instance, if it is desired to produce 500 yards of cloth from a warp on one loom beam, a somewhat larger number of yards of warp yarn will have to be placed on the beam, owing to the contraction that will take place during weaving. The manner of ascertaining the contraction of any cloth during weaving was dealt with in Cotton Cloth Calculations , but it should be borne in mind that no hard-and-fast rules can be laid down for contraction of warp yarns, as this is largely a matter of experience, since some weaves take up much more than others during weaving. The kind of weave, the counts of the warp and filling, and the number of picks per inch are the most important factors that regulate the take-up of the warp, and these should always be carefully considered when desiring to learn the number of yards of warp necessary to weave a certain number of yards of cloth. _ NUMBER OF BEAMS REQUIRED 22. In many cases, when desiring to reproduce a sample of cloth, it will be necessary to place the warp yarns on different beams. In some cases as many as four beams are used. For instance, in case a weave that interlaces only once in 6 or 8 picks is combined with plain cloth, the part of 72 ANALYSIS OF COTTON FABRICS 23 the warp yarn that forms the plain weave will be taken up more rapidly than the other. In such a case it will be necessary to place those ends that form the plain weave on an entirely separate beam, since if this were not done the ends of the plain weave contracting so much more than the other ends would cause the latter to work slack and thus cause a defective cloth. In some cases a cloth may be regular, therefore apparently requiring only one beam, with the exception that at certain intervals there will be a fancy thread that will have different interlacings from the body of the cloth in order that it may produce some desired effect. In this case the fancy threads are placed on a separate beam or, if there are only a few, they are wound on a spool, which may be adjusted at the back of the loom. When dissecting any cloth, to determine the number of beams required, the weave should be carefully considered. If the cloth is made entirely from one weave, it will be simply necessary to use one beam, but in cases where the cloth is woven with separate weaves, it will be necessary to study these weaves carefully and to ascertain whether one will take up more than the other. The most essential point to notice is the number of interlacings that each weave makes in a certain space. For instance, the ends of one weave may interlace with the filling six times in a certain number of picks, while the ends of another weave may interlace twelve times in the same number of picks. When such is the case, the ends interlacing the greater number of times will, of course, take up much more than the others, on account of their having to bend around the filling much more frequently; consequently, it will be found best in such instances to place the two systems of yarns on separate beams. Double cloths and cloths backed with warp often require - two beams, one for the face warp and one for the back warp, since the back weave is generally different and also because coarser yarns are used for the back of the fabric. If the same yarn and weave are used for the back as for the face of a double cloth, both warps can be put on one beam. 24 ANALYSIS OF COTTON FABRICS §72 DETERMINATION OF RAW MATERIAL 23. In many fabrics there is a mixture of materials; for instance, cotton and woolen or worsted yarns are often used in the same fabric, as well as cotton and silk. In such cases it will be necessary to determine which yarns are of one material and which are of another. The readiest method of ascertaining the difference between animal and vegetable fibers is to burn some of the yarn. Vegetable fibers are com¬ posed of carbon, hydrogen, and oxygen, and when burned will make a flame, emit no odor, and leave an ash. Animal fibers are composed of the same elements together with nitro¬ gen, and when burned will not flame, but smoulder, coil up, and form into a small, crisp globule. They are also distin¬ guished by a peculiar odor that is similar to that of burned horn or feathers. A knowledge of the different fibers is also a great aid in determining the different materials in case threads of different fibers are used in the same fabric. Silk can generally be distinguished from either cotton, wool, or worsted by its incomparable luster and also by the fact that it is generally finer. However, mercerized cotton, which also has a remarkable luster, should not be confounded with silk. These two yarns may be distinguished by burning, as silk is an animal fiber while cotton is a vegetable fiber. Linen may be distinguished from cotton from the fact that the thread is rougher and contains uneven bunches. It may also be distinguished from cotton by its harsher feeling. In case it is desired to learn the percentage of the different materials in fancy threads, such as cotton and wool or cotton and silk mixed, or to determine the proportions of each material in a yarn made from two or more different kinds of raw stock, it will be necessary to make chemical tests. When a sample of yarn or cloth is to be tested in this manner it should first be thoroughly washed so as to remove any sizing or foreign matter that may exist. Afterwards dry it thoroughly and weigh it if the percentage of each kind of material is desired. §72 ANALYSIS OF COTTON FABRICS 25 24 . The following tests will cover the separation of silk, cotton, wool, or linen that may be combined in one yarn or cloth. To separate wool from cotton, leaving the cotton: Clean, weigh, and then boil the sample gently for 2 hours in an 8° B. solution of caustic potash; then wash and dry. During the boiling a few drops of water are added from time to time to prevent the alkali from becoming too concentrated. After drying at 100° C. (212° F.), the residue is weighed, which gives the weight of cotton, the loss being the weight of the wool. Instead of potash, a 7° B. solution of caustic soda may be used, and the sample boiled for 15 minutes. Note. —B. means Baume and refers to the graduated scale on Baume’s hydrometer used for determining the density of a solution. 25 . To separate cotton from wool, leaving the wool: Immerse the 'sample in ammoniacal copper oxide for 20 min¬ utes, after which add water to the solution; then filter and wash, dry and weigh the residue. The weight will be the amount of wool in the mixture. 26 . To separate silk, cotton, and wool: Take two sam¬ ples each of the same weight; boil them from 1 to I hour in a 3° B. solution of hydrochloric acid to remove the sizing, etc.; then wash them. Immerse one sample in a boiling solution of basic zinc chloride for a short time; then wash thoroughly, first in acidified and then in clean water, and dry it. The loss in weight gives the amount of silk. Boil the second sample for 15 minutes in a 7° B. solution of caustic soda, and then wash and dry it. The residue is cotton, to the air-dry weight of which must be added about 5 per cent, to compen¬ sate for the loss of the fiber during the operation. The difference between this and the original weight represents the weight of wool. ANALYSIS OF WOOLEN AND WORSTED FABRICS PARTICULARS TO BE DETERMINED BY ANALYSIS INTROD (ACTION 1. An important part of every designer’s duties is the analysis of fabrics that are sent to the mill from commission houses, from abroad, or from other sources with a view to their reproduction, either as exact duplicates or with certain modifications that the requirements of the buyer or the mill may demand. This analysis, while seemingly of a secondary nature, is of the utmost importance, not only in cases where a mill desires to manufacture certain fabrics for which there is, or is likely to be, a large demand, but also for the purpose of gaining ideas for the production of other fabrics. By the term cloth analysis is meant the process of finding all the requirements necessary to reproduce a certain fabric from a given sample. It may not always be desired exactly to dupli¬ cate the sample, as certain changes in the weight of the goods, the quality of the material used, etc., are often deemed advis¬ able in order to produce a fabric, seemingly the same, that can be placed on the market at less cost. Thus, a sample of cloth may be given to the designer with instructions either to reproduce the goods exactly or else with certain alterations tending to reduce the cost of the goods without materially affecting the appearance. In the case of a small mill that For notice of copyright, see page immediately following the title page 2 73 2 ANALYSIS OF 73 does not regularly employ a designer, this duty is generally performed by the superintendent or boss weaver. A sample of cloth may be analyzed by several methods, but it is only by the systematic application of some one method derived from a thorough knowledge of the subject that the most economical and advantageous results are obtained. This subject cannot receive too much study, since it is one with which a designer must of necessity be in daily contact. A designer or student of designing should there¬ fore avail himself of every opportunity to analyze such sam¬ ples of cloth as he may encounter. By this means he will become acquainted with many weaves and color effects and learn to associate them with certain fabrics, thus under¬ standing them much better than it would be possible to understand the bare designs marked out on design paper. 2. In analyzing a sample of cloth the following list of particulars should be found, the desired finished width of the cloth being given, of course, in all cases: 1 . Weight of 1 yard, given width 11. Weight of warp yarn, each 2. Ends per inch in finished cloth color 3. Picks per inch in finished cloth 12. Weight of filling yarn, each 4. Warp pattern (if any) color 5. Ends in pattern 13. Reed and ends per dent 6. Ends in warp 14. Width in reed, including sel¬ 7. Patterns in warp vages 8. Filling pattern (if any) 15. Weight from loom, including 9. Counts of warp in finished selvages cloth 16. Weave 10. Counts of filling in finished 17. Harness, or drawing-in, draft cloth 18. Chain draft Many of these items belong to the subject of cloth calcula¬ tions and therefore will not require any further explanation. In demonstrating the methods of obtaining the other require¬ ments to be found, reference will be made to the same sample of cloth that was used in dealing with the subject of woolen- and worsted-cloth calculations. In addition to the require¬ ments given in the above list there are several of minor importance that should be considered when reproducing a fabric; these, however, will be dealt with later. §73 WOOLEN AND WORSTED FABRICS 3 WARP PATTERN 3. The warp pattern is a requirement that is necessary only when the cloth contains warp yarns of different colors, counts, or materials. There are several methods according to which a warp pattern may be made out. The best is that which employs a diagram to separate the colors, since there is then less liability of confusion and mistakes. In the sample of cloth under consideration the yarns "are arranged in the warp 12 ends of brown and 12 ends of white; its pattern is indicated, according to the method above, as follows: Warp Pattern Brown. 12 12 White. 12 12 Total number of ends in pattern. 24 4. As the above is a very simple pattern, a more com¬ plicated one will also be taken for the purpose of illustration. Suppose this pattern to be as follows: 1 end of light blue, 1 end of white, 10 ends of dark blue, 1 end of white, 10 ends of dark blue, 1 end of white, 1 end of light blue, 4 ends of slate, 1 end of fancy, 4 ends of slate, 1 end of fancy, 4 ends of slate, 1 end of fancy, 4 ends of slate, 1 end of fancy, 4 ends of slate. The same method is applied to this pattern as to the previous one, thus: Warp Pattern Light blue . . 1 1 2 Dark blue . . 10 10 20 Slate .... 4 4 4 4 4 20 Fancy .... 1 1 1 1 4 White .... 1 1 1 3 Total number of ends in pattern.49 4 ANALYSIS OF §73 In a pattern like the one given, where there is a repetition of certain combinations of ends in the pattern itself, the representation bf the pattern can be reduced as follows: Warp Pattern Light blue .... 1 1 2 Dark blue .... 10 20 Slate . 4 4 20 Fancy . 1 4 White .. 1 1 3 2 X 4 X Total number of ends in pattern. 49 2 X 4 X Total number of ends in pattern. 49 The marks 2 X and 4 X indicate that the combinations of ends enclosed with a brace are taken two and four times, respectively. By carefully comparing these two forms the method adopted in the second will be readily understood and it will be seen that both patterns are the same. Another common method of indicating a warp pattern is to arrange the list of colors in the form of a column, enclosing with a brace each portion that is to be repeated and indicating the number of times that the part thus enclosed is to be repeated. With the pattern previously shown this would be as follows: 2 X 4 X 1 end light blue 1 end white 10 ends dark blue 1 end white 1 end light blue 4 ends slate 1 end fancy 4 ends slate 49 ends in pattern §73 WOOLEN AND WORSTED FABRICS 5 FILLING PATTERN 5. By the term filling pattern is meant the manner in which the filling is inserted in the cloth, either as regards different colors, materials, or counts of yarn. In making out the pattern of the filling of any cloth, it is simply necessary to give the number of picks of each color or count in one repeat of the pattern; this can be shown in the same manner as the pattern of the warp. In case the filling is all of one color, material, and counts, there will of course be no pattern and it will simply be stated as all white, all black, etc., according to whatever color of yarn is used. In the sample of cloth under consideration the filling pattern is exactly the same as the warp pattern, which has previously been given. DISSECTING, OR PICKING OUT 6 . The weave is one of the most important particulars concerning a sample of cloth, as without the correct weave it is impossible to reproduce the fabric with a satisfactory resemblance to the original, especially if the fabric has a pronounced weave effect or a color effect depending largely on the weave for the disposition of the color on the face of the cloth. The method of obtaining the weave will require considerable study and practice, although after the weaves of a few samples of cloth have been studied and successfully obtained it will be a comparatively easy matter to obtain the weaves of other samples; in fact, many samples will be met with that will not require much more than a glance to determine the weave. The process of obtaining the weave from a woven fabric is commonly known as dissecting, or picking out, although these terms are sometimes applied to the whole process of cloth analysis. The weave obtained from picking out a sample of cloth is often spoken of as a pick-out. By the term weave is meant the manner of interlacing the warp and filling, this being shown on design paper by means of filled-in squares, or risers , which represent the warp ANALYSIS OP 6 §73 floating over the filling, and blank squares, or sinkers , which represent the filling floating over the warp. 7. When a sample of cloth is to be picked out, the first thing to be determined is the face and back of the fabric and also which system of threads constitutes the warp and which the filling. These two points will be further dis¬ cussed later, but the importance of determining these par¬ ticulars before starting to pick out the weave should be mentioned here. If the back of the cloth were taken for the face, the warp ends would be up when in reality they should be down and down when they should be up. On the other hand, if the filling were considered as the warp, a correct pick-out could not be obtained, since filling threads would be marked up on the design paper when in reality, since they are filling threads, they should be left blank; and at the same time the weave obtained would be turned one-quarter way around. In a twilled cloth this latter would have the effect of making the twill run in the wrong direction. After the face and back, and also the warp and filling, have been deter¬ mined, the sample should be held in such a manner that the face side will be up and the filling will pass from side to side. 8 . As the term picking-out implies, the operation of find¬ ing the weave from a sample of cloth consists in picking out each pick of filling separately and setting down on design paper the manner in which it interlaces with the warp. Thus, if the filling passes under the first warp end, the square on the design paper representing where that end intersects with the pick under consideration will be filled in, showing that the warp end is raised over the filling at that point. If the pick of filling passes over the second warp end, the square on the design paper representing where the second end intersects with the pick of filling will be left blank, showing that the warp is depressed and the filling is on the face of the cloth at that particular point. 9. Preparation of Sample.—Before commencing to pick out the weave, the sample of cloth needs a certain amount of preparation in order to facilitate the operation. 73 WOOLEN AND WORSTED FABRICS 7 Several ends from the left side of the sample and several picks from the top should be pulled out, after which all loose ends, except those needed to determine the weave, should be cut off. Generally it is sufficient to leave only enough ends for the repeat of the weave, but before cutting them off be sure that enough ends for a repeat have been left. When Fig. 1 the preparation of the sample is completed it will have an appearance similar to that shown in Fig. 1, which is a slightly enlarged photographic reproduction of the sample when ready to be picked out. 10. After preparation, the sample should be held in the left hand and laid over the first finger, as shown in Fig. 2, so that when the intersection of each end with the first, or top, 8 ANALYSIS OF § 73 pick has been determined, that end may be drawn under the thumb and held out of the way while determining the inter¬ section of the next end. In this manner it will be possible easily to keep the ends separate and determine the inter¬ lacing of each consecutive end with the pick. For manipulating the ends and picks when determining the interlacings of the weave and when removing the picks from the cloth, an instrument known as a picking-out, or dissecting , needle is used. This consists simply of a stout needle, usually inserted in a wooden handle so that it may be conveniently grasped. A method that may be used to advantage in many cases is to lay the sample on a white surface if it contains dark- colored yarns, and on a black surface if it contains light- colored yarns. By this means the interlacings and individual threads will stand out much more prominently, especially when working by artificial light. When this method is used, Fig. 2 §73 WOOLEN AND WORSTED FABRICS 9 a pick glass will often be of great aid in determining the interlacings of the warp and filling, especially if the sample is woven of fine yarns or if it contains a large number of ends and picks per inch. A pick glass, or linen tester, as it is sometimes called, is a simple lens, or magnifying glass, contained in a suitable support; it is also used to enable the number of ends or picks per inch to be counted readily. A pick glass with a field of less than 1 square inch is undesir¬ able for purposes of analysis. In either method, the top pick should be drawn slightly from the body of the cloth until its interlacings with the ends can be plainly seen. Then commencing with the end of the warp at the left and taking each end in succession, indicate on design paper whether the end is above or below the pick of filling. If the first end is above the pick of filling, it will be represented by a filled square on the design paper; if it is below the pick, the square will be left blank. Proceed in like manner with each end until a repeat is found. It is-well to carry the first few picks out two repeats in order to be suie of a repeat of the weave, after which the extra ends may be cut off as shown in Fig. 1. The interlacings of the first, or top, pick should be placed on the top row of squares on the design paper and the inter¬ lacings of the first end, or the end at the left, with the first pick should be placed on the first square at the left on the design paper; that is, the interlacing of the first, or left, end with the first, or top, pick will be shown by the square in the upper left-hand corner of the design paper. It should be understood that the top pick is not the first pick that is put in the loom, although it is the first pick picked out. If the top pick of the weave were the first one put in the loom the weave would be reproduced in reverse order; that is, top for bottom. This being the case, it will be seen that the last pick of the weave removed will be the first pick put in the cloth in the loom; consequently, the lower left-hand corner of the weave, when placed on design paper, is then considered to represent the intersection of the first end and first pick. This is difficult for a beginner to comprehend, but must be ANALYSIS OF 10 §73 thoroughly understood, since it is an important point when building a harness chain from the draft. After its interlacings have been found and placed on the design paper, the first, or top, pick should be drawn out of the cloth entirely and the next pick raised among the loose ends, so that its intersections may be found in the same manner as those of the first pick. The intersections of the second pick should be placed on the horizontal row of squares directly below the row of squares on which the intersections of the first pick were marked. After marking the inter¬ lacings of the second pick, proceed in a similar manner with the third and each successive pick until a pick is found that interlaces with the warp in the same manner as the first pick. This generally indicates that the weave repeats at this point, but it is a good plan to pick out three or four more picks and compare them with the first ones taken out, in order to be sure that the weave does repeat at this point. These extra picks must be ignored afterwards and only one repeat of the weave used when finding further particulars. When one repeat of the weave is obtained, it represents what is repeated as many times as required in the width and length of the cloth, and is therefore all that is necessary. Some designers prefer to commence at the bottom of a piece of cloth to pick out. In this case after the inter¬ lacings of the first pick have been marked on design paper it is removed from the cloth and the next pick above it is examined and marked on the design paper, but in this case it is set down immediately above the one that was first marked. The interlacings of the third pick taken from the cloth are placed above the second, and so on, so that whether the pick-out is commenced at the top or the bottom of the sample, the final result as shown on design paper will be the same. 11. The best plan of indicating the weave when picking out is to prick with the picking-out, or dissecting, needle the squares that are required to be marked and afterwards mark them with ink or pencil. This method makes it unnecessary §73 WOOLEN AND WORSTED FABRICS 11 to lay down the picking-out needle and take up the pen or pencil every time a square needs to be marked. If a sample contains a large number of ends and picks per inch, or warp and filling yarns of the same color, the yarns are liable to become crossed and the wrong end marked on the design paper. To prevent this it is an advantage, before starting to pick out, to place the warp threads in a comb, fastening the ends together between two pieces of paper with mucilage, in order to prevent their slipping back. If the ends are crossed or in the wrong order when placed in the comb, this fact will be noticed before the weave repeats, and by making a note of the places where these crossed ends should be, they may be recopied in their proper order after the repeat of the weave is found. This method will be found useful with cloth difficult to dissect. It often happens that a certain sample, owing to the large number of warp ends that it contains, is much easier to pick out if the ends are removed from the cloth instead of the picks, but in this case the squares must be filled in for those picks (considered as ends) that are down and left blank for those that are up. Unless this is done the reverse of the weave in the sam¬ ple will be obtained on the design paper. A good aid when picking out warp- backed and double cloths is to cut the backing ends about I or 1 inch shorter than the face ends, after having removed a sufficient num¬ ber of picks for dissecting purposes. If the fabric is hard- felted or has a nap, singe the sample with a match and with a knife scrape off the fiber, being careful not to injure the body of the yarn. In many cases where weaves are of regular order, as twills or weaves that are very frequently used, it will not be necessary to pick out the weaves, since they will be readily recognized from the appearance of the fabric. □□□■ □□□□ □□□□ ■■■■ ■■■■ □□■■□□SSI ■□□■□®SD ■■□□®®m ■■■□soon ■■□□□□□□ ■■□□□□□□ □□■■■■■■ □□■■■■■□ ■■■■□□□□ □□□□SI SIS) si □□□□SI SI SI® □□□■□SI Si SI □□■■□□SI SI □■■□son® ■■□□®®DD □□sisanssi □ssnnns® ®®nann®® SODOm®® □□®®nns® ®on®nsisin ®®®D®nnn 12 ANALYSIS OF §73 □■■■■■□□ ■■□□EHEICO ■□□□EBBD □□□□EEEE □□□□(HI (HUE IE] □□□□ESI 1313 □□□□SEES ■■■■□□□□ □□□□□■□■ EBmBBm ssiixinnsn® EEBSDDBB BBBSBQBn ■■■■□□□□ ■■■■□□□□ □■■■□□DE □□■■□□EE EEDnEEm EmnEEED □□□□EEEE □□□□EEEE (a) 12. In Fig. 3, the pick-out for the cloth sample under consideration is shown. It will be noticed that 4 ends and 4 picks are marked with crosses, while the rest of the weave is filled in solid. These are extra ends and picks that have been picked out, in order to make sure that one repeat of the pattern has been ob¬ tained. When greater confidence has been obtained, it will not be nec¬ essary to pick out many extra ends and picks in simple weaves. This is desirable, however, in the more complicated weaves. The solid, or filled-in squares, represent one re¬ peat of the weave, which it will be seen is a check weave on 12 ends and 12 picks. Several correct but apparently different results might be obtained in picking out a sample of cloth, owing to the fact that the pick-outs might not have been started on the same end or the same pick; in this case each end and pick will be the same in each pick-out, but arranged in different order. For instance, if the cloth sample had been so prepared that the seventh end of Fig. 3 was the first end at the left of the sample and the top pick of Fig. 3 was still the top pick of the sample, the weave shown in Fig. 4 {a) would have resulted. If the sample had been so prepared that it corresponded in its ends to Fig. 3, but the top pick was the tenth pick of Fig. 3, the weave obtained would be as shown in Fig. 4 (6). Again, if the sample had been so prepared that the eleventh end of Fig. 3 □□■■□□■■ ■□■□□■■■ ■■□□■■■■ □■□■■■■■ □□■■■■■■ ■■□□□□□□ ■■□□□□□□ □□□□EEEE □□□□EEEE □□□■□EEE □□■■□□EE □■■□BODE ■■□□EEQQ □□■■□□EE ■□□■□BED ■■□□□□■■ □□□□□□■■ SEEBBEnQ EEEEEEDD □ESEEBm □□EEEEQQ ■■□□BEQD ■■■■□□□□ □□□□EEEE □□□□EEEE □□□EQEEE □□EEDDEE (£) □□■■□□□□ ■□■□□□□□ ■■□□□□□□ ■■□□□□□□ □□■■■■■■ □■□■■■■■ ■■□□■■■■ ■■■■□□EE ■■■■EQ3D ■■■■EEEE ■■■■□□□□ □□□□□□EE □□□□□□EE □□□□□BOB □□□□EEQQ ■□■□□■■■ □□■■□□■■ ■■□□■■□□ □■□■■□□□ □□EBDnnn EnEnnnm EEnnanon EBnnnnm □□□■EOED □□■■□□EE ■■□□EEDQ ■■■□□EDO BSESnnBB EBBEBDEn BEBEBEDD EEEEEEDn (c) Fig. 4 §73 WOOLEN AND WORSTED FABRICS 13 was the first end of the sample and the fourteenth pick the top pick, the pick-out would have resulted as shown in Fig. 4 (c). If these three weaves are examined carefully, it will be seen that although the weaves are apparently different from one another and from Fig. 3, they are all in reality exactly alike, since if repeated several times in the cloth, the same effect will be produced, the difference in their appearance being due only to the end and pick on which the pick-out is started. After having obtained a pick-out of a greater number of ends and picks than is actually necessary to show one repeat of the weave, it is always best to so select the ends and picks for a repeat that the weave will have the appear¬ ance that it naturally would if constructed by a designer. Thus, if one repeat of the weave, as shown by the filled squares in Fig. 3, be compared with one of the weave shown by the filled squares in Fig. 4 (c ), the lack of a logical and natural arrangement of the weave is very noticeable in the latter as compared with the former. The impression con¬ veyed by Fig. 3 is that the weave is a simple check weave, consisting of four equal sections of 6 ends and 6 picks each. It is also apparent that in the upper left-hand and lower right-hand sections the filling predominates on the face of the cloth, while in the upper right-hand and lower left-hand sections the warp predominates. No such impressions are conveyed by the repeat of the weave as shown in Fig. 4 (c), nor is the arrangement of the weave as clear, even in Fig. 4 (a) and ( b ), as in Fig. 3. It will thus be seen that there are advantages in selecting the most suitable end and pick as the first end and the first pick of a weave, and espe¬ cially is this true in weaves that are combinations of two or more simple weaves. There are several points that may be learned from the weave of the sample under consideration. In the first place, it will be noticed that this weave is an evenly bal¬ anced check; that is, the total area of 12 ends and 12 picks occupied by the weave is divided into four areas of 6 ends and 6 picks each. The check is obtained by transposition and cuts perfectly; that is, the warp floats of one section 14 ANALYSIS OF 73 oppose the filling floats of the adjacent sections and vice versa. When the yarns used are colored as in the sample under consideration, this weave produces what is sometimes known as a star check. It should not be thought that every sample of cloth is made up of a weave design, or combination of weaves, as in the case of this sample; many cloths consist of simply one weave. HARNESS, OR DRAWING-IN, DRAFTS 13. The harness draft indicates the order in which the warp ends are drawn through the harnesses. When making it, each end that interlaces with the filling in a different manner from other ends must be drawn in on a separate har¬ ness. As a result, as many harnesses will be required for any given weave as there are ends having different interlacings. By carefully examining each end in one repeat of the weave obtained from the cloth under consideration, it will be seen that of the 12 ends in the weave all have different interlacings with the fill¬ ing except the fifth and sixth ends, which are alike, and the seventh and eighth, which are also alike. The fifth and sixth ends, therefor^, could be drawn in on the same harness, since they work exactly the same; this is also true of the seventh and eighth ends. But as this would make an irregular drawing-in draft and result in the saving of only 2 harnesses, it is best to draw the warp through the har¬ nesses straight for this fabric. This will make a straight drawing-in draft on 12 harnesses, as shown in Fig. 5. The horizontal rows of squares in Fig. 5 represent the harnesses, while the figures in the draft show on which har¬ ness each end is drawn in. In making out the drawing-in draft, commence with the first end of the weave at the left and draw it in on the first harness. The second end of the weave must in this case be drawn in on a separate harness, as it has different interlacings from the first end, and so is □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□H □□ran □man mam □ □□□□□□ 18 ] □□□□□□□□ □□□□□$]□□ □□□□som □□□manna □□(!]□□□□□ □ (!]□□□□□□ □□□□□□□a □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ Fig. 5 §73 WOOLEN AND WORSTED FABRICS i5 drawn on the second harness as indicated. Proceed in the same manner with each end of the weave in succession, always working from left to right. 14. If any end in a weave has interlacings exactly the same as the interlacings of any other end in the weave, it may be drawn in on the same harness, in which case the same number of harnesses as ends in the weave will not be required. However, as explained previously and illustrated by the weave under consideration, it is sometimes desirable to use more harnesses than are absolutely necessary, because of the increased simplicity of the drawing-in draft thereby obtained. The drawing-in draft will always occupy the same number of ends as one repeat of the weave, but if more than one end is drawn on any harness it is evident that the same number of harnesses as ends in the weave will not be used. It should be borne in mind that the color of the ends does not make any difference in the manner of drawing each end through the harnesses, the only distinction being the manner in which the end interlaces with the filling, except that in some cases, where there is a fancy thread in a design, these threads are all drawn on one harness if possible. Many weaves may be drafted down to a very small number of harnesses, but this is not always advisable, as in many cases the draft will become so complicated that the weaver will have considerable trouble in drawing in a broken end on the correct harness. Then, again, if the whole warp is drawn in a small number of harnesses, especially in goods having a large number of ends per inch, the heddles on the harnesses become so crowded that the ends break much oftener, owing to the chafing that results from operating the harnesses when they are crowded. In many cases other circumstances will be found that influence the number of harnesses on which a weave or combination of weaves is woven. A student of designing should constantly seek information on these points, especially in a weave room where there is an opportunity of examining samples of cloth from the various fabrics and of knowing how they are woven. He may then 16 ANALYSIS OF 73 find, by analysis, the lowest number of harnesses on which it is possible to weave the sample, and also the actual number of harnesses on which it is being woven in the weave room. If more harnesses are used than the lowest number possible, the reason should be learned. With many weaves it will not be possible to tell at a glance the number of harnesses necessary, as was the case with the weave in the sample of cloth under consideration. Such weaves must be carefully examined and the interlacings of each end studied separately, in order to determine which ends have similar interlacings. 15. When making out the harness, or drawing-in, draft for any weave, the following particulars should be noted in each case: (1) It is always desirable to make out a harness draft in such a manner that it will be as nearly a straight draw as possible; this is a great aid to the weaver when drawing in broken ends, as he can thus find the proper har¬ ness more readily. (2) Try to have the same number of ends on each harness; this is a great aid to the smooth and easy running of the loom, as it equalizes the strain on each harness. (3) If it is necessary to place more ends on some harnesses than on others, try to have these harnesses at the front, as the majority of broken ends will occur on these harnesses and, if they are at the front, the ends are much more easily tied in. The front harnesses also are easier on the yarn, since they are not lifted as high in shedding as the other harnesses. CHAIN DRAFT 16. The chain draft is obtained from the weave and drawing-in draft, and therefore these must first be obtained. By referring to Fig. 5, which shows the harness draft for the weave under consideration, it will be seen that the first end in the weave is drawn in on the first harness; therefore, the interlacings of the first end must show the working of the first harness; or in other words, the interlacings of the first end show the manner of raising the first harness. The §73 WOOLEN AND WORSTED FABRICS 17 second end is drawn through the second harness; therefore, the interlacings of the second end as shown in the weave illustrate the manner in which the second harness is raised. The same method is continued throughout, proceeding in regular order, as this is a straight draft. However, where a weave is drafted to a lower number of harnesses than there are ends in the weave, that is, where the drawing-in draft is not straight and more than one end is drawn in on any harness, that harness will control two or more ends of the weave; but in the chain draft only one of these ends will be needed to govern the method of raising the harness. Conse¬ quently, when obtaining the chain draft, begin at the left of the weave and take only those ends that are drawn in on different harnesses, taking each end only once. In the weave under consideration, each end is drawn in on a differ¬ ent harness; therefore, each end will have to occur in the chain draft as shown in Fig. 6, which in this case is the same as the weave, or pick-out, in Fig. 3, in consequence of the drawing-in draft being straight. When the harness draft is not straight, the chain draft becomes a reduced weave—reduced according to the harness draft. ADDITIONAL POINTS TO BE DETERMINED BY ANALYSIS 17. In addition to the requirements listed in Art. 2, there are a few other items that must in most cases be deter¬ mined when analyzing a fabric. Some of these are unneces¬ sary in themselves, but must be ascertained in order that other items may be accurately found. They are as follows: (1) determination of the face and back of the fabric; (2) deter¬ mination of warp and filling; (3) determination of the direction of twist in warp and filling; (4) the shrinkage of the cloth; (5) the number of beams necessary; (6) the raw material. ■■□□□□□■ ■■□□□□□□ ■■□□□□□□ □□■■■■■■ □■■■ ■■■■ ■■■■ □□□□ □□□□ □□□■ Fig. 6 18 ANALYSIS OF §73 DETERMINATION OF FACE AND BACK OF FABRIC 18. The face and back of a fabric must always be decided on before finding the pick-out, in order that the correct weave may be obtained. In most fabrics this is easily done, although some cloths baffle the most experienced designer. The face of a worsted fabric that has a prominent design will be found to show a much clearer and better pattern than the back. The finish on the face side is also better in practically every case, the cloth being generally sheared or singed closer; it will also be more lustrous, since it receives more brushing and attention in the finishing. Often the back of such a cloth will show more or less loose fibers, while the face will be devoid of the same. Often the effect of the weave is such that the face of the fabric is readily deter¬ mined. When a fabric is a backed or a double cloth, the face can often be distinguished by the style of the finish. The backing yarns in a double cloth are also frequently coarser and of poorer quality than the face yarns. In a filling- backed fabric, the backing filling floats on the back of the cloth and is generally a soft-twisted yarn, in order to give the cloth a warm feeling. Warp-backed fabrics have long floats of the backing warp floating on the back of the cloth, and therefore the face is readily determined. When a fabric has a stripe design, the stripe usually shows up more prominently and has a more finished appearance on the face of the fabric. In milled and napped fabrics, the face of the cloth is mostly smoother and more lustrous than the back, and the nap is generally brushed in one direction and sheared to an even length, thus making a smooth and velvety surface on the face of the goods. DETERMINATION OF WARP 19. There are several methods by which the warp may be distinguished from the filling: (1) If the sample sub¬ mitted for analysis contains a part of the selvage, the warp can be readily distinguished from the filling, since the sel¬ vage always runs in the direction of the warp. (2) If in any §73 WOOLEN AND WORSTED FABRICS 19 fabric one series of yarn is found to be harder-twisted—that is, has more ttirns of twist per inch—than the other series, the former will in all probability be the warp, because harder- twisted yarns are stronger and it is customary to use them where the most strain occurs, which is always in the warp. (3) If the sample has been gigged and a fairly long nap raised on the cloth, the direction of the nap will always indi¬ cate the direction of the warp, since all cloth, in being finished, is passed through the finishing machines in the direc¬ tion of the length of the piece, or the warp. (4) The counts, or number, of the yarns will often indicate which series of yarn is warp and which is filling, since in many cases the filling will be of finer counts than the warp. However, the student should not assume that this is true in every instance. (5) If in any case one series of yarn is found to consist of threads of different materials, such as worsted and cotton, while the other series of yarn is all of one material, the former is generally the warp, although this is not an invari¬ able rule. (6) If the sample of cloth submitted for analysis contains reed marks, these marks will indicate the warp, since they always run warpway of the goods. They are caused by the reed wires becoming bent or getting out of place, thereby crowding some ends together and giving others too much space. (7) Any fabric of a striped char¬ acter, such as trouserings, etc., will usually indicate the warp at once, as the stripe nearly always runs in the direc¬ tion of the warp. (8) If the design is a twill, it generally runs up to the right, thus indicating the warp. This, how¬ ever, is not an invariable rule, as many cloths are twilled to the left. (9) If one series of yarn is composed of ply yarn and the other series of single yarn, the ply yarn may usually be considered the warp and the single yarn the filling. In woolen cloths, however, ply yarns are frequently used in the filling. (10) In union fabrics in which one series of yarn is all cotton, this series is generally the warp yarn. 20 ANALYSIS OF 73 DETERMINATION OF TWIST 20. By the term twist both the direction of the twist and the amount of twist, or number of turns per inch, placed in the yarn is meant. The direction of the twist of yarn becomes an important matter when reproducing cloth, since with some weaves a different effect will sometimes be obtained by simply changing the twist of the warp or the filling. Yarns may be twisted in one of two directions, which are technically known as right twist and left twist. There is considerable difference of opinion as to what consti¬ tutes a right-twist or a left-twist yarn, as some mills consider as right-twist what other mills consider as left-twist yarn. However, the method of indicating the twist that is most commonly applied will be explained here. By holding the thread between the thumb and forefinger of each hand the direction of the twist may be easily learned. If, when turning the yarn from the body with the right hand, it is untwisted, it is right-twist; if it is twisted up harder, it is left-twist. Another method of determining the twist of the yarn is to observe which way the twist marks on the surface of the thread are inclined when the thread is held upright. If they slant up to the left, the yarn is left-twist; if up to the right, it is right- twist. This is the method adopted with screws for determining the twist of the screw thread. Fig. 7 represents a yarn that would be known as a right-twist yarn, while Fig. 8 illustrates a left- twist yarn. By closely examining the yarn in the Fig. 7 Fig. 8 sam pi e under consideration, it will be seen that all the yarn in the warp is a 2-ply yarn twisted to the left, or left-twist, while the filling is a single right-twist yarn. The single yarns twisted for the warp thread would be spun right- twist and when folded would be twisted to the left, since the ply yarns are always twisted in the opposite direction to the single yarns of which they are composed. As previously stated, twist also refers to the amount of twist, or the number of turns per inch, in a given yarn. §73 WOOLEN AND WORSTED FABRICS 21 In the case of a ply yarn this can usually be readily ascer¬ tained by putting the yarn under a pick glass; or it can be found with more accuracy by untwisting a given length of yarn and dividing the number of turns of twist by the number of inches measured. 21. Twist Counter. —The amount of twist in any yarn may be determined by means of an instrument made for the purpose of untwisting the yarn and registering the number of revolutions made in taking out all the twist; this instru¬ ment is known as a twist counter. The simplest and most commonly used form is shown in Fig. 9. It consists primarily of two jaws, one of which b is capable of adjust¬ ment on a bar a; the other jaw c may be rotated, the exact <5 ^■. \af Fig. 9 number of turns that it makes being indicated on a graduated dial d. The counter is adapted for finding the number of turns in a sample of yarn from 1 to 10 inches in length, whether right- or left-twist. The yarn is held firmly by the jaws at a given distance apart, as indicated by the position of b on a ; the jaw c is then rotated until all the twist is taken out of the yarn, the instrument recording the number of turns on the dial d. 22 ANALYSIS OF 73 SHRINKAGE 22. The shrinkage of the cloth is an item that can be determined only by the experience and the judgment that will come to the student of designing after becoming familiar with various cloths and their peculiarities in finishing. . It must be understood that while it is true that certain goods shrink a given percentage within certain limits, yet there is some leeway, and the finisher can produce goods of any width and weight required within reasonable limits. The shrinkage, of course, varies largely with the raw material as well as with the class of goods; some wools will full up much more quickly than others and thus shrink more. It must be remembered that goods can be shrunk almost any desired amount, depending on the nature of the fabric that is desired. 23. The following table shows the percentages usually allowed for different classes of goods, thus giving an idea of how wide they should be reeded, in order to finish easily to the desired width: Class of Goods Percentage of Shrinkage Beavers. 25 to 30 Kerseys. 25 to 30 Meltons. 25 to 30 Pilots. 25 to 30 Doeskins. 15 to 20 Cassimeres. 12 to 15 Woolen goods shrink more than worsted goods and con¬ sequently should be reeded wider and warped longer for the same finished width and length. Goods that are fulled also shrink more than goods that are not fulled. Heavy woolen goods with heavy fulling, such as triple-milled goods, will sometimes shrink as much as 30 per cent, and will average from 25 to 30 per cent. For light-weight, fulled 73 WOOLEN AND WORSTED FABRICS 23 woolens a shrinkage of from 12i to 18 per cent, in the width should be allowed, while if not fulled a smaller allowance, say from 10 to 15 per cent., is sufficient. As a general rule goods do not shrink so much in length as in width, especially those that are not fulled, the action in passing through the finishing machinery being to keep the goods stretched in length. For light-weight worsted goods with a clear finish from 8 to 12i per cent, shrinkage in width is sufficient to allow, while if fulled (which is rarely done) from 12^ to 15 per cent, should be allowed. For heavy-weight worsted goods with a clear finish from 12i to 15 per cent, shrinkage in width should be allowed, while if the cloth is fulled an allow¬ ance of 15 to 20 per cent, should be made. Goods made with cotton warps do not shrink in length, and those with cotton filling do not shrink in width, to so great an extent. Goods with a mixture of cotton and wool, either in warp or filling or both, shrink proportionately less than goods made from pure wool. When it is desired to estimate the shrinkage of a fabric from a small sample, a thread of a given length, say 2 inches, may be pulled out, moistened a little, and then stretched (but not too hard) and measured again. The amount that the thread stretches will give some indication of the amount that the fabric has shrunk. This may be done with both warp and filling. NUMBER OF BEAMS REQUIRED 24. Although the majority of cloths are woven from one beam, yet in many cases, when desiring to reproduce a fabric, it will be found necessary to use more than one beam for the warp yarn, in order to allow for the difference in the take-up of a portion of the warp yarn. When dissecting any cloth, in order to decide this, the weave should be carefully con¬ sidered. If the cloth is made from one regular weave and the warp yarn is all the same, it will be necessary to use only one beam; but in cases where two or more weaves are combined in a fabric, it will be necessary to study the 24 ANALYSIS OF 73 weaves carefully and ascertain whether one will take up more than the other. When desiring to find the number of beams necessary to weave any sample of cloth, the most essential point to notice is the interlacings of each weave. For instance, the ends of one weave may interlace with the filling six times in a certain number of picks, while the ends of another weave in the same design may interlace twelve times in the same number of picks. When such is the case, the ends that interlace the larger number of times will, of course, take up faster, owing to the fact that they bend around the filling more times. If a warp for a cloth like this is placed on one beam, those ends that take up more rapidly will grow tighter in the fabric, thus giving it a cockled appearance. In such instances it will be found best to separate the ends that do not take up alike and place them on two beams. It is unnecessary to use two beams, unless there is a marked difference in the take-up, since small differences will be overcome by the elasticity of the yarn. In some cases a cloth may be regular, therefore apparently requiring only one beam, with the exception that at certain intervals there will be a fancy thread that will have different interlacings from the body of the cloth, in order that it may produce some desired effect. In this case the fancy threads are placed on a separate beam or, if there are only a few, they are wound on a jack-spool, which may be adjusted at the back of the loom.. Double cloths and cloths backed with warp often require two beams, one for the face warp and one for the back warp, since the back weave is generally different and also because coarser yarns are used for the back of the fabric. If the same yarn and weave are used for the back as for the face of a double cloth, both warps can be put on one beam. DETERMINATION OF RAW MATERIAL 25. In many fabrics there will be a mixture of different materials; for instance, woolen and cotton yarns, worsted and cotton, woolen and silk, worsted and silk, and other §73 WOOLEN AND WORSTED FABRICS 25 combinations are often found in the same fabric. In such cases it will be found necessary to determine which ends are of one material and which ends are of another. A knowledge of the different fibers is of great aid in determin¬ ing of what material various yarns are made, but often a single yarn may be composed of several materials, the mixture having been made in the raw stock. In this case chemical or microscopical tests must be used, in order to determine the different materials and the percentage of each. The quickest, and an invariable, method of ascertaining whether a sample is composed of animal or vegetable fibers is to burn a sample of the yarn. Vegetable fibers are com¬ posed of carbon, hydrogen, and oxygen, and when burned will make a flame and leave a white ash, but will emit no odor. Animal fibers are composed of the same elements as vegetable fibers, but also contain nitrogen and, in the case of wool, sulphur to a small extent; when burned, they will not flame but smolder, coiling up and forming a small, crisp globule. They are also distinguished from the vege¬ table fibers by the peculiar odor, similar to that of burned horn or feathers, that they emit while burning. 26. Distinguishing Woolen From Worsted Yarn. To distinguish a woolen yarn from a worsted yarn, untwist the yarn and observe the disposition of the fibers in the structure of the thread. A worsted yarn is a thread com¬ posed of wool, the fibers of which lie smoothly in the direc¬ tion of the thread and are parallel to each other. The surface of a worsted thread is comparatively smooth and the thread generally has a well-defined luster. A woolen yarn is also a thread spun from wool, but the individual fibers are mixed and crossed in every conceivable direction and the surface of the thread presents a uniformly rough appearance, which, however, is lacking in luster. As a further test in distinguishing between woolen and worsted yarns, the length of the fibers that compose the thread may be observed. Fibers from a woolen yarn are usually quite short, while those from a worsted yarn are 26 ANALYSIS OF §73 longer. This test alone gives not sufficient data on which to base an authoritative statement, because some woolen yarns are composed of rather long fibers, while certain worsted yarns are made of comparatively short fibers; it serves, however, as a further indication to supplement the deductions of other tests. The woolen fiber is also crinkled and curled, while the fiber in a worsted thread has a straight appearance. 27. Distinguishing Silk From Other Yarns —Silk can generally be distinguished from either cotton, woolen, or worsted by its incomparable luster, and also by the fact that it is generally finer. However, mercerized cotton, which also has a remarkable luster, should not be con¬ founded with silk. These two yarns may be distinguished by burning, as the silk, being an animal fiber, will burn similarly to wool. 28. Distinguishing Linen From Cotton. — Linen may be distinguished from cotton from the fact that the thread is rougher and contains uneven bunches. Linen may also be distinguished from cotton from the fact that it has a harsher feeling. 29. Ascertaining the Percentage of Each Material in Union Fabrics. —Tests have been given by means of which it should be possible to distinguish the fibers that are ordinarily met with in textile fabrics, but nothing has been said about the quantity. Where different materials are placed in a fabric in solid threads of each material it is a simple matter to determine the amount of each material, but when the different materials are mixed in the raw stock it is more difficult to find the exact percentage of each. For instance, many woolen yarns, especially warp yarns in low- grade goods, contain cotton, which not only cheapens the fabric, but makes the yarn stronger. To determine the percentage of cotton, or other vegetable fibers, in a mixed yarn composed of animal and vegetable fibers, the following method may be employed: If accurate results must be obtained, the yarn or cloth sample in which the percentage §73 WOOLEN AND WORSTED FABRICS 27 of wool and cotton, or other animal and vegetable fiber, is to be determined should first be stripped of dye stuff by being boiled in dilute hydrochloric acid. The yarn or cloth is then immersed for 20 minutes in ammoniacal copper oxide or con¬ centrated sulphuric acid, which destroys the vegetable matter. The fibers that are left when dried and weighed will give the percentage of wool, or other animal fiber, as compared with the weight of the original sample. 30. A method that is used perhaps more frequently than the above is to boil the weighed sample in an 8° B. solution of caustic potash for 2 hours, after which it is washed and dried. During the boiling, a few drops of water are added from time to time to prevent the alkali from becoming too concentrated. After the sample is dried, its weight will be that of the cotton in the sample and the loss in weight will be that of the wool. Instead of potash, a 7° B. solution of caustic soda may be used, the boiling being carried on for not over 15 minutes. Note. —B. means Baume and refers to the graduated scale on Baume’s hydrometer used for determining the density of a solution. 31. To separate silk, cotton, and wool: Take two sam¬ ples each of the same weight; boil them from 15 to 30 minutes in a 3° B. solution of hydrochloric acid to remove the sizing, etc.; then wash them. Immerse one sample in a boiling solution of basic zinc chloride for a short time; then wash thoroughly first in acidified and then in clean water, and dry it. The loss in weight gives the amount of silk. Boil the second sample for 15 minutes in a 7° B. solution of caustic soda and then wash and dry it. The residue is cotton, to the air-dry weight of which must be added about 5 per cent, to compensate for the loss of the fiber during the operation. The difference between this and the original weight represents the weight of wool. TWILL WEAVES AND DERIVATIVES TWILL WEAVES GENERAL CONSIDERATION 1. Introductory. —Certain weaves, because of the simi¬ larity of their construction and of the effects that they produce in the fabric, are grouped in classes. They partake of the nature of fundamental, or standard, weaves, not only on account of the simplicity of their construction, but also because of their wide and varied use in almost every class of textile fabrics. For instance, the plain weave may be considered as a standard construction, since it is widely used in weaving fabrics composed of any material. One of the largest of these classes is that of twill weaves, which are so called because of the peculiar effect they form on the surface of the fabric. Many of the simpler twills have, like the plain weave, acquired distinctive names by which they are readily recognized by experienced designers. 2. Construction of Twills. —In the plain weave, each end is alternately raised and lowered, but in a twill the warp ends are so raised that the warp and filling floats form diagonal lines across the cloth, known as twill lines. In a twill each warp end must be either over or under the filling for at least 2 picks in succession and at least 2 suc¬ cessive warp ends must be raised or lowered on each pick, in order to make the twill line across the cloth. On this For notice of copyright, see page immediately following the title page 1 75 2 TWILL WEAVES AND DERIVATIVES 75 account at least 3 harnesses are necessary to weave a twill, or in other words three is the smallest number of harnesses on which a twill effect can be formed in the cloth. Thus, the 3-harness , or prunelle , twill , as it is called, is the simplest twill that can be made. As shown in Fig. 1, the first end of this weave is down on the first pick, but floats over the second and third picks; the second end is down on the second pick but floats over in Fig. 1 the third and first picks; the third end is down on the third pick but floats over the first and second picks. Each end in this weave therefore floats over 2 picks in succession. This constitutes one repeat of the weave; that is, if the fourth end were shown, it would be found to be similar to the first end, while the fifth end would be like the sec- ond, and the sixth like the third. It will also be noted in Fig. 1 that on the first pick the second and third m Fig. 2 warp ends are raised, on the second pick the first and third warp ends are raised, and on the third pick the first and second warp ends are raised. Thus it will be seen that in this weave requirements of a twill weave are met. With this weave a twill, or diagonal, line is formed F 3 running up to the right. Weaves may be twilled either to the right or to the left, although in the majority of cases they are so constructed as to form twill lines running up to the right, as in the case of Fig. 1. Fig. 2 shows a warp-flush prunelle twill running to the left. 3. A weave may be warp flush, filling flush , or equally flush , depending on whether a preponderance of warp or filling or an equal amount of each is brought to the face of the cloth; thus, Fig. 1 is a warp-flush prunelle twill, while Fig. 3 shows a filling-flush prunelle twilled to the right and Fig. 4 shows a filling-flush prunelle twilled to the left. A cloth woven with a warp-flush weave shows a filling-flush weave on the back, and if woven with a filling-flush weave shows a warp-flush weave on the back. Thus it will be seen that these terms simply refer to the effect on the face of the cloth. Fig. 4 §75 TWILL WEAVES AND DERIVATIVES 3 ■□■■□■a □BBDBBD □ BBUBBI'JB (fl) 4. Repeat of tlie Weave.—One of the most important things in designing and probably one of the most difficult for the beginner to understand is the repeat of the weave; especially is this of importance in dealing with twills. It will be found a great aid, when only one repeat of a weave is given, to practice extending the weave on design paper for several repeats. By this means one repeat of any weave will more readily be found when it becomes necessary to distinguish a single repeat from several re¬ peats. Weaves may be repeated on design paper either in their ends or in their picks, or they may be repeated in both the ends and the picks. Suppose, for example, that it is desired to extend Fig. 1 for three repeats in its ends. As already stated, this weave is complete on 3 ends; consequently, three repeats will occupy three times this number, or 9 ends. If it is desired to repeat the weave in its picks three times, it will occupy 9 picks; while if it is repeated three times in both ends and picks, it will occupy 9 ends and 9 picks. When repeating a weave it is simply necessary to copy the weave exactly as it is; that is, if Fig. 1 were to be repeated in its ends, one repeat of the weave would first be set down and the other repeats copied. The fourth end would be the same as the first; the fifth end, the same as the second; and the sixth end, the same as the third. This would make two repeats. If another repeat is required, the ends will simply be copied again in their proper order. If the weave is to be repeated in its picks, the picks will be copied in the same manner as were the ends when repeating in its ends. Fig. 5 (a) shows the weave Fig. 1 repeated three times in its ends; Fig. 5 (b) shows the weave repeated three times in its picks; and Fig. 5 ( c ) shows the weave repeated three times in both ends and picks. 4 TWILL WEAVES AND DERIVATIVES §75 REGULAR TWILLS 5. Regular twills are those that run in regular order; it is, therefore, simply necessary to know the interlacing of any one end or pick, say the first, of a regular twill in order to show the entire weave on design paper. The interlacings of the first end or pick of any regular twill are conveniently shown by writing numbers above and below a horizontal line; thus, for example, shows that the first end is up 2 picks, down 3, up 1, and down 2. The interlacing of a regular twill weave shown in this manner is called the base of the twill. Since in regular twill weaves the ends interlace with the picks in exactly the same manner as the picks interlace with the ends, the base also shows the inter¬ lacing of the first pick, as it indicates that on the first pick the first 2 ends are up, the next 3 are down, the next 1 is up, and the next 2 are down. The sum of these numbers, eight, shows that the twill repeats on 8 ends and 8 picks. Suppose that it is desired to show the 2 ir J ir twill on design paper. The first step is to mark the first end or first pick in the manner indicated by the base; the twill will be the same whichever is marked. If the first end is marked, it should be marked from top to bot¬ tom; if the first pick, it should be marked from left to right. One method, however, should be adopted; consequently, the system of marking the first pick will be used here. Marking this pick shows that the first 2 ends are up, the next 3 ends down, the next end up, and the next 2 ends down, as shown in Fig. 6. The next step is to run up the twill in regular order; that is, if an end is up on one pick, on the next pick the next end in the direction in which the twill is to run is up. That this method of making a twill may be more readily understood, each end will be run up separately and after¬ wards the complete design will be shown. Commencing with the first end and the first pick, which is at the lower left-hand corner, this first end is raised on the first pick; then □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ § 75 TWILL WEAVES AND DERIVATIVES 5 Fig. 7 Fig. 8 on the next pick the next end to the right, if the twill is run to the right, will be raised; that is, the second end will be raised on the second pick, and the third end will be raised on the third pick. This is continued for the 8 ends and 8 picks with the result shown in Fig. 7. Next taking the second end and dealing with it in exactly the same manner will give the result shown in Fig. 8. It should be noted in connection with this figure that when run¬ ning these marks up on the design paper the eighth end is raised on the seventh pick. If this were continued in a regular line for the 8 picks, the next mark would come on the ninth end, but the weave is complete on 8 ends; consequently, the mark for the ninth end is placed on the first end, since the ninth end will be the first end of the next repeat, which of course is exactly like the first end of the repeat under consideration. That this is correct will be seen if two repeats of the weave are made. In Fig. 6, the third, fourth, and fifth ends are lowered on the first pick; these blank squares will consequently run up in the same manner as the filled-in squares, but it is not neces¬ sary to consider them since, if the filled-in squares are run up cor¬ rectly, the blank ones must be correct. Since the sixth end is raised on the first pick, the seventh end will be raised on the second pick and so on, as shown in Fig. 9. It should be noted that the eighth end is raised on the third Fig. 9 Fig.10 pick-and that in order to continue for the 8 picks, the first end must be raised on the next pick and the marks run from this point to complete the 8 picks, as shown. As the seventh and eighth ends are down on the first pick it is not necessary to consider these. If Figs. 7, 8, and 9 are combined, the com¬ plete twill will be obtained, as shown in Fig. 10. When con¬ structing a twill, it is not necessary to run up each twill line 6 TWILL WEAVES AND DERIVATIVES §75 76 ° 72° 63° separately as in Figs. 7, 8, and 9 and then combine them as in Fig. 10 since it is perfectly feasible to construct the entire twill as shown in Fig. 10 at one oper¬ ation. The method of running up each twill line separately is adopted only to explain the con¬ struction of the com¬ plete twill. 6. A rule for making 45° any regular twill when the interlacings of the first pick are given is as follows: Rule. — Mark on the first pick of the weave the ends that are to be lifted on that pick; then above on the second pick place similar marks, moving ; o them one square to the right if the twill is to run to the right, or one □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□■■■a □□□□□□□□ □□□□□□□□ aaaaaaaa □BBBaaaa □□□□BBBa □□□□□□□B □□□□□□□a □□□□□□□a □□□□□□□a aaaaaaaa □Baaanan aaaaaaaa □aaaaaaa □□□□□□□a □□□□□□□a □□□□□□□a. □□□□□□□a □□□□□□□a aaaaaaaa □□□□□■■a □□□□□□□□ □□□□□□□□ □□□□BflflB □□□□□□□□ □□□□□□□a aaaaaaaa □Baaaaaa □□□Baaaa, □□□□□Baa, □□□□□□□B □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a □□□□BBBB □□□□□□□□ BaDDDDDD □□BBBOCD □□□□□BBB □□□□□□□□ aaaaaaaa □BBdOCOn □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a aaaaaaaa □aaaaaaa □□□aaaaa □□□□□□aa □aaaaaaa □aaaaaaa □aaaaaaa □aaaaaaa □aaaaaaa aaaaaaaa □aaaaaaa □BdDDBDn □aaaaaaa □aaaaaaa aaaaaaaa aaaaaaaa aaaaaaaa □aaaaaaa □aaaaaaa □□□□□□aa □□□aaaaa □aaaaaaa □aaaaaaa □aaaaaaa □aaaaaaa aaaaaaaa □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□BB □□□□aaaa □□Banana □aaaaaaa □aaaaaaa aaaaaaaa aaaaaaaa □□annana □aaaaaaa aaaaaann □□□□□□□a □□□□□□□a □□□□□□BB □□□□aaaa □aaaaaaa aaaaaaaa □□□□□□□a □□□□□□□B □aaaaaaa aaaaaaaa □□□□□□□a □□□□□□□a □□□□□□□a □□□□□BBB □□BBaaaa aaaaaaaa □aaaaaaa aaaaaaaa □□□□□□BB □□□BBaaa aaaaaaaa □□□□□□□a □□□□BBBB BBBBaaan □□□□BBBa □BBBaaaa aaaaaaaa □aaaaaaa □aaaflBBfl BBBaaaaa □aaaaaaa □aaaaaaa □□□□□□□a □□□□□□□a □□□□BBBB BBBaaaaa □□□□□□□a □□□□□□□a □□□□□□□a □□□□□□□a 27° Fig. ii twill is to run to the left. Proceed with each pick in the same way, moving one to the right or left, as the case may be, until there are as many picks as ends, when the weave will be completed. 7. Angles of Twills.—The angle of a twill is affected: (1) by the manner in which the ends and picks interlace; (2) by the relative number of ends and picks per inch. Fig. 11 illustrates the method of running up twill lines on design paper so as to form different angles. 7 75 TWILL WEAVES AND DERIVATIVES In the first twill line at the bottom, the twill moves four squares filling way, or across the design, and then one square up; by this means an angle of 14° is formed. In the next case the twill moves three squares filling way and then one square warp way, forming an angle of 18°. In the next case the twill moves two squares filling way and then one warp way, which gives an angle of 27°. By care¬ fully noting each twill line, the method of forming different angles will be readily understood. Twills are spoken of as being such a degree twill, the 45° twill being the most common, as it is the angle formed by all regular twills. A twill that forms a certain angle on regular 8x8 design paper will not form that same angle in the cloth unless the number of ends and picks per inch and the counts of the warp and filling yarns are the same. For example, the 45° twill shown in Fig. 12 is shown on 8 X 8 design paper; that is, the design paper has eight vertical rows of squares and eight horizontal rows in the same distance, warp or filling way. Since a row of squares across the paper represents a pick and a row of squares vertically represents a warp end, a twill or any design on this kind of design paper shows the weave as it would appear in the cloth if the same number of picks per inch as ends per inch is inserted. Suppose that twice as many picks are placed in 1 inch of the cloth as there are ends per inch; then in order to give a correct representation of this on design paper, a paper should be used that contains twice as' many horizontal rows of squares in a given space as it has vertical rows of squares. Fig. 13 shows the twill in Fig. 12 on design paper of this kind; it will be noticed that an angle of 27° is formed. On the other hand, if there are twice as many ends per inch in the cloth as there are picks, an angle 8 TWILL WEAVES AND DERIVATIVES 75 of 63° will be formed with this same twill; Fig. 14 illustrates this point. It will be noticed that in both Figs. 13 and 14 two repeats of the weave are shown. Ordinarily, however, 8x8 design paper is used in constructing designs even if the fabric is to be woven with more picks than ends per inch or vice versa. It is only in jacquard designing and for some Fig. 14 ■■■■□□□a ■■■□□□■■ ■■□□□■■□ ■□□□■■□□ □□□bbdcid ■ □□□■ □□□BB □□BBB □BBBB BBBBB BaaoBBaa BBDDDBBD BBBaaaBB ■BiiaaQB ■■■■■□□□ □BBBBBGC □GBBBBBG □□□BBBBB BBBBQ BBBIGG ■■□□□ Baaaa □□□BB □□■■□ □BBDD ■■□□□ Fig. 15 special fabrics where it is desired to preserve the symmetry of a figure, or pattern, that a design paper is used corre¬ sponding to the relative number of ends and picks per inch in the fabric. When working out twill weaves on design paper it should be understood that whatever kind of twill the weave may be, the ■■■□□■□□ ■■□□■□□■ BaaaaaBB □□BQDBBD □aaaBBaa ■□□Baaaa ■■□□□■ Baaaaa □□□BBB □□BBBB □BBBBQ BBBB. 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Twills that form an angle of more than 45° are known as upright twills , while those that form an angle of less than 45 ° are called oblique, or reclining, twills. 8 . By carefully studying the following regular 45 ° twills and the explanations previously given, a good understanding of the method of working out twills may be obtained. Fig. 15 is a regular 45° twill twilled to the right; Fig. 16 is a regular 45° twill twilled to the right; Fig. 17 is a regular 45 ° twill with the base 5 1 4 6 twilled to the left. Several twills that are constantly used in the construction of the more common fabrics are known by definite names. Among them are the filling- flush prunelle , Fig. 18 (a); the warp flush prunelle , Fig. 18 (b); the cassi- mere, Fig. 18 (c); the filling-flush □□□■□ crow , Fig. 18 ( d ); the warp-flusli crow , □■□□□ Fig. 18 (). This leaves two blank spaces, as shown, in which any desired weave may be inserted, thus pro¬ ducing a fancy entwining twill, as shown in Fig. 42 (c), where the inserted weave is indicated by the shaded risers. CURVED TWILLS 16. Curved twills are those in which the twill lines have a wavy, or curved, nature instead of being perfectly straight as in an ordinary twill weave. There are two methods of constructing these weaves, although the results are very similar in either case. The first method consists of amalgamating several sections of twill weaves running at different angles, while by the second method the curved effect is obtained with a regular twill weave for a chain draft and a drawing-in draft so arranged as to produce the desired effect. Fig. 43 shows several repeats of a curved twill constructed in accordance with the first method. This weave repeats on 32 ends and 8 picks and is composed of four sections of 8 ends each; the first sec¬ tion is the regular 8-end 45° twill ^r; the second section is a twill having an angle of 63°; the third section is a twill with an angle of 72°; and the fourth section is like the second. It will be noticed that each end of the weave interlaces in the same manner as some one of the first 8 ends; therefore, the weave may be woven with 8 harnesses and the first 8 ends as a chain draft if the proper drawing-in draft is used; this shows that the second method of constructing curved twills is really based on the first. Fig. 44 (a) shows several repeats of a curved twill con¬ structed by the second method with the chain draft shown in §75 TWILL WEAVES AND DERIVATIVES 25 □□□□■■■a BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □DDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD DDDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD DDDDBBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□□BBBBD BBDDDDBB DBBBBDDD □□□□BBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □DDBBBBD BBDDDDBB DBBBBDDD □□□□BBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□□BBBBD BBDDDDBB DBBBBDDD □□□□BBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□□BBBBD BBDDDDBB DBBBBDDD DDDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD DDDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD DDDDBBBB BDDDQBBB BBDDDDBB BBBDDDDB BBBBDDDD DBBBBDDD □□BBBBDD □□□BBBBD □□□□BBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD DBBBBDDD □□BBBBDD □□□BBBBD □□□□BBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD DBBBBDDD □□BBBBDD □□□BBBBD □□□□BBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD DBBBBDDD □□BBBBDD □□□BBBBD DDDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD DDDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD DDDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD DDDDBBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□□BBBBD BBDDDDBB DBBBBDDD □□□□BBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□□BBBBD BBDDDDBB DBBBBDDD □□□□BBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□□BBBBD BBDDDDBB DBBBBDDD □□□□BBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□□BBBBD BBDDDDBB DBBBBDDD DDDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD DDDDBBBB BBDDDDBB BBBBDDDD □DBBBBDD DDDDBBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD DBBBBDDD □□BBBBDD □□□BBBBD □□□□BBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD DBBBBDDD □□BBBBDD □□□BBBBD □□□□BBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD DBBBBDDD □□BBBBDD □□□BBBBD DDDDBBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD DBBBBDDD □□BBBBDD □□□BBBBD DDDDBBBB 0 c £ 26 TWILL WEAVES AND DERIVATIVES 75 Fig. 44 (b) and the drawing-in draft Fig. 44 (c ). The first end of the effect in Fig. 44 (a) is like the first end of Fig. 44 ( b)\ the second end is like the fourth end; the third, □■■■□■□■ □□■□■□■■ ■□■□■□■■ ■■■■□■■□ □■□■□■■□ □■□□■■□■ BaaaaaBB □□annaaB □BBaBBBU aaaBBBaa aaaBBBaa □□BBBUBB BDaaBBaa □□BBaaaa □BBBaaaa aaaaaBBB aaaaaBBB □□BBBBBfl □□BBBBBB BBBBaaaa BBBBaaaa BBBaaaaB aaaaaBBB □□□BBaaa □□BOaflBB □BBOBBAa BBQBBBaa aaaBBBaa □□BBBDBB □BBBaaaa □BGBB BOBBa □■BOB □BBOB BBaaa ■■■□■■□■ ■□■■■□■□ ■□□■■□■□ ■■□■□■□a □aaBnana □□■□aaaa anananaa BBaanaan □BBBaaaa Baamann ■■■□■■□■ BaaBanaa BaaaaaBB □□annaaB □baobabo BBUBBBDD □BBBBBBa BBBBaaaa BBBBaaaa aaaaaBBB aaaaaBBa □□BBaana □BBaanaa aananaBB □□BBaaaa BBBaaaaB aaaaaBBB □□□BBBBB □□BBBBBB BBBBBBaa BBBBaaaa BBBaaaaB BBBaaaaa ■■■□■■□■ BBaBBOBB BaaaaaBB aaaaaBBB □BflaBBBa aaaBBBaa BaaBBflaB bbobo BOBOB BDBC'B □BOBB □BGBB BDflfla BOBBO □BBOB □ananaan □annaana BBBaaaaB anaaBnaa annaanan BB'Danana □Baanana □nananaa aaaBBBaa □□BBBL1BB □BBBaaaa BBBaaaaa BaariBBaa aanaanaB annannaa □□annaaB aaaaaBBB □□BBBBBB □BBBBBBa BBBBaaaa BBBaaaaa BannaaBB aaaaaBBa □□BBaaaa aaaaaBBB □□□BBaaa □□BBaaaa BBBaaaaB aaaaaBBB □□□BBBBB □□BBBBBB BBBBBBaa □□BBBOBB □BBBaaaa BBBaaaaa BBBaBBaB BBaBBOBB BaaaaaBB aaaaaBBB □BBOBBfla □BBOB BBOBO bbobo boboa BOBOB □BDBB □BOBB BOBBa anananaa BBBBaaBn □ananaan □annaana ■■■□■■□■ anaaBnan anaaBnaa aananana □baobabo aanBaann annaBana □□Baanaa □BBaanaa BBBaaaaa BBBLJBBUB BaaBanaa □BBBaaaa aaaaaBBB aaanBBBB □□BBBBBB □BBBBBBa BBBBaaaa BBBBaaaa aaaaaBBB BBBBBaaa BBBaaaaB aaaaaBBB □□□BBaaa □□BBaaaa BBBaaaaB aaaaaBBB □□□BBBBB BBOBBBaa BaaBBflaB □□BBBaBB □Bflflaafla BBBaaaaa BBBaBBaB BBaBBOBB BaaaaaBB BDBBa □BBOB □BBOB BBOBO BBaaa BOBOB BOBOB □ BDBB (a) □□□□□□□a □□□□□□an □araaaaaa □□□□□□HD □□□□□□□□ □siaaasiaa □□□□□□□□ □□□□noon □□□□□□□a !!□□□□□□□ □□□□□□□B) □□□□□□sin □□□□□□□a □aaaatsaa □aaasiaaa □□□ainnnn □□□□□□□a □□!!□□□□□ □maaaaaa naaaaaaa □□□□□□□a □□□□□□□□ □□□□□□□□ □□□□□□□a □□□□□□□n □□□□□si sin □□□□naan □□in manna □maaaaaa □□□□□□351051 □□□□□&□□ □□□moan □araaaaaa IS !!□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□ss □□□□□□HD □□□□□□□□ □□□□□□□a □□□□!)□□□ □□□!]□□□□ □□□□□□□□ □□!]□□□□□ □!!□□□□□□ □□□□□□□□ (c) Fig. 44 like the seventh; the fourth, like the tenth; and so on, each end of Fig. 44 (b) being taken in the order indicated by the drawing-in draft in Fig. 44 ( c). §75 TWILL WEAVES AND DERIVATIVES 27 SKIP TWILLS 17. Skip twills are a type of broken twill effects formed by a skip drawing-in draft and a regular twill weave as a chain draft. The drawing-in draft is made so that the ends are drawn in straight for a certain number of harnesses; a number of harnesses are then missed; and afterwards the ends are again drawn in straight. The draft is so con¬ structed that when the harnesses are skipped, the end in the harness just before the skip will rise and fall exactly oppo¬ site to the next end; by this means a broken effect is formed in the cloth. In Fig. 45 ( a ) is shown a skip twill that is made with the 6-end regular twill -s, Fig. 45 (c), as a chain draft and the skip draw¬ ing-in draft shown in Fig. 45 {b). In this draft the first 3 ends are drawn straight; then 2 harnesses are skipped; 3 more ends are then drawn straight, and so on until a repeat is found. In this weave the fourth end rises and falls exactly opposite to the third end. This is accom¬ plished by means of drawing the fourth end through the sixth harness instead of the fourth, as would be done with a straight draft. The seventh end rises and falls exactly opposite to the sixth, the tenth end opposes the ninth in the same manner, and so on until the eighteenth end is reached, which rises and falls exactly opposite to the first end. One end rising and falling in opposition to another in this man¬ ner is termed cutting. Skip twills are best constructed from equally flushed twills. □□ □□ □□□□□□(§□ □□□□□□□□ □mnDDEDD fflDQQfflCOa (a) □□□£]□□□□ □□isnnnso □sraoson □□□□Bonn □□□□□□□si □□□□□□□□ □□ □□ □m mn □□ □□ ( 6 ) □□□■»■ □□■■■□ □■■■□□ ■■■□□□ ■■□□□■ ■□□□■■ ( c) Fig.45 28 TWILL WEAVES AND DERIVATIVES 75 POINTED TWILLS 18. Another class of twill weaves obtained by means of the harness draft includes those weaves obtained by point drafts, which form wave effects across the cloth known as pointed twills. These effects are also frequently spoken of as herring bones , or herring-bone stripes , because the radiating twill lines suggest the radiating bones of a fish’s backbone. Suppose that it is desired to make a pointed, or wave, effect with the 45° twill shown in Fig. 46 (a) as the chain draft; Fig. 46 (b) shows the harness draft that will be used, while Fig. 46 (e) shows the effect obtained in the cloth. One important point in connection with point drafts is that they always end on the second harness and not on the first, that is, assuming that the draft begins on the first harness. For in¬ stance, in Fig. 46 (b ), the ends are drawn straight for the first 8 harnesses, when they are reversed, commencing with the seventh harness; when the harness draft reaches the second harness after being reversed, one repeat of the draft is obtained. If the last end of the draft were drawn through the first harness, the first and last ends of each repeat would work exactly alike, which would give in W the cloth 2 ends side by side FlG ' 47 working alike. This would cause a serious defect in the fabric. If the weave shown in Fig. 46 (e) is repeated two or □□□□□□□El □□□□□□ran □□□□□man □□□□soon □□□manna □□!!)□□□□□ □!!□□□□□□ □□□□□□□□ □□□□□□□m □□□□□□ran □□□□□man □□□□©□□□ □□□manna □asiaaaaa □manaaaa □□□□□□□a □□□□□□ □□□□□□ □mama □□isaan □□□man □□□□30 □□□□am □□□□□□ (a) aaaaaaaa □□aanaaa □ananaan annaaann □□□aanna □□BBDDBD □Baaaann aanaaaan aananaaa □□annnaa □ananaan aanaBaan □□□Baaaa □□BBnaaa □aaaaaaa Baaaaaaa □aaaaaBB □Baanaaa Baaaaaaa □□□Banna □□aaman □aannann ■□□■□□□a □□■□□□■a □BDDDBBD BODDBBCD □□□Banna □□aannan □aaanaaa BBDDBam (a) □□□□□□□El □□□□□□raa □□□□□siaa □□□□soaa □□□maaaa □□!!□□□□□ □saaanaa maaaaaan □□□□□a □□□□□a □manna □□[Sana □□□maa □□□□ma □□□□□El □□□□□a (b) anaannaa □□aannaa □Baanaan Baanaana □□□aanaa □□aaaaaa □BBaaaaa aaaaaaaa □□□ana aanaaa aaaaaa □aaana □□aana aaaaaa □aaaaB □□aana (c) Fig.46 75 TWILL WEAVES AND DERIVATIVES 29 three times in both ends and picks, a better idea of the waves formed by these weaves will be obtained. Many good effects can be obtained by this method by changing the harness draft and using the same chain draft. Thus, instead of using a regular point draft like that shown in Fig. 46 {b ), a draft like that shown in Fig. 47 («) may be used; the effect, or weave, in this case, will be similar to that shown in Fig. 47 ( b ). 19. The point twills thus far described will make waves across, or widthwise of, the cloth. The same effects, however, may be made to extend lengthwise of the cloth by simply reversing the chain draft in the same manner that the harness draft was reversed when making waves across the cloth. Suppose that it is desired to make a chain draft that will give a wave running lengthwise of the cloth from the twill shown in Fig. 48 (a). It is simply neces¬ sary to make a chain draft that will have the first 12 picks similar to Fig. 48 (a) and the remaining picks made by reversing these first 12 picks; that is, the thirteenth pick will be like the eleventh; the four¬ teenth, like the tenth; the fifteenth, like the ninth; the sixteenth, like the eighth; the seventeenth, like the seventh; the eighteenth, like the sixth; the nineteenth, like the fifth; the twentieth, like the fourth; the twenty-first, like the third; and the twenty-second, like the second. Here the chain draft will stop, in order to avoid having the first and last picks alike, on the same principle that the harness drafts of weaves making waves across the cloth stop on the second harness. Fig. 48 (b) shows the chain draft to give the wave lengthwise of the cloth; the har¬ ness draft will be a 12-harness straight draft. anna □naa naan aann anon □□□a □naa naan aann anna □nan □ann {a) □■■□□□■a □□Banana ■□□■bood □annaann □□BDDBBD annannaa □□an anna aann naan □naa □□□a □□□Banna annannaa aannnaan □aanaann □□Baanna annannan □annnann □nananna □□□aaann □naanaan □aannnaa aannanna aannanna annannaa □nannaan □annaann annaannn □Baannaa aananaan annn □□□a □naa naan aann anna □nan □ann ( b) Fig.48 30 TWILL WEAVES AND DERIVATIVES §75 DIAMOND WEAVES 20. By reversing both the harness and chain drafts of any regular twill, another class of weaves that is very largely used, and known as diamond weaves from the effects formed in the cloth, will result. Fig. 49 (a) shows a regular twill from which it is desired to construct a diamond weave. First build the chain draft by reversing the picks exactly as when forming waves lengthwise of the cloth. For the purpose of illustration, however, the picks will be reversed from the first pick, instead of from the last as in the previous illustration. It should be under¬ stood that in either case the weave will be the same. Fig. 49 (b) shows Fig. 49 (a) reversed in this manner. Fig. 49 (b) should be considered as the chain draft of the desired weave, while the drawing-in draft will be a regular point draft made on the same principle as the drawing-in drafts for the regular weaves that were made into waves extending across the cloth. The chain draft occupies 12 harnesses and consequently the draw¬ ing-in draft will be the 12-harness regular point draft. In other words, the ends will be drawn in the following order: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2. It should be noticed that in this case, as well as in weaves form¬ ing wave effects, the last □□□■ ■□□□ (a) □□□■ □■■□□■□a ■□□□ □□■□□■■a ( 6 ) □□■□□■■a □□■■■□□a □□■■□□■a □■■□□■□a (c) Fig.49 §75 TWILL WEAVES AND DERIVATIVES 31 pick joins perfectly with the first; also the last end with the first. In order to show the effect that will be formed in the cloth when using Fig. 49 (b) for the chain draft and draw¬ ing in the warp ends as described, the weave has been worked out and is shown in Fig. 49 (f). DIAGONAL WEAVES 21. Shaded Diagonals.—Diagonal weaves may be considered as a type of twill weaves, the term being gen¬ erally confined to bold twills running at angles greater than 45°, although often regular 45° twills are spoken of as diagonals; regular diagonals are generally formed by com¬ bining two regular 45° twills in their picks or ends. As the formation of other weaves by combining twills pick and pick or end and end has been fully explained, it will not be neces¬ sary to give further details of these weaves, but simply to state that all the examples under this method of forming weaves may be considered as diagonals. There is, however, a subdivision known as shaded diagonals, which are formed on a twill basis by taking as the base of the twill a different number of risers and sinkers in the different sections, grading from light to dark or from dark to light. For instance, suppose that a shaded diagonal is to be made from a regular 45° twill that is complete on 42 ends and 42 picks. Divide the first pick of the weave into six sections of 7 ends each. Then beginning with the first section leave only 1 end down; that is, this part would be marked • fi r. In the next section leave 2 ends down, making this section Continuing in this manner, the next section will be the next section, ^r; the next section, while the last section will be marked therefore, the first pick of this weave would be marked It is next necessary to run up this twill in the regular 45° manner until it is complete; that is, until it occupies 42 ends and 42 picks. Fig. 50 (a) shows the complete weave. After the regular twill has been formed it is necessary to decide what angle the diagonal shall form. If it is to be 32 TWILL WEAVES AND DERIVATIVES 75 a 63° diagonal, every other end of the regular twill may be taken. If it is to form an angle of 72°, every third end of the regular twill will be taken, and so on. Suppose that in □□ □□ □□ ■■ □□ ■■■■■■□■ □□□■■■■■ □□□□□□■■ □□■□□□□□ □□□□□■□□ □■■□□□□□ ■■■■□□■■ BfJBBBBBQ ■■■■□■■■ □■■■■■■□ □□□□BBBB ■□□□□□□■ BannnBBB □■■■■□□a BBaaflBBB BBBBflaaB BBaBBBBB BBBBflaBB □□□□■■□□ ■■■□□□□■ □□□■■■□a ■■■□□□■■ □□■■■■□a ■■■□□■■■ □□□■□□□□ ■□□□□□■a □□■■□□□□ ■□□□□■■a □■■■□□□□ ■□□□■■■a ■■ □□ ■■ ■■ ■■ ■■ ■■ ■■■□□□□a □□□■■■□□ ■■■□□□■■ □□■■■■□□ ■■■□□■■■ □■■■■■□□ ■■■□■■■■ □□□aanna ■□□□□□■□ □□Banana ■□□□□■■□ □BBBaaaa ■□□□■■■□ BBBBaaaa ■□□BBBIQ □□BBBBBB □□□□□BBB □■□□□□□a □□□□■□□a BBaaaaaa □□□■■□□□ BBaaaaBB □□BBBaaa □■■■■■□a ■■■□■■■■ ■■■■■■□■ □□□■■■■■ □□□□□□■■ □□■□□□□□ □□□□□■□□ □■■□□□□□ ■■■■□□□■ ■□□■■■■□ ■■■■□□■■ ■□■■■■■a ■■■■□■■■ □■■■■■■a □□□□■■■■ ■□□□□□□■ ■■ nm ■■■■□■■■ ■■■■■□■■ BBaQBBBB BBBnaBBB □□□■■■□□ BaanBBBQ □□■■□□□□ □□□■■□□□ □■□□□□□□ □□■□□□□a □□ □□ □□ □□ □□ nn ■■■■■■□■ □■■■■■■□ □□BBBBBB □□□BBBBB □□□□BBBB □□□□□BBB □□□□□□BB ■□□□□□□■ BBBBaaBB BBBBflaaB □BBBBBan BBBBBB ■■□■■■■■ ■■■□■■■■ BBBBQBBB BBBBB BB BBaaaBBB BBBaaaaB BBBBaaaa □BBBaaaa □□BBBBDD BDDBBBBD ■BBBBB ■■■□□■■■ □□□□■■□□ ■□□□□■■a ■■□□□□■■ ■■■□□□□■ □■■■□□□□ □□■■■□□a □□□■■■□a ■□□□■■■□ □□□■□□□a □□□□■□□□ □□□□□■□□ ■□□□□□■a ■■□□□□□■ □■■□□□□a □□■■□□□□ □□□■■□□□ □□ □□ □□ ■■ □□ □□ □■□□□□□□ □□■□□□□□ □□□ancon □□□□annn □□□□□■□□ □□□□□□an ■■□□□□□■ □■■□□□□□ ■■■■■■□■ BBBBBB □□BBBBBB □□□BBBBB □□□□BBBB □□□□□BBB □□□□□□BB ■□□□□□□■ ■■■■□□■■ ■■■■■□□■ □■■■■■□a ■□■■■■■□ ■■□■■■■■ ■■■□■■■■ ■■■■□■■■ ■■■■■□■■ ■■□□□■■■ ■■■□□□■■ ■■■■□□□■ □■■■■□□a □□■■■■□□ ■□□■■■■a ■■□□■■■■ ■■■□□■■■ □□□□■■□□ ■□□□□■■a ■■□□□□■■ ■■■□□□□■ □■■■□□□□ □□■■■□□a □□□■■■□a ■□□□■■■a □□ ■■ ■■ □□ □□ □□BBQDQD □□□■■□□□ □□□□■■□□ BDDaDBBD ■■□□□□■■ BBBnaOQB □■■■□□□□ □□■■■□□□ □■□□□□□a □□■□□□□□ □□□Banna □□□□anna □□□□□■□□ ■□□□□□■a BBDDDDDB □■■□□□□□ ■■■■■■□■ □■■■■■■a □□■■■■■■ □□□■■■■■ □□□□■■■■ □□□□□■■■ □□□□□□■■ ■□□□□□□■ ■■■■□□■■ ■■■■■□□■ □■■■■■□a ■□■■■■■a ■■□■■■■■ ■ ■■□■■■El ■■■■□■■■ ■■■■■□■■ ■■□□□■■■ ■■■□□□■■ ■■■■□□□■ □■■■■□□a □□■■■■□a ■□□■■■■□ ■■□□■■■■ ■■■□□■■■ ■■ ■■ ■■ □□ ■■ ■■ □□□■■■□□ ■□□□BBBQ aannnBBB BBBmQBB ■■■■□□□■ □BBBannn □□BBBBnC ■□□■■■■□ □□aanana □□□■■□□□ □□□□■■□□ ■□□□□■■□ BBaaaaBB BBBaaaaB □BBBannn □□■■■□□□ □■□□□□□□ □□■□□□□a □□□■□□□a □□□□■□□□ □□□□□■□□ ■□□□□□■□ ■■□□□□□■ □■■□□□□a ■■■■■■□■ □■■■■■■a □□■■■■■■ □□□■■■■■ □□□□■■■■ □□□□□■■■ □□□□□□■■ ■□□□□□□■ ■■■■□□■■ ■■■■■□□■ □■■■■■□□ ■□■■■■■a ■■□■■■■■ ■■■□■■■■ ■■■■□■■■ ■■■■■□■■ ■■ ■■ ■■ ■■ ■■ ■■ ■■□□■■■■ ■■■□□■■■ BBBBmaa ■■■■■□□■ □BBBBBnn ■□■■■■■□ BBQBBBBB ■■■□■■■■ aaaaBBBa ■■□□□■■■ ■■■□□□■■ BBBBnnna □BBBBnm □□BBBBnn aaaBBBBa □□■■□□□a □□□■■□□□ □□□□■■□a ■□□□□■■□ ■■□□□□■■ ■■■□□□□■ □■■■□□□a □□■■■□□□ □■□□□□□□ □□■□□□□□ □□□■□□□□ □□□□■□□□ □□□□□■□□ ■□□□□□■a ■■□□□□□■ □■■□□□□□ ■■■■■■□■ □■■■■■■a □□■■■■■■ □□□■■■■■ □□□□■■■■ □□□□□■■■ □□□□□□■■ ■□□□□□□■ this case it is desired to have the diagonal form an angle of 72°. Then every third end of the regular twill shown in Fig. 50 ( a) will be taken. As 3 can divide evenly into 42, Fig. 50 §75 TWILL WEAVES AND DERIVATIVES 33 the number of ends on which Fig. 50 (a) is complete, the diagonal is complete on 42 3, or 14, ends. Commencing then with the first end in Fig. 50 (a) and taking every third □□□ □□□ □□BBBflDB BBDDBBBB □BBBDDBB BBBDDBBB □BBBBDDB BBDBBBBD □□□BBDDD BBDDDBBD □BBBDDDB □■■■■□ □■■■□□□a □□□BBBDD BBDDDBBB □□BBDDDB □□□□BBDD □BDDDDBB □DDBDDDD BDDDDBDD □■■□□□□I BBBBDBBB □DBBBBDB BBDDBBBB □BBBDDBB □□□BBBDD BBDDDBBB □□BBDDDB □□□□BBDD BDDBBBDD BBBDDBBB □BBBBDDB BBDBBBBD BBBBDBBB □DBBBBDB BBDDBBBB □BBBDDBB ■■■■□■ □□■■■■ □□□□■■ ■■■□□■■a □■■■■□□a BBDBBBBD BBBBDBBB □DBBBBDB BBDDflflflB □BBBDDBB □□□BBBDD □□□BBDDD BBDDDBBD □BBBDDDB BDDBBBDD BBBDDBBB □BBBBDDB BBDBBBBD BBBBDBBB □BDDDDBB □DDBDDDD BDDDDBDD □BBDDDDB □□□BBDDD BBDDDBBD DBBBDDDB BDDBBBDD □□□BBBDD BBDDDBBB □□BBDDDB □□□□BBDD □BDDDDBB □DDBDDDD BDDDDBDD □BBDDDDB ■□□□□■ □■□□□□ □□□□■□ ■□□□□■ BDDDBBBD BBGOnBBB □BBDDDBB □□BBDDDB □□□BBDDD □□□□BBDD □BBBBDBB □DBBBBDB BDDBBBBD BBDDBBBB BBBDDBBB □BBBDDBB BBDDBBBD BBBDDBBB BBBBDDBB □BBBBDDB BDBBBBDD BBDBBBBD □□BBDDDD □□□BBDDD BDDDBBDD BBDDDBBD BBBDDDBB □BBBDDDB ■■□□□□ BDDDDBBD □■□□□□■I □DBDDDDB □□□□Bonn bddddbdd bbddddbd □BBaaaaa □DBBBDDB □□□BBBDD BDDDBBBD BBDDDBBB □BBDDDBB □□BBDDDB □□□BBDDD □□□□BBDD BBBDBBBB BBBBDBBB □BBBBDBB □DBBBBDB BDDBBBBD BBDDBBBB BBBDDBBB □BBBDDBB □DBBBDDD BDDBBBDD BBDDBBBD BBBDDBBB BBBBDDBB □BBBBDDB BDBBBBDD BBDBBBBD ■■■■□□ □■■■■□ ■□■■■■ □□bbdddd □□□bbddd bdddbbdd BBDDDBBQ bbb: h bb □BBBaaaa □DBBBDDD BnDBBBDD BDDDDBBD □BDDDDBB □DBDDDDB □DDBDDDD □□□□BDDD BDDDDBDD BBDDDDBD □BBDDDDB □DBBBDDB □□□BBBDD BDDDBBBD BBDDDBBB □BBDDDBB □□BBDDDB □□□BBDDD □□□□BBDD BBBDBBBB BBBBDBBB □BBBBDBB □DBBBBDB BDDBBBBD BBDDBBBB BBBDDBBB □BBBDDBB ■■■■□■ □■■■■□ □□■■■■ BBmiBHD ■ BBDDVSBH BBBBLJLIBB □BBHBDDB BDBBBBDD BBDBBBBD BBBDBBBB BBBBDBBB □□BBDDDD □□□BBDDD BDDDBBDD BBDDDBBD BBBDDDBB □BBBDDDB □DBBBDDD BDDBBBDD BDDDDBBD □BDDDDBB □DBDDDDB □DDBDDDD □□□□BDDD BDDDDBDD BBDDDDBD □BBDDDDB □DBBBDDB □□□BBBDD BDDDBBBD BBDDDBBB □BBDDDBB □□BBDDDB □□□BBDDD □□□□BBDD □□□□■■ □BBBBQBB □□BBBflDB BDDBBBBD BBDDBBBB BBBDDBBB □BBBDDBB □□BBBDDI □□□BBBDD BBDDBBBD BBBDDBBB BBBBDDBB □BBBBDDB BDBBBBDD BBDBBBBD BBBDBBBB BBBBDBBB □□BBDDDD □□□BBDDD BDDDBBDD BBDDDBBD BBBDDDBB □BBBDDDB □DBBBDDD BDDBBBDD BDDDDBBD □BDDDDBB □DBDDDDB □DDBDDDD □□□□BDDD BDDDDBDD BBDDDDBD □BBDDDDB end of the weave, Fig. 50 ( b) will result. Thus, the first end of Fig. 50 (b) is the first end of Fig. 50 (a); the second end of Fig. 50 (£) is the fourth end of Fig. 50 (a); the third 34 TWILL WEAVES AND DERIVATIVES 75 end of Fig. 50 ( b ) is the seventh end of Fig. 50 (a); and so on until every third end of the regular twill has been taken. Fig. 50 (b) will form a shaded effect in the cloth; that is, commencing with a certain part of the weave a large part of the warp will be found to float on the surface. The weave is then shaded gradually until a point is reached where the filling will be found to predominate largely on the surface. In many cases these diagonals are made to shade in both directions; that is, the warp floats will be found gradually to grow less until the filling predominates, when the weave will again be shaded until the warp predominates, instead of breaking off suddenly as in Fig. 50 (b). In making the regular twill weave for the base of a shaded diagonal, the most perfect results are obtained if the weave is equally flushed. In order to find this base, the following method is employed: Mark the numbers that indicate the number of warp ends to be lifted over the first pick, begin¬ ning with 1 and running up as high as desired, repeating the highest number and then grading down again but stopping with 2 instead of 1; thus, 1 2 3 4 - 4 -3 - 2 . Then put j to represent one end down between the two highest numbers and grade in each direction until the highest number is reached at each end; thus, W 3 2~ 4 t 4 v~~3~t. This method makes a perfect, equally flushed weave, since the same number of warp ends are up as are down, and also where 4 warp ends are up in succession 1 end is down between them, and where 4 warp ends are down in succession 1 warp end is up between them. Fig. 51 (a) shows the regular twill weave formed in this manner with the base given, and Fig. 51 (b) shows a 63° diagonal derived by taking every other end in proper rotation. Shaded diagonal weaves are woven with a warp of one solid color and a filling of another solid color opposed to that of the warp, as for instance, a black warp and white filling, or vice versa; this brings out the shaded effect of the weave. §75 TWILL WEAVES AND DERIVATIVES 35 EXAMPLES FOR PRACTICE 1. Make a regular twill weave from the base VW S^r- 2. From the weave given in answer to question 1 construct a 72° shaded diagonal. 3. Extend the base of the twill given in question 1 and from the twill formed by this new base construct a 63° shaded diagonal that will be shaded in both directions. 4. Make an original diamond weave. SATIN AND OTHER WEAVES SATINS 1. Satin, or sateen, weaves constitute one of the most valuable classes of fundamental weaves, and are used in almost every branch of weaving and with yarns of every material. They are used in woolen cloths to produce doe¬ skins , in cotton cloths for the production of sateens and satinettes, and in silk goods for satins. One of the largest uses of satin weaves is in the production of linen damasks, in which warp-flush and filling-flush satins are combined to produce figured table cloths, napkins, etc. They are also largely used as ground weaves for spotted and figured cloths and are often combined to form check and stripe effects in various fabrics. 2. Comparison of Twills and Satins. —Satin weaves, in a certain sense, are the exact opposite of twills, since while it is the object of a twill weave to show a twill line running diagonally across the cloth, in the satin weave all twill lines are avoided as far as possible, although in some cases a slight twill effect is shown in a cloth woven with a satin weave, by means of the direction of the twist in the warp and filling yarns. Another of the principal features of a twill weave is the supporting of one end by another, but in a satin weave this is carefully avoided; that is, in a satin weave the interlacing of each end is at least 1 pick apart from the interlacing of either of the ends next to it. In a regular satin weave, each end interlaces with the filling only For notice of copyright, see page immediately following the title page g 76 2 SATIN AND OTHER WEAVES 76 once in one repeat of the weave. Fig. 1, which shows a 5-end warp-flush twill, and Fig. 2, which shows a 5-end warp-flush satin, illustrate these points. Although in the twill weave only one interlacing is made on each pick, the ends support each other, since on the first pick the first end is down and on each succeeding pick the next end is down, thus forming a twill line. With the satin weave, only 1 end is down on each pick, it being in this respect similar to the _twill weave, but the interlacing of each ■■■□■ ■■■■□ end is at least 1 pick apart from the mter- ■□■■■ ■■■□■ lacing of either of the 2 ends next to it. Thus on the first pick, the first end'is Fig. 1 Fig. 2 ^ ’ down; on the next pick, the fourth end is down; on the third pick, the. second end is down; on the fourth pick, the fifth end is down; and on the fifth pick, the third end is down; consequently, the points of interlacing do not run up in regular order, as is the case in a regular twill weave, but are scattered over the weave. By this means the interlacings of the warp and filling are almost entirely hidden, while the cloth produced is smooth and soft, this being the object of the weave. 3. Base for Satin Weaves. —The order in which the ends are raised or lowered when forming a satin weave is generally indicated by a series of figures, in which each figure represents an end, while its position in the series indicates the pick on which it is moved. Thus, referring to the 5-end satin in Fig. 2, the ends would be said to be low¬ ered in 1, 4, 2, 5, 3 order: 1 being the first number, shows that the first end is lowered on the first pick; 4 being the second number, shows that the fourth end is lowered on the second pick; 2 being the third number, shows that the second end is lowered on the third pick; 5 being the fourth number, shows that the fifth end is lowered on the fourth pick; and 3 being the fifth number, shows that the third end is lowered on the fifth pick. Considering the order of moving the ends, as shown in Fig. 2, on each successive pick, the third end (counting §76 SATIN AND OTHER WEAVES 3 from left to right) from the one previously lowered is down. Thus, on the first pick, the first end is down; on the second pick, the third end from that, or the fourth, is down; on the next pick, the third end from the fourth, or the second, is down; and so on for the 5 picks that complete one repeat of the weave. This is known as moving in threes; that is, 3 is taken as a base for constructing the weave. When deter¬ mining the base on which to construct a satin weave, any number may be 'taken that is neither a factor of the whole number of ends in one repeat nor a multiple of any such factor, exclusive of the number 1 and the number that is 1 less than the number of ends on which the satin under con¬ sideration is complete. Thus, in the case of the 5-end satin, 3 is a number that cannot be equally divided into 5, the number of ends in the repeat; neither can any number that is equally divisible into 5 be equally divided into 3. The number 2 could also be taken as the base for a 5-end satin, in which case the ends would be moved' in the following * order: 1, 3, 5, 2, 4. 4. Warp- and Filling-Flusli Satins. —Satin weaves may be either warp-flush or filling-flush; the former con¬ tains more warp yarn on the face, while the latter contains more filling on the face. Warp and filling satins, as shown on design paper, may be readily distinguished, for if there are more filled-in than blank squares, as in Fig. 2, the warp will predominate, since filled-in squares represent the warp ends lifted, and the weave will be a ivarp satin. In case there are more blank than filled-in squares, as in Fig. 3, the weave will be a filling sati?i, since the blanks represent filling over warp. When a satin is a warp satin, the ends are said to be lowered in a certain order, while with a filling satin the ends are said to be raised in a certain order. Thus, for example, in speaking of the weave in Fig. 2, the ends are said to be lowered in 1, 4, 2, 5, 3 order, while the ends of the filling satin shown in Fig. 3 are said to be lifted in 1, 4, 2, 5, 3 order. □□□□■ □■□□□ □□□■□ ■□□□□ Fig. 3 4 SATIN AND OTHER WEAVES 76 Cloths with a satin weave are sometimes woven face down, in which case a warp satin has the ends raised according to the base of the satin, while a filling satin has the ends lowered according to the base. In this Course, however, cloth will always be considered as woven face up unless a definite statement to the contrary is made. A filling satin generally contains more picks per inch than ends, so that the ends that are raised over the picks are nearly covered, thus causing the cloth to have a very soft feel¬ ing. A similar effect is produced in a warp satin, which generally contains more warp ends per inch than picks, thus causing the warp ends to crowd over the picks that are raised. 5. Six-End Satin.— The smallest number of ends on which a regular satin can be constructed is 5. It cannot be constructed on 6 ends, although in many cases a weave known as an irregular satin is made on 6 ends, the order of moving the harnesses being either 1, 3, 5, 2, 6, 4 or 1, 4, 2, 6, 3, 5. With weaves in which the ends are raised or low¬ ered in either of these orders, no two adjacent ends are moved on successive picks; or in other words, no two ends support each other, and yet the same number of ends are not skipped between successive picks. Take, for example, the first order. If a warp satin is being considered, on the first pick the first end is lowered; on the second pick the second end from the one previously lowered, counting from left to right, or the third, is lowered; on the the third pick the second end from the previous one, or the fifth, is lowered; but on the next pick the third end from the fifth, or the second, is low¬ ered; on the next pick the fourth end from the second, or the sixth, is lowered; while on the last the fourth end from the sixth, or the fourth, is lowered. Thus, in certain parts of the weave the base for counting off the ends is 2; in others it is 3; while in still others it is 4. 6. Construction of Satin Weaves.—To illustrate' more fully the method of obtaining the base for any satin weave, it will be supposed that it is desired to make a regular satin on 7 ends. In any case where it is desired to construct §76 SATIN AND OTHER WEAVES 5 a satin weave on an odd number of ends, 2 can always be taken as the base, since 2 is neither a factor of any odd number nor a multiple of any factor of an odd number. Thus, in a 7-end satin the ends can be moved in 1, 3, 5, 7, 2, 4, 6 order, in which case the order of moving the ends is regular, and at the same time no two ends support each other; consequently, the satin will be regular. Another order of moving the ends in a 7-end satin is by threes, in which case the following results: 1, 4, 7, 3, 6, 2, 5; that is, on the first pick the first end is moved; on the second pick, the fourth end; on the third pick, the seventh end; on the fourth pick, the third end; on the fifth pick, the sixth end; on the sixth pick, the second end; and on the seventh pick, the fifth end. Still another base that may be taken for a 7-end satin is 5, in which case the ends are moved in the following order: 1, 6, 4, 2, 7, 5, 3. Another base is 4, in which case the ends are moved as follows: 1, 5, 2, 6, 3, 7, 4. For another example, suppose that it is desired to con¬ struct a satin weave on 9 ends. It is first necessary to obtain a number smaller than 9 that is not equally divisible into the total number of ends and that cannot be divided equally by any number that can be divided into 9. The number 5 answers these conditions, and if taken as a base for moving the ends will give the following: 1, 6, 2, 7, 3, 8, 4, 9, 5. With this order, the first end is moved on the first pick; on the second pick, the sixth end is moved; on the third pick, the second; on the fourth pick, the seventh; and so on until all the ends are moved once, which gives one repeat of the weave. Fig. 4 shows a 7-end filling satin constructed on a base of 3. On the first pick, the first end is raised; on the second pick, 2 ends are missed and the fourth end raised; on the next pick, 2 ends again are missed and the seventh end raised. This method of skipping is continued for 7 picks, which is one repeat of the weave. When the last end, or in this case the seventh, is reached, the next end to be counted is the first. Thus, for instance, on the third pick of this weave the seventh end □□□□■□□ □■□□□□□ □□□□□■□ □□■□□□□ □□□□□□■ ■□□□□□□ Fig. 4 6: SATIN AND OTHER WEAVES 76 □□□□□■□□ □□■□□□□□ □□□□□□□■ □■□□□□□□ □□□□□□■□ ■□□□□□□□ Fig. 5 □□□□□■□□ □■□□□□□□ □□□□□□■□ □□■□□□□□ □□□□□□□■ □□□□□□□□ ■□□□□□□□ Fig. 6 is raised. Counting from this end to see which end will be raised on the next, or fourth, pick, the first end is considered as 1, the second as 2, and the third end from the seventh will be the third end of the weave, which will be the end to be raised on this pick. This is due to the fact that as one repeat of the weave occupies only 7 ends, the eighth end of the weave is like the first, the ninth like the second, and so on. Fig. 5 shows an 8-end filling satin constructed on a base of 3; that is, one end is raised on one pick and on the next pick the third end from the one previously raised is lifted. Fig. 6 shows a 9-end filling satin weave constructed on a base of 4. Thus, on the first pick, the first end is raised; on the second pick, the fourth end from this one, or the fifth, is raised; on the third pick, the fourth end from the fifth, or the ninth, is raised; on the fourth pick, the fourth end from the ninth, or the fourth, is raised. This is continued for the 9 picks, which completes the repeat. Fig. 7 shows a 10-end filling satin with a base of 3. Fig. 8 shows a 9-end warp satin weave constructed on a base of 4. In warp satins all the ends in one repeat of the weave are up on each pick with the exception of one pick. Thus, in the case of Fig. 8, on the first pick all the ends are raised with the excep¬ tion of the first end; on the second pick, the fourth end from this first end, or the fifth, is lowered; on the third pick, 3 ends are skipped and the ninth end is lowered; on the fourth pick, 3 ends are skipped and the fourth end is lowered. This is continued for the 9 picks that complete one repeat of the □□□□□□□■ □■□□□□□□ □□□□□□□□ □□□□□■□□ □□■□□□□□ □□□□□□□□ □□□□□□■□ ■□□□□□□□ □D □□ □□ □□ □□ □□ □□ □□ Fig. 7 ■■■■■□■a B B ■■■■■■□a B BBDBBBBB B B ■BBOBBBB B n BBBBDBBB B B Fig. 8 weave. §76 SATIN AND OTHER WEAVES 7 Fig. 9 shows a 10-end warp satin weave constructed on a base of 3. 7. The lifting of the harnesses in a filling satin weave is given in the order that the ends are raised on each successive pick. Thus, for instance, in Fig. 5 the har¬ nesses are raised in 1, 4, 7, 2, 5, 8, 3, 6 order. This indicates that on the first pick, the first harness is raised; on the second pick, the fourth harness is raised; on the third pick, the seventh harness is raised; on the fourth pick, the second harness is raised; on the fifth pick, the fifth harness is raised; on the sixth pick, the eighth harness is raised; on the seventh pick, the third harness is raised; on the eighth pick, the sixth harness is raised. ■■ ■■ ■■ ■■ ■■ ■u m ■■ ■■ ■■ ■■ II ■■■■ ■■ ■i i ■■ ■■■■□■ ■■ ■■ ■n ■■■■ Fig. 9 5-End Satins 1, 4, 2, 5, 3 1, 3, 5, 2, 4 10-End Satins 1, 4, 7, 10, 3, 6, 9, 2, 5, 8 1, 8, 5, 2, 9, 6, 3, 10, 7, 4 6- End Satins 1, 3, 5, 2, 6, 4 1, 4, 2, 6, 3, 5 7- End Satins 1, 4, 7, 3, 6, 2, 5 T, 3, 5, 7, 2, 4, 6 1, 6, 4, 2, 7, 5, 3 1, 5, 2, 6, 3, 7, 4 8- End Satins 1, 4, 7, 2, 5, 8, 3, 6 1, 6, 3, 8, 5, 2, 7, 4 9- End Satins 1, 3, 5, 7, 9, 2, 4, 6, 8 1, 8, 6, 4, 2, 9, 7, 5, 3 1, 5, 9, 4, 8, 3, 7, 2, 6 1, 6, 2, 7, 3, 8, 4, 9, 5 11- End Satins 1, 3, 5, 7, 9, 11, 2, 4, 6, 8, 10 1, 10, 8, 6, 4, 2, 11, 9, 7, 5, 3 1, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9 1, 9, 6, 3, 11, 8, 5, 2, 10, 7, 4 1, 5, 9, 2, 6, 10, 3, 7, 11, 4, 8 1, 8, 4, 11, 7, 3, 10, 6, 2, 9, 5 1, 6, 11, 5, 10, 4, 9, 3, 8, 2, 7 1, 7, 2, 8, 3, 9, 4, 10, 5, 11, 6 12- End Satins 1, 6, 11, 4, 9, 2, 7, 12, 5, 10, 3, 8 1, 8, 3, 10, 5, 12, 7, 2, 9, 4, 11, 6 Generally a chain draft for a satin weave is made like the weave; that is, in most cases the weave is also the chain draft, and when this is the case the ends are drawn in straight, or in other words, through the harnesses in con¬ secutive order. 8 SATIN AND OTHER WEAVES 76 The preceding table gives the different orders of moving the ends in satin weaves complete on 12 ends or less. 8. Double Satins. —Weaves known as double satins are sometimes constructed from regular satins. These are made by adding one mark to each mark in a regular satin; that is, in case the satin is a filling satin, each end will be raised an extra time during one repeat of the weave, and in case the satin is a warp satin, each end will be lowered an extra time during one repeat of the weave. These marks may be placed above, below, or at the side of the regular satin marks. Double satin weaves are principally used when it is desired to increase the strength of the goods and yet retain the satin face. Fig. 10 illustrates a double satin. The crosses represent a regular 8-end satin weave constructed on a base of 3, giving the follow¬ ing order of lifting the harnesses: 1, 4, 7, 2, 5, 8, 3, 6. In order to convert this regular satin weave into a double satin, one riser is placed on each pick in addition to the riser of the regular satin weave. Thus, on the first pick, in addition to the first end being raised the seventh end is also raised. In all double satin weaves the extra risers must be placed in regular order; that is, on the second pick the extra riser must be placed in the same relative position to the riser of the regular satin on that pick as was the extra riser on the first pick to the riser of the regular satin weave on that pick. Thus, on the first pick of the weave shown in Fig. 10, 5 ends are skipped after marking the riser for the regular satin, and the seventh end marked with an extra riser; on the second pick the fourth end is marked with a riser of the regular satin, 5 ends skipped, and the second end raised, which corresponds to the method of marking the extra riser on the first pick of the weave. This is continued throughout the 8 picks that complete one repeat of the weave. Fig. 11 is another illustration of a double satin weave. In this case the extra risers are placed at the right of the risers ■□[!□□□□□ □□■□SHOD □[*)□□□□□■ [><]□□□□□■□ 76 SATIN AND OTHER WEAVES 9 □□0BQ ■□□□0 □0BCO □□□SB %■□□□ Fig. 11 □□□□□BID □□sannan Bnngnnns □□□□Sana □SBnnnnn □□□□□□SB □□□Sanaa SBDnnnnn Fig.12 of the regular satin weave. Thus, on the first pick the first end is raised for the regular satin weave, and in order to make a double satin the square to the right of the one containing the riser of the regular satin weave is marked, or in other words the second end is raised with the first. The same method is fol¬ lowed with each pick of the weave. Fig. 12 shows an 8-end double satin. The crosses show the order of lifting the ends for a regular satin weave, while the filled-in squares show the extra ends that are raised in order to make the satin double. Double satins are sometimes constructed by dividing the base that would be used for a reg¬ ular satin into two numbers and using these numbers alternately for marking the risers of the double satin. Fig. 13, which is a 12-harness double satin constructed on this principle, illustrates these weaves. In this case the number 7, which could be used for the base of a regular satin on 12 ends, is divided into the two numbers 3 and 4 and these numbers used for construct¬ ing the weave. Considering first the squares that are marked with crosses, on the second pick, the fourth end from the end raised on the first pick is raised; on the third pick, the third end from the end raised on the second pick is raised; on the fourth pick, the fourth end from the end raised on the third pick is raised; on the fifth pick, the third end from the end raised on the fourth pick is raised. This is continued for the 12 picks, when it is necessary to return to the first pick; since on the twelfth pick the fourth end from the end raised on the eleventh pick is raised, on the first pick the third end from the end raised on the twelfth pick is raised. The filled-in squares show the risers that are obtained by continuing the process through the ends and picks the second time. Fig. 14 shows a weave made on somewhat the same prin¬ ciple as Fig. 13. In this case, however, the two risers are □□□□ □□□□ □ana □□□0 moan □□BD □□□□ □□□□ □ana □□□0 saan □□BQ □^□□□□□B □□□Bnann ■□□□□□no □□soman □□□□□bod □Bananas □□□□snaa snaaanBD □□□□ □0DQ □□□□ anna □□□s □□□□ □□BQ □□□□ Fig. 13 10 SATIN AND OTHER WEAVES §76 marked on 1 pick before moving to the next pick. Thus, on the first pick the first end is raised and also the third end from the first. Moving to the second pick, the fourth end from the last end raised on the first pick is raised, which gives a riser on the eighth end for the second pick. In addition to this end being raised on the second pick, the third end from it is also raised, which gives a riser on the eleventh end. Moving to the third pick, as the eleventh end was the last end to be marked on the second pick, the third end, which is the fourth end from the eleventh, will be raised on the third pick. In addition to this end the third end from it, or the sixth, is also raised on the same pick. This method is con¬ tinued throughout the 12 picks. □□□□ ■□□□ □□□□ □□□□ □□□□ ■□□□ □□□□ □□□□□□■□ □□■□□□□□ ■□□□□□□□ □□□□□□□■ □□□□ □□□■ □□□□ □□□□ □□□□ Fig. 14 EXAMPLES FOR PRACTICE 1. Make a warp satin on 16 harnesses, moving in fives. 2. Make a filling satin on 16 harnesses, moving in sevens. 3. From the weave formed in answer to question 2 construct a double satin by adding one riser on each pick of the satin weave. 4. (a) What is the smallest number of harnesses on which a regu¬ lar satin weave can be constructed? (6) Show a satin weave on this number of harnesses. §76 SATIN AND OTHER WEAVES 11 DERIVATIVE WEAVES 9. Satin Derivatives. —Satin weaves provide a ready means for constructing other weaves, or derivatives, as they are called. In almost every case satin derivatives are formed by adding one or more extra risers to the risers of a regular satin. Fig. 15 shows one that might be considered ■□□HD □&□■□ □■□□E □□EDH EDBOD Fig. 15 Fig. 16 Fig. 17 Fig. 18 a double satin, and yet would form a fine, upright twill in the weave. In the figures illustrating satin derivatives, the crosses show the method of raising the ends for the regular satin, while the filled-in squares show the risers that are added in order to form the derivatives. Fig. 16 is a satin deriva¬ tive formed by adding two filled-in squares to each riser in a regular 8-end filling satin weave. Fig. 17 is one formed ■■□□□□□E □□EBnnna □□■■□□□□ □□□□Earn ■□□□ ■□□□ □EHQ □■■□ ■□□□■■□□ ■□□□□□EH □E«nna«« □■■□□□□□ □□□E«nnn □□□■■□□□ □□□□□EHD EHnnnMQ □□□E □□□■ □□□□ EHQD ■ ■□□ □□EH □□■■ □□□□ □□□□■■□■ □■■□■□■□ □■□■□■■□ ■□■■□□□□ ■□□□□□□□ □□□□□■■□ □□■■□■EH ■□■EHEHH □□■EHDQH □□■■□□□□ □□□□■■□□ ■□□■EHOT ■□□■■□□□ □□□□□■■□ ■■□□■□■□ EHDDHHnn □□■□■□□■ □□■■□□□□ □□□□■■□□ ■□□■EHOO ■□□■■□□□ □□□□□■■□ ■■□□■□■□ EHDDHHnn ■□□□□□■■ □■■□□■EH ■□■□□■■□ ■■□□□□□■ □□■■□□■E □■□■□□■■ □■■□□□□□ □□□■■□□■ Fig. 19 Fig. 20 by adding three risers to each riser in a regular 8-end satin. Fig. 18 is one formed by adding four risers to each riser of a regular 8-end satin weave. In all these cases, whenever it is necessary to extend the risers beyond the last end of the 12 SATIN AND OTHER WEAVES §76 weave they are carried to the first end, and in case it is necessary to extend the risers beyond the bottom pick of the weave they are carried to the top pick, or vice versa. Fig. 19 shows a derivative weave formed by adding three risers to each riser of a regular 12-end filling satin. Fig. 20 shows a satin derivative formed by adding six risers to each riser of a regular 16-end filling satin. GRANITE WEAVES ID □□ □□ ■ ■ 10. In a granite weave, the intersections of the warp and filling are disposed throughout the weave in an irregular manner so that the floats of warp and filling will produce an indistinct yet regular pattern consisting of small broken effects. Granite weaves are largely used in almost every class of fabric, the cloths often being piece-dyed, but some¬ times having the warp of one color and the filling of a con¬ trasting color, thus giving the cloth a speckled appearance. They are made largely from regular satins by adding one or more risers to the risers of the satin weave; Figs. 16, 17, and 18 are good examples of granite weaves con¬ structed in this manner. These weaves may also be obtained by rearranging a regular twill in so-called satin order; that is, taking the ends of the twill in the order followed when making a satin weave. For example, if the ends of an 8-end regular twill are rearranged in satin order on a base of 3, the ends are taken as follows: 1, 4, 7, 2, 5, 8, 3, 6; that is, the first end of the new weave will be like the first end of the twill; the second end will be like the fourth end of the twill; the third end will be like the seventh; the fourth end, like the second; the fifth end, like the fifth; the sixth end, like the eighth; the seventh end, like the third; and the eighth end, like the sixth. In other cases, granite weaves are constructed from regular twills by taking a certain number □■□□■■□I Fig. 21 ■ ■ □□ ■n □□ Fig. 22 §76 SATIN AND OTHER WEAVES 13 of ends of the twill and then skipping a certain number, this being continued until the weave repeats. In the granite weave shown in Fig. 22, the ends of the regular twill shown 'in Fig. 21 have been rearranged by taking 2, skipping 4, and so on until the weave repeats. BASKET WEAVES 11. Regular Basket Weaves. —Basket weaves are used frequently in all classes of woven fabrics; their chief feature is the regular occurrence of large floats of both warp and filling. The first type of basket weaves consists of those in which the squares of warp and filling are of equal size. These baskets are simply extensions of the plain weave both warp way and filling way, and it is always possible to weave them on 2 harnesses. Fig. 23 is a basket weave of this type, in which each square marked in a regular plain weave has simply been extended for 2 ends and 2 picks, thus | making each mark occupy four squares instead of one. Fig. 24 shows another basket weave of this ■ type, in which each mark of the plain weave has Fig. 24 been extended for 3 ends and 3 picks; thus, instead of occupying only one square, each mark occupies nine. In Fig. 25, each mark is extended for 4 ends and 4 picks, and consequently occupies sixteen squares instead of one. 12. Twill Baskets. —A second type of basket weaves consists of twill baskets, which are generally constructed on a satin base and produce much neater effects than the basket weaves just described. In making these weaves from a satin base, first mark out a satin weave on the desired number of ends and picks; then fill in squares around each of those marked off for the satin base, in such a manner that these groups of filled-in squares will form squares that run up in twill order. Fig. 26 shows a twill basket weave □□□□l □□□□I □□□□I □□□□l !□□□□ !□□□□ !□□□□ !□□□□ Fig. 25 Fig. 23 14 SATIN AND OTHER WEAVES §76 constructed in this manner from an 8-end satin weave with a base of 5. The crosses show the satin weave, while the filled-in squares show the risers that are added in order to obtain the basket weave. In making these weaves, care should always be taken to have the filled-in squares around each mark of the satin base correspond in every particular; ■■□□□EMD □□□□ □□□□□■■□ □□EM □□□&■□■■ □□ □□□□■□□□ □□■■ ■□□□□□EM □■ □□□■■□□□ EMDD ■■□EMnnn ■□■■□□□□ □El' □□■□□□□□ ■ ■□□ □□□■■□EM □□$■□■■□ □□ □■■□□□EM □□□□ □$■□□□■■ □□□□□EMO ■ ■ ■□□□□□■■ □□□El □■■□emqq □■■□□□□□ EM ■□□□EMnn □□□■ ■ □□□■■□El □EMDBBnn □□ □□□□■■□□ □EMO ■□emdddb □□□□EMQB ■ □ □□EMannn □■■□ □□■■□emo ■ ■□□□□□El ■□ □□■■□□□El ■□□□ &■□□□■■□ EMOBBrnn □□ EMOnnODB ■□□□ Fig. 26 Fig. 27 Fig. 28 that is, if on-the first mark of the satin weave one square to the right and two below are filled in, as in Fig. 26, in the case of every other mark of the satin weave the correspond¬ ing squares must be filled in. Fig. 27 shows a twill basket weave constructed from a 10-end satin with a base of 7. Fig. 28 shows another one constructed from a 12-end satin with a base of 7. 13. Irregular Baskets. —A third type of basket weaves consists of irregular baskets; in these the squares of warp and filling are not exactly equal. Thus, in Fig. 29, the filled-in squares in one portion of the weave occupy 3 ends and 3 picks, while in another portion they occupy but 2 ends and 2 picks. In Fig. 30, the weave is formed by extending the warp floats in one case for 3 ends and 3 picks and in the other for 4 ends and 4 picks. □□□■■■■ □□□■■■■ □□□■■ □□□■■■■ □□□■■ □□□■■■■ ■ ■■□□ ■■■□□□□ ■ ■■□□ ■■■□□□□ ■ ■■□□ ■■■□□□□ Fig. 29 Fig. 30 Fig. 31 14. Fancy Basket Weaves.—A fourth type of baskets consists of fancy basket weaves. In Fig. 31, the squares of filling are broken in the center by a float of warp, while the squares of warp are broken by a float of filling. Fig. 32 §76 SATIN AND OTHER WEAVES 15 is another fancy basket weave constructed in the same manner." Fig. 33 shows a fancy basket weave constructed by separating warp floats of 4 ends and 4 picks each by 3 ends and 3 picks and filling in these intervening ends and picks with a suitable □□ □□ □□□□ □□□□ IDD □□□□□□I □□□□□□I □□■■□□I □□■■□□I □□□□□□I □□□□□□I IDD IDD □□□□ □□□□ □□I □□I Fig. 32 BBBBI Fig. 33 weave. Two repeats of this weave in both ends and picks are shown in this figure. Fig. 34 is another weave made in somewhat the same manner. In this case, a plain basket weave consisting of warp and filling floats of 4 ends and 4 picks has the floats separated by 2 ends and 2 picks, which are filled in with a suitable weave. Two repeats of the weave in both ends and picks are given. RIB WEAVES 15. Warp Ribs. Rib, or cord, weaves are simply extensions of the plain weave in either the ends or picks alone and are of two classes— warp ribs and filling ribs. A warp-rib weave is an exten¬ sion of a plain weave in its picks. In order to illustrate the construction of these weaves, Fig. 35, which shows a warp- rib weave, has been divided into two sections ( a) and (b). In (a), all the odd numbered ends float over the filling for □□■□■■■a BDBBBBDB dbddddbd BDBBBBDB BDBBBBDB ■□■■■BOB BDBBBBDB dbddddbd BDBBBBDB □□■□■■■a □□BDBBBB □□BDBBBB □□BDBBBB BBDBDDDD □□BDBBBB bbdbdddd BBDBDDDD □BDDDDBD □BDDDDBD □BDDDDBD dbddddbd BDBBBBDB □BDDDDBD BDBBBBDB BDBBBBDB BBDBDDDD BBDBDDDn □□BDBBBB bbdbdddd □□BDBBBB □□BDBBBB □□BDBBBB □□BDBBBB BDBBBBDB BDBBBBDB □BDDDDBD BDBBBBDB □BDDDDBD □BDDDDBD □BDDDDBD □BDDDDBD Fig. 34 16 SATIN AND OTHER WEAVES §76 Fig. 35 4 picks, while the even-numbered ends are down. In (b), the reverse is the case; that is, the even-numbered ends float over the filling-, while the odd-numbered ends are under the filling. With this class of weaves, a distinct line is formed across the cloth by means of the ends covering the filling. Thus in Fig. 35 (a), for the 4 picks in which the odd-numbered ends are over the filling the ends will have a tendency to crowd together, especially if there are more ends than picks per inch in the weave, as there should always be in a warp-rib weave; that is, the first and third ends will cover the 4 picks of filling that are raised over the second end; the third and fifth ends for these 4 picks will cover the filling that is raised over the fourth end; the fifth and seventh ends will cover the filling that is raised over the sixth end; and the seventh and first ends will cover the filling that is raised over the eighth end. For the next 4 picks the reverse will be the case; that is, in ( b ) the second and fourth ends will cover the filling that is raised over the third end; the fourth and sixth ends will cover the filling that is raised over the fifth end, and so on. Consequently, in these 8 picks two distinct lines will be formed across the cloth because of different ends covering the filling in these two sections. This weave repeats on 2 ends and 8 picks, but four repeats of the weave in the ends are shown here in order that the construction of the weave may be understood more clear! v» □□□□I !□□□□ □□□□I ■■■■[ □□□□I !□□□□ ]■■■■ !□□□□ □□□□I !□□□□ M ( b ) Fig.36 16. Filling-rib weaves are the exact opposites of warp-rib weaves. As the filling covers the ends in these weaves, ribs are formed lengthwise of the cloth, and for this reason the cloth should always contain more picks per inch than ends. Fig. 36 is an illustration of a filling-rib weave. In (a), all the odd-numbered picks float over the 4 ends, while all the even-numbered picks are under the ends. In this case, the first and third picks will crowd over §76 SATIN AND OTHER WEAVES 17 the ends that are up on the second pick and completely cover them; the third and fifth picks will cover the ends that are raised on the fourth pick; the fifth and seventh picks will cover the ends that are raised on the sixth pick; and the seventh and first picks will cover the ends that are raised on the eighth pick, thus showing a distinct line of filling floats lengthwise of the cloth. In (b) the exact reverse is the case; that is, all the even-numbered picks are raised over the ends, while the ends are raised on the odd-numbered picks. By this means the second and fourth picks will cover the ends that are raised on the third pick; the fourth and sixth picks will cover the ends that are raised on the fifth pick, and so on, thus forming another rib of filling floats lengthwise of the cloth. This weave is complete on 2 picks and 8 ends, four repeats of the weave in its picks being shown here. In warp-rib weaves the filling, and in filling-rib weaves the warp, is usually considerably coarser than the other series of yarn, in order to accentuate the ribbed effect in the cloth. In cloths woven with warp-rib weaves, there should be more ends than picks, and with filling-rib weaves, more picks than ends per inch. 17. Unequal Rib Weaves. —In Figs. 35 and 36, the ribs formed by the weaves are of equal size. This is not always the case, however, for unequal rib weaves are frequently used. Fig. 37 is an illustration of a weave of this kind. In the lower section, the odd- numbered ends float for 5 picks, while in the upper section the even-numbered ends float for only 3 picks. In this case there are two ribs of unequal size across, one rib being the width of 5 picks, while the other is the width of 3 picks. Unequal filling-rib weaves are formed in the same manner; that is, by having the filling float over an unequal number of ends. 18 SATIN AND OTHER WEAVES 76 CORKSCREW WEAVES 18. Corkscrew weaves may be considered a class of rib weaves; but while in rib weaves the ribs extend in a straight line either across the cloth or lengthwise of it, in corkscrew weaves the ribs from a twill line, and for this reason are sometimes known as corkscrew twills. Although these weaves may be formed on any number of ends or picks above 5, the best effects are obtained with weaves complete on an uneven number of ends and picks. One method of making a corkscrew weave that will be found as simple as any is as follows: Suppose that it is desired to form a cork¬ screw weave that will be complete on 7 ends and 7 picks. Divide 7 into two numbers one of which will be larger than the other by 1—in this case 3 and 4—then take 3 down and 4 up as the basis on which to mark each end in the corkscrew weave. The first end, as shown in Fig. 38 ( a ), will be lowered for 3 picks and raised for 4 picks. For the second end of the weave, begin on the first pick on which the first end is raised and mark the second end 4 up and 3 down, counting down. For the third end of the weave, commence on the first pick on which the second end is raised and mark 4 up and 3 down, counting down. Continue in this manner until the weave is com¬ plete. Corkscrew weaves that are complete on an odd number of picks will always be complete on the same number of ends as picks. Thus, in the case under con¬ sideration, since the weave is complete on 7 picks it will also be complete on 7 ends. The complete weave is shown in Fig. 38 (b). This weave is termed a warp corkscrew , since the warp ends cover the filling and, consequently, nothing but warp shows either on the face or the back of the cloth. In order that these weaves may appear to best advantage, it is necessary, as in the case of warp-rib weaves, to have more ends than picks per inch. Any warp corkscrew weave when turned quarter way around will give a filling corkscrew weave. □□□□□□ □□□□□□ □□□□□□ □□□□□□ □□□□□□□ □□□□□□□ □□□□□□□ (a) □■□■■□a □Banana ( b ) Fig.38 76 SATIN AND OTHER WEAVES 19 Warp corkscrews made on an even number of ends and picks will not repeat until carried out for twice as many ends as picks. In constructing these weaves the number that represents the number of picks on which the weave is complete must be divided into two numbers, one of which will be larger than the other by 2. Suppose, for an example, that it is desired to construct a corkscrew weave that will be complete on 8 picks. The two numbers into which 8 is divided are 5 and 3, Mark the first end of the weave 3 down and 5 up, as shown in Fig. 39 («). For the second end of the weave, commence on the first pick on which the first end is raised and raise the second end on this pick and also on all the picks on which the first end is low¬ ered. The second end will therefore be up 4 picks and down 4 picks, whereas the first end is down 3 picks and up 5 picks. Marking the third end in the same manner as the sec- □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ ■■■■■□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ (a) ■■□□□■■a □□BBflBDD BBBDDDBB □□□BBBBD BBBBDDDB □□□□BBBB BBBBBDED ■BBBDDDB □□□□BBBB BBBBBQDQ aamDBBB □BBBflflm BBaannaa □□BBBBBD BBBDDDQB (« Fig. 39 ond, this end will be up for 1 pick, down 3, and up 4 picks; it will thus be similar to the first end with regard to the length of the floats. The complete weave is shown in Fig. 39 (/>). Since the ribs of this weave are formed by the ends that are raised crowding over the filling, two ribs will be formed diagonally across the cloth, one of which will be the width of 5 picks, while the other will be the width of only 4 picks. □□□■■■a □□■■■■□ □■■■■□□ Fig. 40 Fig. 41 19. Corkscrew weaves are often formed from twills: (1) by rearranging the ends or picks of a regular 45° twill; (2) by combining two twills end and end or pick and pick. Considering first the formation of corkscrew weaves by rearranging the ends of a regular 45° twill, suppose that it is desired to rearrange the ends of Fig. 40 in satin 20 SATIN AND OTHER WEAVES 76 order on a base of 4 to form a corkscrew weave. This will result in the corkscrew shown in Fig. 41, which gives two repeats of the weave in its ends. By rearranging the ends of a weave in this manner warp corkscrews are formed, while by rearranging the picks filling corkscrews are formed. Corkscrew weaves cannot readily be formed by rearranging the ends of every 45° twill; weaves sim¬ ilar to that shown in Fig. 40 are most suitable for this purpose. 1 When combining twills end and end or pick and pick to form a corkscrew weave, care should be taken to select such weaves as will give the desired effect. Figs. 42 and 43 Fig. 42 Fig. 43 Fig. 44 show two 8-end twills that it is desired to combine end and end to form a corkscrew weave. Fig. 44 shows a weave formed in this manner; the first end of Fig. 44 is the first end of Fig. 42; the second end of Fig. 44 is the first end of Fig. 43; the third end of Fig. 44 is the second end of Fig. 42; the fourth end of Fig. 44 is the second end of Fig. 43, and so on for the 16 ends. By combining these two twills, the ends of which have different lengths of floats, there is formed a corkscrew twill that will have ribs of unequal size running diagonally across the cloth, since all the odd- numbered ends are up 5 picks and down 3 picks, while the even-numbered ends are up 3 picks and down 5 picks. Banana 20. Another class of corkscrew weaves includes those known as warp 5 corkscrews with filling effects. These weaves may be formed by taking the ends of any filling- flush twill in such a manner as to form ribs in a twill line ■□■■□■□a □□■□■□■a §76 SATIN AND OTHER WEAVES 21 across the cloth and at the same time show a distinct line of filling' floats. Fig. 45 is such a weave, constructed by taking the ends of the regular 45° 7-end twill s t in 1, 6, 2, 7, 3, 1, 4, 2, 5, 3, 6, 4, 7, 5 order. HONEYCOMBS 21. Honeycomb weaves are very common and are extensively used in making towels. When coarse, soft-twisted yarns are employed they make a spongy cloth well suited to this purpose. It is possible to make honeycomb weaves on any number of ends from 4 upwards, but the best effects are obtained with an even number of ends. When making these weaves the first thing to be decided on is the number of ends to be used. Suppose that it is desired to make a honeycomb weave on 8 ends and 8 picks. Raise all the ends, except the first, on any one pick of the weave, preferably one near the center of the design, as shown in Fig. 46 ( a ), in which the fourth pick has been selected and all the ends raised except the first. Next form a warp spot by marking the risers in regular 45° order from the first and last ends, as shown in Fig. 46 (b ). After the spot has been formed, run a line of risers around it, leaving one blank space between these risers and those forming the spot, and confining this line of risers to 8 ends and 8 picks. On the pick shown in (a), which is the fourth pick in (b ), no riser can be added to those in the spot figure, since it would not be possible to have a blank space between them; consequently, commencing with the next, or fifth, pick, mark the first end, which will leave a blank space between it and the first end marked in the spot figure on this pick. Running up this line in a regular 45° manner, it stops on the fourth end on the eighth pick. Continuing this line of risers completely around the spot, Fig. 46 (c) is obtained. □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ (a) to Fig.46 22 SATIN AND OTHER WEAVES §76 EXAMPLES FOR PRACTICE 1. Make a twill weave with the base 3 3 2 2 1 x . 2. From the weave given in answer to question 1 construct a weave by taking the ends in satin order, moving in sevens. 3. Construct a 15-end twilled basket. 4. Construct a rib weave that will make uneven ribs across the cloth. 5. Construct a rib weave that will make even ribs lengthwise of the cloth. 6. Make a twill weave with the base and from this twill con¬ struct a warp corkscrew weave; state the order in which the ends of the twill are taken to form the corkscrew. 7. Construct a honeycomb weave on 10 ends. COMBINATION WEAVES INTRODUCTION 1. One of the most common methods of producing new or novel weave effects in a fabric is by combining two or more weaves as a whole. In this method of amalgamating weaves, one or more repeats of each weave are joined together, instead of combining the weaves pick and pick or end and end. As twill, basket, satin, corkscrew or other weaves produce entirely distinct effects in a fabric, a large field is opened by this method for the production of new effects. In the formation of combination weaves there are two important points that should be taken into consideration. In the first place, the yarns with which the cloth is to be woven, whether woolen, worsted, silk, or cotton, must be con¬ sidered. If the yarn is woolen, the weaves must be uniform in structure, as woolen yarn is so constructed that it is not especially adapted for developing weave effects, the surface of the yarn being .too rough and fibrous. Simple combina¬ tions and good colorings are the essential points in woolens. In worsted or cotton fabrics, a large diversity of fancy weaves may be used, since the yarns are comparatively smooth (the fibers being laid in parallel order) and are thus excellently adapted for bringing out every detail of the weave. Silk is a still more suitable yarn for developing weave effects. The second point, to which it is especially desired to call attention, is that however widely the weaves that are to be For notice of copyright, see page immediately following the title page l 77 2 COMBINATION WEAVES 77 combined may differ in respect to the effects that they pro¬ duce in the cloth, they must be somewhat similar as regards the number of interlacings of the warp and filling, otherwise they cannot be made to weave together evenly. When desiring to form new effects by the method of combining two or more weaves, this latter fact should constantly be borne in mind, as it is absolutely essential to the satisfactory weaving of the cloth. 2. Fig. 1 is a representation of a sample of cloth made by combining two weaves without regarding the number of interlacings of warp and filling. The ends in (a) are inter¬ laced on the 6-end-basket principle, while those in (b) are working plain, so that the ends in (a) interlace with the fill¬ ing only four times in the 12 picks shown in this figure, while the ends in (b) interlace twelve times during the same num¬ ber of picks. The re¬ sult of this will be a tendency to prevent the picks of (b) from be¬ ing as closely pressed against one another as those in {a), where the intersections are not so frequent. In {b) the warp yarn interlaces at every pick; therefore, the ends lie between one pick and the pick following, separating these by a distance nominally represented by the diameter of the warp yarn, and thereby preventing each pick from being beaten up against the preceding one. In (a), there is nothing to prevent one pick from being beaten up against the adjoining one in those places where the picks are three in a shed, supposing, of course, that this weave was being used Fig. 1 77 COMBINATION WEAVES 3 alone irrespective of the weave used in (/>); but between the third and fourth, sixth and seventh, ninth and tenth, and also the twelfth and first picks, the warp yarns change positions, and those lying between the third and fourth picks prevent these picks from being beaten up against each other, while the same is true in each of the other cases. The more frequently the warp and filling interlace with each other, the greater difficulty there will be in driving each pick of filling closely against the preceding one; conse¬ quently, if the picks were beaten up close together in ( a ), the warp ends in ( b ) being deflected from a straight line to a much greater extent than those in (a), would take up faster and consequently work tighter during weaving, which would soon produce a cockled, or wrinkled, appearance. On the other hand, the more open the weave, the closer can the filling be inserted; for instance, as 3 ends of warp are depressed or elevated during 3 picks in succession in («), this portion of the cloth admits the filling much more freely. For these reasons, closely woven and loosely woven weaves should rarely, if ever, be combined if the warp yarns are all run from the same beam, as they can be made to weave only with great difficulty. There are some instances, however, where unlike weaves may be combined without detriment to the regularity of the fabric, although these are the exception rather than the rule. The ends and picks must interlace and form the build, or structure, of the fabric in addition to producing a design. Therefore, the practicability of a design in regard to its weaving should always be as carefully considered as the appearance of the woven cloth. 4 COMBINATION WEAVES 77 STRIPES AND CHECKS STRIPE WEAVES COMBINATIONS OF WARP- AND FILFING-FLUSH WEAVES 3. Stripes are continuous effects running lengthwise of the cloth, or in the direction of the warp. The most elementary form of a stripe obtained by a combination of weaves results from combining the warp prunelle with the filling prunelle. Fig. 2 is a stripe design complete on 18 ends resulting from combining these two weaves. The first 15 ends are made by repeating the warp prunelle ~t five times, while the last 3 ends are the filling prunelle 1 r. In combining weaves in this manner, it is always best wherever possible to make the weaves cut where they oppose each other. By cutting is meant that, where the weaves SH join, the warp floats of one weave — will oppose, or come against, the filling floats of the other, and the filling floats oppose the warp floats. This has been done in Fig. 2. Thus, the fifteenth end is the last end of the warp prunelle, while the sixteenth end is the first end of the filling prunelle, and on those picks on which the fifteenth end is raised, the sixteenth end is lowered, while on those picks on which the fifteenth end is lowered, the sixteenth end is raised. But there is another joining point of these two weaves besides the fifteenth and sixteenth ends. If the weave should be repeated in its ends, the first end would come next to the last end. Therefore, when seeking to have weaves cut where they are joined, this point should be as carefully considered as the former. Fig. 2 complies with these requirements, since on those picks on which the last end is §77 COMBINATION WEAVES 5 raised, the first end is lowered, while on those picks on which the last end is lowered, the first end is raised. (a) (b) Fig. 3 4. All weaves should run up in regular order and they should not be made irregular for the purpose of making the weaves cut, although they may be commenced on different ends and picks to attain this end. When weaves are com¬ bined and it is impossible to make them cut perfectly, always try so to combine the weaves that the warp and filling floats will not be any longer in the com¬ bination weave than they were in the separate weaves. To illus¬ trate this point, suppose that it is desired to combine the two weaves shown in Fig. 3 (a) and {b ). In the first case they will be combined just as they are; that is, by copying the 8 ends of Fig. 3 (a) for the first 8 ends of the new weave and copying the 8 ends of Fig. 3 (b) for the last 8 ends of the new weave. Fig. 4 (a) shows the weave formed by combining the two weaves by this method. On the third pick there is a filling float of 6 ends, while in neither of the weaves that were combined was there a fill¬ ing float of more than 4 ends; also, on the seventh pick, 6 ends are raised side by side, while in neither of the weaves combined were there more than 4 ends up together on the same pick. Fig. 4 (b) shows another combina¬ tion of these two weaves, but in this case on no pick does the filling float over a greater number of ends than it did in either of the weaves combined; neither are more ends raised together on any one pick. In this figure the first 8 ends are Fig. 3 («), taken just as they are, while the last 8 ends are Fig. 3 (b ), com¬ mencing with the seventh end and taking the ends in regular (a) (b) Fig. 4 6 COMBINATION WEAVES 77 order; that is, the ninth end of Fig. 4 (b) is the seventh end of Fig. 3 (b); the tenth end of Fig. 4 (b) is the eighth end of Fig. 3 (b); the eleventh end of Fig. 4 (b) is the first end of Fig. 3 (b); the twelfth end of Fig. 4 (b) is the second end of Fig. 3 (b), and so on. It is not always possible so to combine two weaves that they will cut perfectly, nor in some cases so that there will not be any longer floats than in the individual weaves themselves; but the best manner of combining them should always be sought, since, if combined well, the resulting weave has a much better effect in the cloth. A description of the formation of a few of these weave combinations will be given in order to enable the method employed to be thoroughly understood. 5. One method of combination that is as satisfactory as any for certain classes of weaves is to combine two weaves, one of which is the reverse of the other in regard to the warp and filling flushing. These weaves can always be made to cut where they are joined. Thus, for example, suppose that two 8-end satin weaves are to be combined on this basis. Fig. 5 (a) shows an 8-end warp satin moving on a base of 3, while Fig. 5 (b) shows an 8-end filling satin moving on a base of 5. In making a combination weave from warp and filling satins, in order to have the weaves cut it is necessary to have the sum of the numbers used for the bases of the satins equal to the num¬ ber of ends on which each satin weave is complete. Thus, in the case of Fig. 5 (a) and (b) the warp satin moves on a base of 3 while the filling satin moves on a base of 5, and 5 + 3 = 8, which is the number of ends on which each satin weave is complete. It is next necessary to combine these two weaves in such a manner that they will cut, and since, if they were combined ■■■■■□■I DDDBDDDD BBDBBBBfl DDDDDDBD DBODDDDD BBBBDBBB DDDDBDDD DDDDDDDB BBBBBBDB DDBDDDDD BBBDBBBB DDDDDBDD □ BDDDDDDO (a) ( b ) ■■■■■□■■ DDBDDDDD BBDBBBBB DDDDDBOD BODDDDDD DDDBDDDD DDDDDDBD BBBBBBDB DBDODDDO BBBDBBBB DDDDBDDD DDDDDDDB (c) Fig. 5 77 COMBINATION WEAVES 7 as shown in Fig. 5 (a) and (b), the desired result would not be obtained, it will be necessary to start one of the weaves on either a different end or a different pick. By copying Fig. 5 (a) just as it is for the new weave, and starting Fig. 5 ( b ) on the second end, the weaves will be made to cut. Fig. 5 (c) shows these two weaves combined in this manner. Dealing with the second section of Fig. 5 ( c ) alone, the ninth end is the second end of Fig. 5 ( b); the tenth end, the third end of Fig. 5 ( b) ; the eleventh end, the fourth end of Fig. 5 {b)\ and so on. 6. Another good method of forming combination weaves with warp- and filling-flush weaves is to combine two twill weaves in one of which the warp flushes to an extent equal to the filling flushes of the other weave. Fig. 6 (a) and (b) are two such twill weaves, and by combining them as shown in Fig. 6 (c), they form a weave that cuts perfectly where the two weaves are joined. In Fig. 6 (c), both of the weaves that are combined have been repeated in both ends and picks. □□□□■ □■■■■ □□□■□ ■□■■■ □■□□□ ■■■□■ ■□□□□ ■■■■□ (a) (b) BBBB □BBB ■ □Bfl □□■■■□■a BBDfl □□BBBBDB BflBd □BDBBBBD BBBB BdBOBBBB □BBB □□BBPlBBB BDBB □□BBBDBB BBDB □□BBBBDB BBBD (c) Pig. 6 □■■■ □□□■ ■□□□ (a) (4) (c) ■□■■□□■a (d) Fig. 7 In these figures, the twill in one figure runs in a direction opposite to the twill in the other; that is, the twill in Fig. 6 (a) runs to the right, while that in Fig. 6 (b) runs to the left. If it is desired to combine warp- and filling-flush twills in which the twill lines run in the same direction, it will be found necessary either to continue the weaves as a whole or else to continue one of the weaves for a portion of a repeat, in order to make them cut. For instance, suppose 8 COMBINATION WEAVES §77 that it is desired to combine Fig. 7 (a) with Fig. 7 (b) so that the width of each section of the stripe will be equal; that is, so that each will contain one repeat of the weave, or 4 ends in this instance. If this weave is made as shown in Fig. 7 (c), a perfect cut is not obtained between the eighth and first ends, but if it is continued as shown at Fig. 7 (d), the last, or sixteenth, end will cut perfectly with the first, and perfect cuts will also be made at all the other places where the warp-flush weave joins the filling-flush weave, or vice versa. In each section of Fig. 7 ( d ), the weaves shown in Fig. 7 (a) and (b) are used, but the sections that have been repeated are started on different ends, so as to make perfect cutting possible. Another method of obtaining a perfect cut in a case like this is to continue one section for a number of ends sufficient to make a perfect cut; thus, 2 extra ends are added to the filling- flush weave in Fig. 8, or, in other words, a repeat and a half of this weave is used, which makes the last end of the weave work exactly opposite to the gy first, thus insuring a perfect HJ cut. This method makes one stripe, in this case the If even stripes are □□ □□ IDI □I Fig. 8 Fig. 9 filling-flush stripe, wider than the other, desired and the method employed in Fig. 7 {d) cannot be used, perfect cuts can be made by adding 1 end to both the warp- and the filling-flush section of the weave, as shown in Fig. 9. In this case a perfect effect in the cloth will be obtained, although even repeats of each weave will not be shown, each section having 1 end in excess of a repeat. COMBINATIONS OF EQUALLY FLUSH WEAVES 7. Very frequently stripe weaves are formed by using an equally flush twill as a chain draft and arranging the draw¬ ing-in draft so as to produce the required stripe effect. Fig. 10 (a) shows a stripe weave made in this manner, in which the first 4 ends are the cassimere twill ^ 2 ; the next 2 ends have the same interlacings as the second end; the 77 COMBINATION WEAVES 9 □□■■□□■a ■□□■■□□a □naana ■■□□■a (a) □□□mnnmm nnmnaamn □□!!□□□□□ □[amnia son □sonnson lannniannn □□□□□□□a] nnnnnm msonsin □□□□□□ □□mann next 2 ends have the same interlacings as the fourth end; the next 8 ends are the regular twill commencing with the second end; the next 2 ends have the same interlacings as the third end; the next 2 ends have the same interlacings as the first end; while the last 2 ends are the cassimere twill commencing with the third end and running in regular order. It will be noticed that the last 2 ends are a continu¬ ation of the first 4 ends; that is, the last end does not cut with the first end but con¬ tinues the weave regularly. In all other places where this weave changes, the ends cut. By this means a perfect stripe is obtained that is the same as though the basket were combined with the cassimere twill, yet the stripe may be obtained by using the cassimere twill as the chain draft and drawing the warp ends through the harnesses, as indicated by the drawing-in draft shown in Fig. 10 (b). Fig. 11 {a) is another stripe weave formed in a similar manner from the equally flush twill “ 3 ". The first 18 ends of this stripe design are formed by running the regular twill (*) Fig.10 □■■■□□□a aaaamnBB □□□BBBaa □□BBBann □ BBBLTOQB BBBaaaBB BBnnCJBBB BaaaBBBa □BaaBBQB BBaaBQBB BBaBQDBB BOBBODBID □□Banana □BBBQnBB □□BBanaa □□□BBBQQ anmaann BannnanB BBBaaaBB □BDO BBan BBQB ■□IB □□BB □□an (a) □□□□□□□□ □□□□□□□□ □□□□□man □□□□tsaaa □□□manna □□!)□□□□□ □^□□□□□d] □□□□□□HD □□□□□□□□ □□□□□□□□ □□□$]□□□□ □□[§□□□□□ □mnnaanm mmnnnsjn □□□□□man □□□□□□□□ □□□□□□□□ □□□□□□□□ □!)□□□□□[$] mnananun □□□manna □□[$□□□□□ □□□□□man □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□$]□□□□ □□□□[§]□□□ □□□□□man !!□□□□□□□ □mananniu □□□□□□tun □□□□ □□□□ □man tannn nnnm nnsia □□□□ □□□n (b) Fig.11 in regular order; the next 2 ends are the same as the third and fourth ends of the twill; the next 2 ends are similar to the first and second; and the next 2 ends are similar to the 10 COMBINATION WEAVES §77 fifth and sixth. The next 6 ends are the regular twill with the twill running in the opposite direction, and com¬ mencing with the third end. The next 2 ends are the same as the first and second ends; the next 2 ends are similar to the fifth and sixth; while the last 2 ends are similar to the third and fourth. In this case, as in the previous one, each end in Fig. 11 (a) is a certain end of the regular twill, and, consequently, it is possible to weave this design on 6 harnesses. The harness draft for Fig. 11 (a) on 6 har¬ nesses is shown in Fig. 11 {b). 8 . Another method of forming stripe weaves, and one that is quite generally adopted, is that of running a regular equally flush twill up for a certain number of ends and then reversing the weave, but commencing with an end that will cause the weave to cut where it is reversed. This effect may be ob¬ tained by using a regular equally flush twill weave as a chain draft with an angled drawing-in draft. Fig. 12 (a) shows a weave of this class, while Fig. 12 (b) gives the har¬ ness draft, which, it will be noticed, is an angled draft. In Fig. 12 (a), the weave is repeated in its picks, since 16 picks are shown, although the weave is really complete on 16 ends and 8 picks. At the ninth end it is reversed, and this end is the same as the fourth end; the weave also cuts at this point, as the warp and filling floats of the eighth end oppose the warp and filling floats of the ninth end. The warp and filling floats of the first end also oppose the warp and filling floats of the last end, thus causing the weave to cut at this point, since these 2 ends come together in the cloth. The width of either section of the stripe can readily be changed by repeating that section of the drawing-in draft. ■■■□□□□■ ■■□□□□■■ ■□□□□■■■ □□□□■■■■ □□□■■■■□ □□■■■■□□ □■■■■□□□ ■■■■□□□□ □■■■■□□□ □□■■■■□□ □□□■■■■□ □□□□■■■■ ■□□□□■■■ ■■□□□□■■ ■■■□□□□■ ■■■■□□□□ ■■■□□□□■ ■■□□□□■■ ■□□□□■■■ □□□□■■■■ □□□■■■■□ □□■■■■□□ □■■■■□□□ ■■■■□□□□ □■■■■□□□ □□■■■■□□ □□□■■■■□ □□□□■■■■ ■□□□□■■■ ■■□□□□■■ ■■■□□□□■ ■■■■□□□□ (a) □□□□□□ran □□□□□nan □□[!□□□□□ □!!)□□□□□□ □□□□□□□□ □□□□mam □□□□□HOD □□□□□□so □□□□□□□is !]□□□□□□□ □[$□□□□□□ □□(!□□□□□ □□□□□□□a ( b) Fig. 12 §77 COMBINATION WEAVES 11 Thus, if the first 8 ends of the drawing-in draft were repeated four times and the last 8 ends were not repeated, the first section would be complete on 32 ends and the last section on 8 ends, the whole weave being complete on 40 ends, although it would require only the same number of harnesses to weave it, namely 8 harnesses. By changing the drawing-in draft in this manner, a large number of different weaves can readily be formed, and by changing the twills in the weave, a still greater variety can easily be obtained. SINGLE-END STRIPES 9. Another class of stripe designs that is met with quite frequently includes weaves known as single-end stripes. These weaves are generally formed by opposing a warp- flush weave with a single end of a filling-flush weave, or vice versa, having the ends cut where the two weaves oppose each other; the effect of this is to form a cut mark , or fine indented line, which is generally arranged to run warp way of the cloth. Fig. 13 illustrates one of these weaves; the first end is an end of a filling-flush weave; the next 6 ends are the regular warp-flush twill; the next end is a filling-flush end; the next 6 are the twill; the next end is a filling- flush end; and the last 3 are the twill. Where the weaves are combined they cut on both sides* of the single end, and in order to accomplish this it is necessary to have the end on one side of the single end of the filling flush exactly like the end on the other side. Thus, the seventh and ninth ends of the weave illustrated are the same, also the fourteenth and sixteenth, and also the second and eighteenth. EXAMPLES FOR PRACTICE 1. Make a stripe design on 12 ends by reversing the 6-end twill S; have the weaves cut where they reverse. 2. Make a single-end stripe design on 20 ends, using the 4-end twill ^t. □■■□■■□a BDBBDBDB □BBDBBDB BBDBBDBD BDBBDBDB □BBDBBDB 12 COMBINATION WEAVES §77 3. Make a stripe design on 14 harnesses, using warp- and filling- flush satins; have the weaves cut where combined. 4. Make a stripe design on 20 ends, using the 5-end warp and filling satins repeated in the ends. 5. Give a harness draft complete on 24 ends that will give a stripe effect in the cloth when using the twill for a chain draft. CHECK-WEAVES COMBINATIONS OF EQUALLY FLUSH WEAVES 10 . Check-weaves may be made in a variety of ways, many of these weaves having a twill or satin base. In many cases the figure on one part of the check will be found to be produced by the warp, while the figure on the other part will be produced by the filling. Check-weaves to a certain extent may be considered as simply extensions of stripe weaves. It has been explained how a stripe may be formed in the cloth by opposing one weave with another; if, after this is done, the weave should be extended in its picks, taking pains to have the picks oppose one another in the same way as the ends were opposed in the stripe weave, the resulting figure will form a check in the cloth. 11. Suppose, for example, that it is desired to make a check-weave with the regular equally flushed weave shown in Fig. 14 (a) as a base. First, it is necessary to form a stripe design from the regular twill. Fig. 14 (b) shows the stripe design formed from the regular twill shown in Fig. 14 (a). The formation of this weave agrees with the descriptions given, and the harness draft for it will be an angled draft. Next consider the stripe as two separate sections, that is, the first 6 ends will be one section and the last 6 ends will be another, after which extend each section in its picks, taking care to have the weaves cut in the picks the same as in the ends when forming the stripe. In other words, extend each section as if it were to form a stripe across the cloth instead of lengthwise. Fig. 14 (c) §77 COMBINATION WEAVES 13 shows the first 6 ends extended in this manner, while Fig. 14 (d) shows the last 6 ends extended. The weaves cut perfectly in their picks, since in both weaves the sixth pick opposes the seventh, and the first and last picks oppose each other. In actual practice the picks in each of the two sections of the weave, as shown in Fig. 14 (b), would be run up without separating the weaves; they have been separated here simply to make the process clearer. Therefore, the complete check-weave will be the weave shown in Fig. 14 ( Fig. 23 ■□□■□□□El □□■■□□□□ □■■□□eod ■■□□□□□□ ■□□■□□□□ □□■■□□EO □■■□□□□□ ■■□□EOQD □□□□ □□EO □□□□ Eom □□□El □□□□ □Eian □□□□ (b) Fig. 24 since the warps have been separated and drawn in on sepa¬ rate harnesses, the face and back weaves will be separated in the chain draft. Fig. 23 (b) shows the chain draft for Fig. 19 drawn in according to the harness draft shown in Fig. 23 (a); the crosses show the picks on which the back- warp harnesses are raised. If it were desired to draft Fig. 19 with the back warp drawn in on the back set of harnesses, the harness draft would be made as shown in Fig. 24 (a). When making the chain draft for Fig. 19 according to the harness draft shown in Fig. 24 (a), the same method is observed as with single cloth, which gives the draft shown in Fig. 24 (b). 14 WEAVES FOR §79 15. When drafting warp-backed weaves that are arranged 2 face and 1 back, the same methods are employed as those previously explained except that 2 face ends are placed con¬ secutively on the drawing-in draft in accordance with the design. The method of making this style of draw¬ ing-in draft is shown in Fig. 25 (b ), which is the drawing-in draft for Fig. 25 (a). The chain draft for Fig. 25 (a) according to the drawing- in draft shown in Fig. 25 (b) is shown in Fig. 25 ( c ). □□ □□■■El ■swan □□■□ !□■■□ □ ■□□ ■■□□■□■ ]■□■■□■ !■□■□□■ ■□□■■EM !■!!■■□□ FBFFBFFBFFBFFBF (a) □□□□□□□□ □□□□□□□□ □□□□□HD □□Sanaa □□□□□□□1] □□□□□□□□ □$!□□□□□□ □□□□□□SO □□□□□man □□□nonaa □□£]□□□□□ □□□□□□□a □□□@mm □□□□□□□□ □□□□Bonn □□□□□@m □□□□□□□□ □□□□□□®n □□□□□□□0 ( b ) ini ■□□El _jDEin ■■■□■Eian ■□■■■□□□ !■■■□□□□ □□ □□ □□ □El sin (,c) Fig. 25 EXAMPLES FOR PRACTICE 1. Back the ^ regular twill with warp, arranging the ends 1 face and 1 back; tie each backing end perfectly. 2. Back the regular twill with warp, arranging the ends 1 face and 1 back; tie the backing warp in 12-end satin order. 3. Make a design for a warp-backed fabric having the ^ regular twill on the face and the 8-harness satin weave on the back, arranging the ends 1 face and 1 back; show harness and chain drafts with the back warp drawn in on the front harnesses. 4. Back the regular twill with warp, arranging the ends 1 face, 1 back, 1 face; tie the backing warp in 5-end satin order and show harness and chain drafts with the face warp drawn in on the front harnesses. §79 BACKED COTTON FABRICS 15 PIQUES AND BEDFORD CORDS piques 16. Although piques cannot strictly be classed with either filling-backed or warp-backed cloths, they have features similar in many respects to both types. For example, a pique cloth has a separate system of filling, known as the wadding filling, and in this respect resembles a filling- backed fabric. It also has a separate system of warp ends, in which respect it resembles warp-backed fabrics; but unlike warp-backed fabrics these backing ends in piques are for the purpose of holding the wadding filling and also to cause ridges across the cloth, not to add any weight or warmth to the fabric. In making a design for a pique, the following points should be noted: (1) When placing the weave on design paper, the first step is to indicate the vertical rows of squares on which the face ends are to be placed and also the vertical rows of squares on which the backing ends are to be placed; this can be done by shading the vertical rows of squares representing the backing ends, as was done when making warp-backed designs. (2) The proportion of face ends to back ends in piques is generally 2 face and 1 back; 'that is, every third end on the design paper will be a backing end. (3) The picks on which the waddjng filling is to be inserted should be indicated in some way. (4) The proportion of face picks to wadding picks depends to a large extent on the kind of yarn to be used for the wadding; in case it is coarser than the yarn for the face picks, the proportion is generally 2 face to 1 wadding, although different proportions are used to suit different requirements. (5) In addition to the face 16 WEAVES FOR § 79 and wadding picks there are what are known as the cutting picks; these are the picks on which the backing ends are brought to the face for the purpose of pulling down the face cloth between the wadding picks, thus forming furrows across the cloth, and should be indicated on the design paper in some manner. (6) The number of picks between the cutting picks is determined by the design to be woven; how¬ ever, if possible, there should be at least 2 picks of the face weave between the wadding picks and the cutting picks. (7) The face weave is placed on all the face ends, neglecting the backing ends and wadding picks entirely; this is done F & C F & C F & C F & C OBOOBOOB OBOOBOOB omoamoam omoomoom OBOOBOOB omoomoom OBOOBOOB OBOOBOOB omoomoom omoomoom omoomoom amaamaai owoamaai wmmmmmm i wmmwwm owoomooi i aomaomoo OOBOOBOO OOBOOBOO OOBODBOO OOBOOBOO OOBOOBOD OOBOOBOO aomooma □ oamaamoa ODBonma □ OOBOOBOD OOBOOBOD mmmmmmmm OOBOOBOD OOBODBOO mmwmmmmm mmmmmmmm OOBODBOO OOBOOBOD BO BO □ □ □ mo BO BO FBFFBFFBFFBFFBFF BF Fig. 26 f & c f & c f & c F & C □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□ □□ □□ □□ □□ □□ □□ □□ □□ □□ □□ □□ □□ □□ FBFFBFFB FFBFFBFF BF Fig. 27 in exactly the same manner as was explained with warp- backed fabrics. The face weave of piques is generally the plain weave. (8) All the face ends are raised on the wadding picks. (9) All the backing ends are raised on the cutting picks. 17. Fig. 26 shows the design paper marked out for a pique design occupying 18 ends and 24 picks. The shaded squares indicate those on which the backing warp and the wadding filling are to be placed. The ends and picks are also marked with the letters F, face; B, back; W , wadding; F & C, face and cutting. The next step in the formation 79 BACKED COTTON FABRICS 17 is the placing of the face weave on the squares that are not marked for back ends and wadding picks. Fig. 27 shows the design with the plain weave inserted for the face. The next step is to mark the design to show all the face warp ends raised on the wadding picks, since these are inserted so as to cause the face cloth to be pushed upwards between the cutting picks. The back warp must remain down on the wadding picks to bind the wadding picks to the fabric. The next step is to raise the backing ends on the cutting picks. This requires the backing ends to be raised on the eleventh and twelfth, also the twenty-third and twenty-fourth picks. The effect of this is to bind the backing ends to the fabric and pull down the face cloth to form a hollow place after a certain number of wadding picks have been inserted, in this case 4 picks, and after a certain amount of face cloth has been woven, in this case 6 picks. Fig. 28 shows the design complete. The first 2 picks are plain, the backing ends being down and consequently not showing on the face at all. On the third and fourth picks, the wadding is inserted. While this is done all the face warp is raised, as shown by the crosses, and the back warp is down; consequently, the picks of wadding will lie in between these two series of yarns and will not show on the face, but being heavier than the face yarns will tend to raise the cloth constructed by the face weave. The next 4 picks are repetitions of the first 4 picks, and them come 2 more face picks. On the eleventh and twelfth picks, in addition to the plain weave of the face cloth, the backing warp is brought to the surface, as shown by the dots. These are the cutting picks. In weaving a pique design, the backing warp is generally placed in a separate F & C F & C F & C F & C d®bd®bd® B®DB®DB® hdhhdhhd hdhhdhhd ■□□■□□■a (El DIE) IHIII11HI [HID [x]D SKID [DSD D@BD®BD® B®DB®DB® □DBDDBDD BDDBDDBD HDHHDHHD HDHHDHHD DDBDDBDD BDDBDDBD HDHHDHHD HD SI El DIE] HD DDBDDBDD DDBQDBD BD®BD@BD DBSDBSD BDDBDDBD DBDDBDDB HHDHHDHH HHDHHDHH BDDBDDBD DBDDBDDB HHDHHDHH HHDHHDHH BDDBDDBD DBDDBDDB BD®BD®BD DB®DB®DB BDDBDDBD DBDDBDDB SSDHHDiH HHDHHDHH BDDBDDBD DBDDBDDB HHDHHDHH HHDHHDHH ~DDBODBD DBDDBDDB ®B ®D DB DD DH DH DB DD DH DH DB DD ®fl ®D DB DD DH DH DB DD DH DH DB DD FBFFBFFB FFBFFBFFBF Fig. 28 18 WEAVES FOR 79 beam that is weighted heavier than that containing the face warp, thus causing the backing warp to be under greater tension. When this backing warp is brought to the face, as it is under greater tension, it will of course tend to draw down the face yarns, thus causing a furrow between those parts of the cloth that contain the wadding picks. The next 12 picks are but repetitions of the first 12 picks and consequently need no further explanation. Fig. 28 shows 6 repeats of the ends and 2 repeats of the picks, the design being complete on 3 ends and 12 picks. The design has been extended in this figure in order to show more clearly the construction of these weaves. 18. When studying the construction of a pique design, it should be understood that the wadding picks do not show on the face of the cloth at any point, but simply lie between Fig. 29 the face and back ends. Again, the backing ends do not show on the face of the cloth at all, except where they are raised for the purpose of pulling down the face cloth. Consequently, the face of a cloth woven with a design such as the one shown in Fig. 28 would be similar to plain cloth, with the exception of the raising of the cloth in ridges through the effect of the wadding picks, and also the floating of the back warp over 2 picks in certain parts of the cloth. The position that the different ends and picks occupy when woven into cloth with this design is more clearly illustrated in Fig. 29, where a sectional view of 3 ends and 24 picks is shown. The heavy, dark line represents the backing end, while the other two lines running in the same direction show 2 face ends. The larger cross-sections marked w show the wadding picks, while the smaller cross-sections show the face picks. By referring to this figure it will be seen how the face picks interweaving with the face warp crowd over §79 BACKED COTTON FABRICS 19 the wadding picks, thus hiding them. It will also be seen how the backing end rising over the interlacings of the face filling and face warp draws them down, thus forming a furrow across the cloth. DISSECTING A PIQUE 19 . When dissecting fabrics of this type, the following points will be found to be of considerable assistance: (1) Find the proportion of face ends to the back ends by counting on the back of the cloth the number of backing ends per inch and then counting on the face of the cloth the number of face ends per inch. Suppose, for example, that there are found to be 30 backing ends and 60 face ends in an inch, then there are 2 face ends to every backing end and the pickout should be marked out in this manner. (2) Find the proportion of face picks to wadding picks. (3) Find the weave for the face cloth and place it on all the face ends, omitting the wadding picks. (4) Find the order of raising the back warp into the face; this can readily be done by taking a small part of the sample the wrong side up and pulling out the ends, one by one, instead of the picks, noting on the design paper whenever a back end is raised into the face cloth. (5) Raise all the face ends on the wad¬ ding picks. 20. In making the harness and chain drafts for a pique design, the backing and face warps are drawn through sepa¬ rate sets of harnesses, as explained when dealing with cloths backed with warp. The backing warp is in most cases drawn through the back harnesses and the face warp through the front harnesses. When pique cloths are arranged 2 face to 1 back they are as a rule reeded 3 in a dent; that is, 2 face ends and 1 back end are drawn in each dent of the reed in such a manner that there will be 1 face end on each side of the back end in the dent. Piques are high-pick cloths, the number of picks per inch being largely in excess of the number of ends per inch. 20 WEAVES FOR §79 BEDFORD CORDS 21. Although Bedford cords have the same general appearance as piques with the exception that the furrows run lengthwise of the cloth instead of across the cloth, their con¬ struction will be found to differ to a very large extent. Thus, in Bedford cords there will be found to be wadding ends instead of wadding picks. These wadding ends are held in the cloth by means of the same picks that form the face of the cloth instead of using backing picks, while 2 ends a b working plain throughout the entire length of the cloth form the furrow. Fig. 30 (a), shows one repeat of the ends and two repeats of the picks of a Bedford-cord. design; the furrows length¬ wise of the cloth, which are characteristic of Bedford cords, are formed by the first and second, also the eleventh and twelfth ends, which work plain throughout the cloth, while the weaves between them form the ridges. The parts of the design between the ends working plain are marked a and b. In section (a) the fifth and eighth ends, marked IV, are the wadding ends. Dealing now only with the third, fourth, sixth, seventh, ninth, and tenth ends it will be noticed that they work plain on the first and second picks and are all raised on the third and fourth picks. This being one repeat of the design in its picks, the others are only repetitions of these first 4 picks. The effect of raising the ends in this manner is to cause the second and fifth picks and also the first and sixth to come together and thus produce a plain weave on the face of the cloth. It will also be noticed that on those picks on which all these ends are raised the wad¬ ding ends are also raised. The filling floating at the back will in this manner bind the wadding ends between the face □mix MM&MM mix] ns em □(!□■□□■□ !!□■□□■□□ bdixieiiieieiii □!!□■□□■□ £]□■□□■□□ SSDiDiDD El El !!□■□□■ □■□B3EIE1I1E) ■□UnElElllEl EismBnann 0E1 [•]□■□□■ □■□I1E1E1BEI ■□SDEIEIBEI ■□□■ □□■□ EIBE1EI EIBEHEI ■□□■ □□■□ E1BEIEI El BE! El CCFFWFFW FFCCFFWF FWFF (a) □□□nunn® □□□□□□□□ □□□□□□□□ □□□□□□□a □□nmansin □nsinnsinn □©□□□□□a □□□□□□□a □□□□□□□□ □□□□□□ma □□□□□(HDD □□□□Ennui □sinnnnnn [$□□□□□□□ □nnmnnnn □□□□□□□□ □□□□ □izinn Ena® □□ED □□□□ □□□□ □□□□ □□□□ (*) Pig. 30 §79 BACKED COTTON FABRICS 21 cloth and these picks of filling, not allowing the wadding ends to show on the face and yet holding them securely in position. Referring now to section (b) , it will be seen that this cor¬ responds to section (a) with the exception that the position of the picks is reversed; that is, while in section ( a ) the face ends are working plain on the first and second picks, in section (b) they are all raised; and while in section (a) all the face ends are raised on the third and fourth picks, in section (b) they are working plain. Thus, the same picks, that are weaving plain to form the face cloth in section (a) are floating at the back to hold the wadding ends in section (£); and the reverse is also true. The first, second, eleventh, and twelfth ends, which work plain throughout the cloth, will work tighter than the rest of the ends in the warp, and make the furrows between those parts of the cloth that contain the wadding ends. DISSECTING A BEDFORD CORD 22. In dissecting a cloth of this character, the following points will be found of assistance: (1) Notice the ends that work plain throughout the weave and that form the furrows running lengthwise of the cloth; these are the ends that correspond to the first, second, eleventh, and twelfth ends in Fig. 30 (a). (2) Count the ends working plain on the face of the cloth in the raised portion between the furrows. It will be seen that in Fig. 30 (a) there are 6 ends. Then by looking at the back of the cloth the number of wadding ends can readily be determined, thus learning the proportion of face ends to wadding ends. (3) Arrange the ends on the design paper after the manner shown in Fig. 30 ( a ), taking care to have the wadding ends come between the face ends and also to have the face ends that are working plain in one section raised in the next, and vice versa. It is not possible to pick out one of these cloths in the same manner as is done with cloths containing but one system of warp and one system of filling, but by having a 22 BACKED COTTON FABRICS 79 good general knowledge of their construction it is possible to learn the weave of any sample by simply studying the cloth by means of a pick glass. Bedford cords are high-sley goods and the number of ends per inch is always in excess of the number of picks per inch. 23. When making the drawing-in draft, the wadding ends are generally drawn through the back harnesses, while the face ends are drawn through the front harnesses. In reeding these cloths, each wadding end should be drawn into a dent with 2 or more face ends if possible. Fig. 30 ( b ) shows a drawing-in draft for Fig. 30 (a). In reeding the ends when drawn through the harnesses in this manner the best plan would be to draw 5 ends in a dent, commenc¬ ing with the second end; that is, the second, third, fourth, fifth, and sixth ends would occupy one dent; the seventh, eighth, ninth, tenth, and eleventh, another; the twelfth, thirteenth, fourteenth, fifteenth, and sixteenth, another; and the seventeenth, eighteenth, nineteenth, twentieth, and first, another. This will bring each wadding end in a dent between 2 or more face ends. WOOLEN AND WORSTED PLY WEAVES INTRODUCTION 1. In the manufacture of woolen and worsted fabrics, and especially in the production of the former, it is often desired to make a heavier and warmer fabric than is possible when only two systems of yarns are employed, as in single cloths. Since it is desirable to produce a fabric with a fine face, the additional weight cannot be obtained by increasing the size of the yarns; nor is it feasible to increase the number of ends and picks in the fabric, because of the difficulty in weaving and the impossibility of making a level cloth. It therefore becomes necessary to add one or more systems of yarn, either of warp or filling or both, to the back of the cloth, thus producing what is known as a ply fabric. Ply fabrics are also often manufactured for the purpose of pro¬ ducing a cheap fabric that will have the weight of more costly cloths. This is readily accomplished by using cheaper yarns for that portion of the fabric that constitutes the back of the cloth; in this manner, the weight is gained, and a thicker and more substantial cloth produced at only a slightly increased cost, and without injuring the quality or appearance of the face of the goods. 2. Classification of Ply Fabrics. —There are two general classes of fabrics to which extra yarn is added for the purpose of giving thickness, weight, and warmth. The first class includes those fabrics to which only one system Copyrighted by International Textbook Company. Entered at Stationers' Hall , London i 80 2 WOOLEN AND WORSTED PLY WEAVES §80 of yarn is added (that is, cloths with a backing warp or fill¬ ing); these are known as backed cloths, and are divided into warp-backed fabrics and filling-backed fabrics. The sec¬ ond class includes fabrics constructed of two or more distinct cloths stitched, or bound, together at intervals and consisting of two or more distinct series of both warp and filling; this class of fabrics includes doable and triple cloths , which are made not only for gaining weight and warmth, but also, in many cases, for producing a double face on the goods, or to obtain two distinct effects, one on each side of the cloth. In a fabric of the latter description, the face of the cloth may be of a solid color, say blue, while the back of the fabric, which will form the lining of the garment when the cloth is made up, may show a plaid pattern, or vice versa. Such goods as these are frequently used for golf capes and over¬ coats, the fabrics being often three-ply cloths. Double cloths are largely used for suitings, both worsted and woolen, while backed fabrics are also used for suitings, trouserings, etc. to a large extent. . ' All fabrics having two or more systems of both warp and filling do not, of necessity, have the same number of systems of each, some having three warps and two fillings or three fillings and two warps, etc. Yarn added in this way to pure double or triple cloths is usually for tying purposes if warp yarn, and for wadding if filling yarn, to make the cloth heavier. Such fabrics could truly be called two-and-a-half- ply fabrics, etc. §80 WOOLEN AND WORSTED PLY WEAVES 3 BACKED FABRICS FILLING-BACKED FABRICS 3. Filling-backed cloths are the simplest in structure of all ply fabrics, being somewhat simpler than warp-backed fabrics, since the latter involve special methods of con¬ structing drawing-in and chain drafts. A filling-backed fabric may be considered as a single cloth consisting of one warp and one filling, but having bound, or tied, to the back an extra system of filling threads that are interlaced with the face cloth just enough to keep them attached and prevent their forming long, loose floats on the back of the cloth. This effect is obtained by so raising the warp yarn that when the face filling is inserted it will interlace with the warp according to the weave desired on the face of the cloth. When the pick of backing filling, however, is placed in the cloth, the whole warp is raised, with the exception of those ends that are depressed, in order to bind, or tie, the backing filling to the face cloth. This has the effect of making the pick of backing filling float on the back of the cloth, except where it passes over the few ends that tie it to the cloth. The method of attaching the backing yarn to the cloth is known as binding , tying , or stitching , and the places where the backing yarns are interlaced with the face cloth are known as the binding points, stitching places, tying points, ties, etc. These tying places should be so arranged that the backing filling will float over the warp thread between two floats of the face filling over the same end. The object of this is to cover the tying places so that they cannot be seen on the face of the cloth, the two floats of the face filling, one on each side of the float of backing filling on the face, crowding over the backing pick and thus hiding it from view. Not only should the tying places be so arranged as to be 4 WOOLEN AND WORSTED PLY WEAVES § 80 invisible on the face of the cloth, but they should also be distributed uniformly throughout the fabric so that the cloth will not cockle or finish unevenly. The best method of distributing the tying places is in satin order, as by this means not only are they evenly distributed, but all liability of the binding points forming twill lines on the face of the fabric is obviated. Many weaves, especially those con¬ structed on a satin basis, can usually be tied in satin order when backed with warp or filling. Although the method of distributing the tying places in satin order is the most satisfactory, because of the scattered, yet uniform, distribution of the interlacings of the backing filling with the warp, it often happens that the character of the face weave is such that the tying places cannot be distributed in this manner, and at the same time have each occur between two flushes of the face filling. When such is the case, it is always better to adopt some other system of binding rather than run the risk of having the backing yarn show on the face of the goods. The designer should always distribute the tying places as evenly and uniformly as possible; if not in satin order, then in some other regular order, so that each end will be depressed under the backing filling the same number of times. This is not so important when the backing filling is compara¬ tively fine as when a coarse, heavy backing yarn is used. Sometimes a weave may be tied to advantage in broken crow order. 4. Filling-backed fabrics are made with 1 pick of face and 1 pick of back, with 2 picks of face and 1 pick of back, and also with 2 picks of face and 2 picks of back, etc. As filling-backed fabrics necessitate the use of two fillings, a box loom must be employed for their production, unless the same yarn is used for the backing filling as for the face fill¬ ing. However, this is not usually the case, as the backing yarn is generally softer twisted, in order to give the fabric a soft, warm feeling, and in the majority of cases is also composed of cheaper material, and often of coarser yarn. □□□■■□■a Fig. 1 B F B F B F B F B F B F B F B F □□□□□□□ ]□□□□□□□ !□□□□□□□ Fig. o b HMHHHM v b mwmmamm V k mmummmm v b wmwMmmu k mWMYMUmM v i'. ' V b wwmwmMW v B WWWWmmm F Fig. 3 B ■■□■■■■■ F B ■■■■■□■■ F B □■■■■■■■ F B F B ■■■■■■□■ F B ■□■■■■■■ F B F B ■■■■■■■□ F Fig. 4 □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ Fig. 6 □■■■■□I □■■□□□I Fig. 7 □DBBDBBD ■■■■■■■□ IIBDBBDDD □■■■■■I □■■□□□I ■■■■■■□ ■■■■□■a ■■□□□■an BBDflflfll BBDBBDDD Fig. 8 F BBDDBBDD B Fig. 9 R ■ BfJBBBBB B F □DDDDBBB Bfl F BDBBDBBD B F □DDDBBBB BD R B R BBDBBBBB BB F □BBDBBDB B R B 1 R BBBDBBBB B F □DDBBBBB I II 1 F ■BDBflDBB □ F □DBBBBBD 1 IIJ F □□BBQDBB R □ R R ■DBBBDBB F BDBBDBBD B R ■BBBBBBD Bfl F □DBBDDBB R BBBBDBBB B F □BBBBBDD 1 II 1 F BBDDBBDD F □BBDBBDB fl F BBBBBDDD UU R BflflDflflflD }\ fl R □B F ■BDDBBDD F BBDBBDBB □ R F □DBBDDBB R ■BBBBDBB B F BBBBDDDD 1 IB R □BflflDflflfl F BDBBDBBD fl F BBBDDDDD BB F □□BBDDBB R B R BBBBBBDB BB F BBDDBBDD F □BBDBBDB B B R BBUBHBDB R BBBBBBDB B F BBDDDDDB Bfl F BBQDBBDD F BBDBBDBB □ F BDDDDDBB BB Fig. 10 Fig. 12 1M09 * §80 WOOLEN AND WORSTED PLY WEAVES 5 Weaves with 2 consecutive picks of face and 2 of back are necessary in case the cloth is woven in a loom with extra boxes on one side only, since with this type of loom it is not possible to put in a single pick of filling, as the shuttles always come to rest on the side of the loom that has the changeable boxes. Fabrics that have a single pick of back¬ ing filling require a pick-and-pick box loom, with changeable boxes on each side, unless, as previously stated, the backing filling is of the same yarn as the face filling. When, as is often the case, coarser yarn is used for the backing than is used for the face filling, the fabric should be made with 1 pick of backing and 2 picks of face, and sometimes in extreme cases 3 or even 4 face picks should alternate with 1 backing pick. With filling-backed fabrics, it is impossible to form any fancy effects on the back of the fabric; and, in fact, this is not desired, the main object being to obtain a heavy- or medium-weight fabric, yet with a fine face produced with yarns of comparatively high numbers. 5. When making weaves for filling-backed fabrics, the first step is to indicate the face and backing picks on the design paper, in order that they may not be mistaken and the weaves placed on the wrong picks. If the design is to be composed of 1 pick of face alternating with 1 pick of backing, it is better to start at the bottom of the design and make the first pick a face pick. The second pick should be made a backing pick, and so on until sufficient picks on which to place the design have been marked. When a fabric is to be composed of 2 face picks alternating with 1 backing pick, it is customary to mark off the design paper 1 face, 1 back, 1 face. When the weave is made with 2 face and 2 back, it may be laid out 1 face, 2 back, 1 face. The above methods, of course, make no real difference in the weave and are not always used by any means. They are mentioned only in order that it may be understood that although the first pick of the weave may be a face pick and the next a backing pick, it may be laid out with 2 face picks alternating with 6 WOOLEN AND WORSTED PLY WEAVES §80 1 backing pick, since the next 2 picks may be face picks. When making a filling-backed weave of any description, care must be taken to have both the face and backing weaves evenly repeated on the face and backing picks, respectively. The method of backing must also be carefully considered in this connection; that is, whether the weave is arranged 1 face and 1 back or 2 face and 1 back, etc. 6. To illustrate the method of constructing filling-backed weaves, suppose that it is desired to back the 8-harness twilled basket weave shown in Fig. 1 with filling, the cloth to be woven with 1 pick of face and 1 pick of backing filling. The complete weave will require 16 picks, 8 picks for the face weave and 8 picks for the backing weave. The first opera¬ tion in constructing the weave is to indicate which are to be the face and which the backing picks. This may be done in any convenient manner, it being advisable for a beginner to shade the backing picks with a pencil; in Fig. 2, the backing picks are indicated by the pink-shaded squares. The next step is to place the face weave (in this case Fig. 1) on the picks that have been indicated (in Fig. 2) as face picks. The method of doing this is shown in Fig. 3, and it should be carefully noted that as yet the backing picks remain unmarked. The pink-shaded squares in Figs. 2 and 3 do not represent the warp as lifted, but simply indicate which picks are the backing picks. The next operation is to place risers on the backing picks, raising all the warp ends except such as are left down to bind the backing filling to the fabric, thus, in reality, forming a backing weave. The method of accomplishing this is shown in Fig. 4, in which the backing weave is shown by red squares and where it will be seen that the warp ends are depressed to form the tying, or bind¬ ing, points at those places where the face filling will float over the same end before and after the backing pick. Thus, the filling floats of the first and third picks will cover the tying place on the second pick, and similarly, throughout the whole design, each tying place will be covered by the face filling. It should also be noted that the tying places are §80 WOOLEN AND WORSTED PLY WEAVES 7 distributed in 8-end satin order, thus forming a perfect filling- backed weave. Both black- and red-filled squaies, in Tig- 4, represent the warp raised over the filling. In Fig. 4, the backing filling is bound into the cloth only once in 8 ends, but it is possible in this design, if a firmer fabric is desired, to increase the number of tying places, thus making the floats of the backing filling shorter. 4 his may be done, as shown in Fig. 5, by arranging two tying places on each pick. In this weave, it will be noticed that the same perfect structure is retained, and that each end of the warp is depressed under the backing filling the same number of times, thus insuring equality of take-up in weaving. Suppose that it is desired to back the same weave, Fig. 1, with a coarser backing filling, the cloth to be arranged with 2 picks of face and 1 of back. The design paper may be shaded off as shown in Fig. 6 and the weave constructed on the principles previously explained. In this case, however, only 12 picks will be required for the complete weave, 8 face and 4 backing picks. In order that each end of the warp shall take up the same in weaving, two ties must be placed on each backing pick and so arranged that each end will be depressed under the backing pick once; this is accomplished in Fig. 7, which represents Fig. 1 backed as stated. If it were desired to back the 8-harness twilled basket with filling having the weave arranged 2 face and 1 back and having the backing filling tied only once in 8 ends, it would be advisable to repeat the weave, as shown in Fig. 8, since by no other means would it be possible to have a tying place on each end. If, as is often the case, a face weave complete on a few ends and picks is used and it is desired to tie the backing filling loosely, repetition of the weave is necessary; while in many other instances repeating the weave will enable a more perfect tying arrangement to be used. 7 . In arranging the face iveave, it is important in many cases to consider its best relation to the backing weave. For instance, suppose that it is desired to back the 4-harness basket weave with filling and that the weave is placed on 8 WOOLEN AND WORSTED PLY WEAVES §80 design paper as shown in Fig. 9; in this case, there is no place where the backing can be raised for binding without having the warp up on one side, and, as previously explained, the stitching is liable to show on the face of the goods unless covered by face-filling floats. If, however, the face weave is placed on the design paper, as shown in Fig. 10, the backing can readily be stitched to the face, as shown, without any danger of its appearing on the surface. The back weave in this case is the broken crow weave. Weaves that have a large percentage of warp on the face, especially warp-flush twills, are the hardest to back with filling, on account of there not being places in the weaves where perfect tying places can be arranged. When such weaves are backed with filling and it is impossible to have a face-filling flush on each side of the tying place, the design should be so arranged that the flush of face filling that Is beside the tying place will follow rather than precede the tie. When the face-filling flush precedes the binding point, the tie will show up prominently on the face of the goods; but when the face flush follows the tie, the reed of the loom will push the face pick over the raised backing pick. This method is employed in Fig. 11, where the warp-flushed prunelle twill has been backed in the filling with the 9-har¬ ness satin. When filling-flush weaves are backed with filling, the tying places should be arranged as near the center of the face-filling floats as a regular system will allow, in order that the tie may be as well covered as possible. Considerable ingenuity must occasionally be employed in' tying the backing filling to the cloth, especially in cases where a coarse backing filling must be used and it is desir¬ able to arrange the tying places so that each warp end will be depressed under the backing filling the same number of times. In fact, almost every weave requires some particular system of tying, and each should be carefully considered, in order to determine how it can be tied to the best advantage. 8. Fig. 12 shows the 10-end regular twill backed with filling, the weave being arranged 2 picks of face and 2 of r, BBBDBBBB BB F □□□□□BBB BB F □UDDBBBB B I B BUBBBBBB BB F □□□BBBBB □ □ F BBBBB . □□ B □B R F CBIBBim □□ F F BBBIE ]□□ □□ B BBBBB! 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The method of tying the backing filling should be particularly noticed in this design, as well as the arrange¬ ment employed in Fig. 13, which represents 2 repeats of the same twill backed with filling and arranged 2 face and 1 back. The tying places are arranged in two twill lines, being alter¬ nated so that each backing pick is tied once in the repeat of the weave and each end contains one tying point. CUT FIULING-BACKED FABRICS 9. Cut filling-backed fabrics are generally made for trousering or suiting patterns and show on the face of the goods a fine cut mark , or indentation, running usually in the direction of the length of the piece. This cut mark is com¬ monly produced by allowing the backing filling to float over certain ends of the warp throughout the weave; this also binds the backing filling to the cloth. When the cut marks are to be near together, it is usually unnecessary to bind the backing filling to the cloth in any other manner; but if the stripe between the cut marks is to be wide, it is advisable to bind the backing filling in the ordinary manner, in addition to where the cut is to be formed. Generally two cutting ends are used, and although both are depressed on every backing pick, they are usually arranged to work in plain order with the face picks. In Fig. 14, the cassimere twill is shown backed with filling and arranged to form a stripe of 8 ends and then a cut. The backing filling floats over both cutting ends, which, however, as shown by the blue risers, work in plain order with the face filling. If desired, the cut may be made to run diagonally across the cloth instead of lengthwise. This is sometimes done when backing twill weaves, the backing filling being arranged to float over the warp in the same direction as the twill of the face weave, thus making the cut accentuate the boldness of the twill. Fig. 15 shows the 8-end twilled basket weave backed with filling in such a manner as to make a diagonal cut mark. 10 WOOLEN AND WORSTED PLY WEAVES §80 10 . When all the filling is of the same material, another method of producing cut marks may be employed. The fill¬ ing yarn is brought to the face in one section, or stripe, and interweaves with the warp according to the face weave, while in the other section the same pick is allowed to float on the back of the cloth as a backing pick. Fig. 16 shows a design constructed on this principle, the face weave being the -S' regular twill. The first pick is a face pick for the first sec¬ tion of 8 ends and then it passes to the back of the cloth and becomes a backing pick for 8 ends, when it comes to the face again. In the same manner, the second pick is a backing pick for 8 ends and then a face pick for 8 ends. In this way, a cut mark is made at the first and sixteenth and the eighth and ninth ends, where the filling is reversed. If a prominent cut mark is desired, the face weave should not be placed on the cutting ends, which should be left as shown in Fig. 16. Each pick is as much a backing pick as a face pick and vice versa, so that if a fabric of uniform appearance is to be made, the filling must all be of uniform size and quality. FILLING REVERSIBLES 11 . When filling-flush weaves are backed with filling interlacing with the warp after the same manner as the face filling, a reversible, or.double-faced, fabric is formed having the same appearance on both sides; that is, if both fillings are of the same material and color. Satin weaves are generally used for these designs and the cloths are known as satin reversibles. Twill weaves are also used. In cloths of this description, the warp yarn is entirely concealed, being embedded between the two fillings, and consequently is usually of a cheaper material, cotton warps being largely employed. Fig. 17 shows a 5-end satin reversible, which, if woven, would have a filling-flush satin face on each side of the cloth. If this weave is picked 1 black and 1 red, the face of the cloth will be black and the back red, since each color will show only on one side. Fig. 18 is a filling reversible weave with 80 WOOLEN AND WORSTED PLY WEAVES 11 the twill running to the right on each side of the cloth. When making weaves for this class of fabrics, the backing weave should be twilled in the opposite direction to the face weave, in order that it may run in the same direction when the cloth is turned over. In Fig. 18, it will be noticed that two of the tying places are not perfect; however, they have been arranged so that the face filling flush follows the tying point instead of preceding it. Then again as the backing and face filling in this class of fabrics are usually of the same material, there is not so much danger of the tying showing prominently on the face of the goods; that is, if the face filling and the backing filling are of the same color, as well as of the same material. 12 . Figured Filling Reversibles. —Designs for fig¬ ured filling reversibles are usually made, according to a given motive, with two filling reversible weaves, one arranged to throw the odd-numbered picks on the face and the even- numbered picks on the back, and the other arranged to produce the opposite effect. Thus, if the weave is picked, say, 1 white and 1 green, the motive will be reproduced in white on a green ground on the face of the goods, and in green on a white ground on the back of the cloth, or vice versa. Since the warp is entirely hidden in the fabric, cotton warps are commonly used and the fillings are of equally good quality. Any two filling reversible weaves may be used in constructing designs of this description, but those complete on a small number of ends and picks are to be preferred if the motive is comparatively small. Take, for instance, Fig. 19 (a) and (b). In both of these weaves, the filling- flush broken crow weave is backed with filling tied in broken crow order; in other words, both are filling reversibles. In (a), however, the odd-numbered picks are the face picks and the even-numbered picks the backing picks, while in (b) the reverse is the case; so that if these designs are woven, say, 1 white and 1 green, (a) will produce a cloth white on the face and green on the back, and (b) a cloth green on the face and white on the back. It will be seen, therefore, that 12 WOOLEN AND WORSTED PLY WEAVES §80 these two weaves may be combined to produce figured effects. The arrangement of the weaves, as already stated, is usually accomplished according to a given motive. Suppose, for instance, that a simple checker-board effect, with square figures arranged in plain order, is desired; then all that is necessary is to lay out the motive the required size, and place the weave shown in Fig. 19 (a) on it, and that shown in Fig. 19 ( b) on the ground, or vice versa. When arran¬ ging the motive for the reception of the weaves, it should be enlarged twice as much filling-way as warp-way, since filling- backed weaves arranged 1 face and 1 back require twice as many picks as ends to give the same number of face or back¬ ing picks as ends, or, in other words, to give a squarely built texture to the face and back. If the motive were not laid out in this manner, the length of the check or other figure, as the case might be, would be reduced one-half, which would cause it to appear distorted. The assumption in this case is, of course, that it is desired to construct the cloth with as many face or backing picks as ends per inch; if, however, the proportion of face or backing picks to ends is different, the weave must be constructed accordingly, in order to retain the symmetry of the motive. Fig. 20 (a) shows a motive for a checker-board effect, the light-blue- shaded squares indicating the motive and the blank squares the ground. Fig. 20 ( b) shows the check effect constructed with the weaves shown in Fig. 19 ( a) and (/;), Fig. 19 (a) being placed on the motive and Fig. 19 ( b) on the ground. If this design were woven with 1 pick of white and 1 pick of green filling, a white-and-green check would be made on both sides of the cloth, which would be of the reversible type, the green portion on the face covering a white check on the back, and vice versa. Other weaves than Fig. 19 ( a ) and ( b) may easily be made, and any suitable motive may be used as a basis for combining them to produce figured filling reversible cloths. §80 WOOLEN AND WORSTED PLY WEAVES 13 EXAMPLES FOR PRACTICE 1. Construct a filling-backed weave arranged 1 face, 1 back, using the regular twill as a face weave and tying the backing filling perfectly on each warp end. 2. Make an 8-end satin filling reversible weave arranged 1 face and 1 back. 3. Back the cassimere twill with filling, the weave to be arranged 1 face, 1 back, and to be capable of being woven on 4 harnesses. 4. If a 12-end regular twill is backed with filling, the weave being arranged 1 face, 1 back, 1 face, on how many ends and picks will the design be complete, supposing that only 1 repeat of the face weave is shown? 5. Back the regular twill with filling, arranging the weave 1 face, 1 back. Tie each backing pick once in 10 warp ends. 6. Back the twill twilled to the left with the 8-end satin, arran¬ ging the design 1 face, 1 back, and being careful to have the float of face filling follow, rather than precede, the tying point. WARP-BACKED FABRICS 13 . Warp-backed fabrics are cloths constructed with one system of filling yarn and two systems of warp yarn, in which one system of warp interlaces with the filling to form the face of the cloth, while the other floats on the back of the cloth for the purpose of adding weight and warmth to the fabric. Warp-backed fabrics are similar in construction to filling-backed fabrics, with the exception that the backing yarn is warp instead of filling. They require more harnesses than filling-backed fabrics, because of the extra, or backing, warp, but on the other hand may be woven on single-box looms; that is, if the filling is of the same color and material throughout. The same length of time is required to weave warp-backed cloths as single cloths, since the former require only as many picks as the latter; a longer time is necessary, however, for the weaving of filling-backed fabrics, owing to the extra picks of backing filling that must be put into the cloth. 14 WOOLEN AND WORSTED PLY WEAVES §80 Color also can be applied to the back of warp-backed fabrics to advantage, since stripe effects can be easily made, while with filling-backed cloths only bars across the cloth can be produced, and this is rarely a satisfactory method of applying color. However, particular care should be taken, in all cases where a different color from that of the face yarn is applied to the reverse side of backed cloths, to have all binding points perfect, so that the color of the backing yarn will not show on the face of the goods. In many warp-backed cloths, two beams are required, since the backing warp is often a coarser yarn and also interlaces differently with the filling than the face warp, except in the case of warp reversibles. It is necessary for the backing yarn in a warp-backed fabric to be harder twisted than the backing yarn in a filling-backed fabric, since there is always more strain on warp than on filling yarn. Thus, it will be seen that warp-backed fabrics are generally harsher and stiffer feeling goods than filling-backed fabrics, in which soft-twisted yarns are almost exclusively used for the backing filling. Warp-backed cloths are largely used for producing heavy fabrics with a cheaper back than face, as for instance, worsted suitings and trouserings with a fine worsted face and woolen back. However, if very cheap and tender yarn must be used for the back, a filling-backed weave is to be preferred. 14 . In constructing weaves for this type of fabric, there are several important points that should be noted: (1) The backing warp must be raised over a pick in every instance where it is desired to bind the back to the face cloth. With filling-backed fabrics the reverse is the case; there a warp end is depressed in order to bind the extra system of yarn to the cloth. (2) In warp-backed fabrics, the tying places should always be placed between two warp flushes of the face cloth, if possible, in order that the tying may not show on the face of the goods; if in any case this is impos¬ sible, the backing warp should be raised either to the right or to the left of a face-warp flush, although the most perfect □imaffl wmnmnmmw HQ amnmnwum umummmmm nmnmwmmm nmnmnmrm nmmmw :u r ; ummmm ■□b amawmam dlldadlidll a a olo < nmamnmnm umumnmnm mmumnmw® mmnmo a i nnnmnmnm nmnmnmnm nmummwmm umumwmmm nmnmnmnm dlldlldlldll □■■■■■□ei uwomnmum nmnwumnm ana: jqjct i umimnmnm F B F Ji F I! F B F B F B F B F B F B F B F B F B F B F B F B F B Fig.21 Fig. 22 ■□□□□□□□ aancaadD □□□□□ann dBBddBBd □QBddddd ddaaddaa ddddddda BddBBddB ddddBddd BBddBBdd dBdddddd dBBddBBd ddddddBd ddBBddBB dddBdddd BddBBddB BBddBBdd dBdddddd dBBddBBd ddBBddBB dddBdddd BddBBddB BBddBBdd dddddBdd F B F B F B F B F B F B F B F B Fig.23 □■■■ ■ □□□ □□□■ ■ □□□ □□□■ F B F F B F F B F F B F Fig. 24 F F B B F F B B F F B B F F B B Fig. 26 □□ ■ ■ F B F B F B F B F B Fig. 26 ■□■□■□■a ■□■□■□■a anananan ■□anaaan F B F B F B F B F B F B F B F B Fig. 27 BdBBBddd □□■□■□BB Baamnan BdBdBBBd annaanan an Bd an □□ FBFBFBFB FB (a) □■□□□■BB BBaananD □□□Baana □■□annaa dflBBdBdfl □B □a □a BB □□ B F B F B F B F B F ( b) Fig. 28 16409 §80 WOOLEN AND WORSTED PLY WEAVES 15 results cannot be obtained by this means. (3) If there are a great many more intersections of the face warp with the fill¬ ing than of the backing warp with the filling in a given num¬ ber of picks, or if one series of warp yarn is coarser, it will be necessary to place the two warps on separate beams, since the take-up of the warps in weaving will be different. (4) It is always best to select weaves of regular structure, such as satins, twills, broken crow, etc., for the backing weave, so that each backing end will have the same number of interlacings. (5) Care should be taken to have the face and backing weaves repeat evenly on the design, so that the number of ends in the complete design will be the least common multiple of the number of ends in the two weaves; that is, supposing the design to be arranged 1 face and 1 back. Warp-backed fabrics, however, are often arranged with 2 ends of face and 1 end of back, and sometimes with 2 ends of face and 2 of back. Care should be taken, though, in any case, to have the face and backing weaves evenly repeated. In addition to the above, there are often many other things to be considered when constructing weaves for warp-backed cloths. For instance, if a design of this class is arranged 1 face and 1 back, the backing warp should never be of heavier yarn than the face, since, if this is the case, the back is liable to show through on the face of the cloth. If the design is arranged 2 face and 1 back a proportionately heavier yarn can be used for the backing warp. If cheaper material is used for the backing warp and the cloth is to be fulled, a backing yarn of as nearly as possible the same fulling prop¬ erties as the face yarn should be used. 15 . To illustrate the method of constructing a warp- backed weave, suppose that it is desired to back the cassi- mere twill with warp, using the 8-harness satin weave on the back of the goods, or in other words tying the backing warp in 8-end satin order, the design to be arranged 1 face warp and 1 backing warp. As the backing weave in this case will require 8 ends, it will be necessary to show two repeats of the face weave in the complete design; therefore, the 16 WOOLEN AND WORSTED PLY WEAVES §80 finished weave will require 16 ends and 8 picks. The first operation is to shade, or in some manner indicate, the back¬ ing ends, in order that they may be distinguished from the face ends. The method of doing this is shown by the pink- shaded squares in Fig. 21, where the design paper is prepared for the reception of the face weave. Fig. 22 shows the cas- simere weave, which is used for the face weave in this design, placed on the face ends. The final step is to place the back¬ ing weave on the design. As the backing weave, which is to be the 8-harness satin, must flush on the back of the cloth, it should be raised only once in 8 picks on each backing end and in satin order, as shown by the red squares in Fig. 23. The method of raising the backing warp at the tying places between two face-warp flushes should be noted carefully, the object, of course, being to allow the flushes of face warp to cover and hide the tie. Fig. 24 shows the cassimere twill backed with warp, arranged 2 ends of face and 1 end of back, the backing warp being tied in regular twill order. Fig. 25 is a warp- backed weave having a 4-harness basket face weave backed with the 8-end satin, the design being arranged 2 ends of face and 2 ends of backing warp. WARP REVERSIBLES 16. Double warp-faced fabrics are made with the reverse face put on with warp in a somewhat similar manner to that employed in filling-reversible cloths, and like them are generally made with satin weaves, the face warp flushing on the face of the cloth and the backing warp on the back. Weaves for these cloths are constructed as for other warp- backed fabrics, but the backing warp is usually of as good quality as the face, while the filling, as it is entirely concealed in the fabric, may be of cotton or other cheap material. Since both the face and backing warps interlace with the fill¬ ing in the same manner, cloths of this description require only one beam for weaving. Fig. 26 shows a 5-harness and Fig. 27 an 8-harness warp satin reversible, both being □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□ □□□□ □□□□ □□□□ mmmmmmmm mmmmmmmm mill ^ni! mmmmmmmm □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□a □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ nuanmmmm □□□□MM □□□□UglUii mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm □□□□□□□□ □□□□□□□□ mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm □□□□□□□a MM ' ” I mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm □□□□□□□a □□□□□□□□ □□□□□□□□ □□□□□□□□ wmwMWMmw □□□□□□□□ □□□□□□□□ □□□□□□□a □□□□□□□a □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□a □□□□□□□□ □□□□□□□a □□□□□□□□ (a) ■□■■ ■□□□ ■■■□ □□■□ □■■■ □□□□ ■■□■ □■□□ ■□□□ ■■■■ □□■□ ■□■■ □□□□ ■■■□ □■□□ □■■■ ■□□□ ■■■■ □□■□ ■□■■ ■■■■ □□□■ ■□■■ ■□□□ □□■□ ■□■■ □□□□ ■■■□ □■□□ □■■■ □□□■ ■■□■ ■■■□□□■□ ■□■□■■■□ ■□□□■□■a ■□■«■□□□ ■■□■■■□■ □■□□□□□■ ■■■■□■□□ □□□■□□■■ ■□■■■■■□ ■□□□□■■■ ■■■□■■□□ i □□■□□□■□ ■■□■□□□□ □□□■■■■□ □■□□□■□□ □□■■□■■■ ■■■□□□□■ □■■■■■□■ ■■□□■□□□1 □■□□■□□□ ■■□■■□■■ □□□■□□■a □■□■■■■□ □■■■■□■□ □■□□■□□□ □□■□□■□□ ■■■□■■□■ □□□■□□■■ ■■□■■■□■ ■□□□□■■■ ■■■■□■□□ □□■□□□■□ ■□■■■■■□ □□□□■□■■ ■■■□■■□□ □□□■■■■□ ■□□□□□■a □□■■□■■■ ■■□■□□□□ □■■■■■□■ □■□□□■□□ □□■□■■■■ ■■■□□□□■ ■■■□□□■a ■□■□■■■□ ■□□□■□■□ ■□■■■□□□ □□■□■□■■ ■■■□□□■□ ■□■□■■■□ ■□□□■□■a ■□■■■□□□ □□■□■□■■ ■■■□□□■a ■□■□■■■□ ■□□□■□■□ ■□■■■□□□ □□■□■□■■ ■■■□□□■□ ■□■□□□□■ ■□□□□■□■ ■□■■□■■■ □□■□□■□□ ■■■□■■□■ ■□■□□□□■ ■□□□□■□■ ■□■■□■■■ ■■□■□■□□ □□□■■■□■ □■□■□□□■ □■■■□■□■ □■□□□■■■ ■■□■□■□□ □□□■■■□■ □■□■□□□■ ■■□■■■■□ □■□□□□■□ ■■■■□■■■ □□□■□□□□ ■□■■■■□■ ■□□□□■□□ ■■■□■■■■ □□■□□□□■ (b) Fig. 29 ■■□■□■■■ □□□□□□□□ ■■■■□■□■ □□■□□□□□ □■■■■■□■ □□□□□□□a □■□■■■■■ □□□□□□■□ ■■□■□■■■ ■□□□□□□□ ■■■■□■□■ □□□□□□□□ □■■■■■□■ □□□□■□□a □■□■■■■■ □□□□□□□□ ■■□■□■■■ ■□□□□□□□ ■■■■□■□■ □□□□□□□□ □■■■■■□■ □□□□■□□□ □■□■■■■■ □□□□□□□□ ■□■□■□■□ ■□□□□□■■ ■□■□■□■□ □□□□■□■□ ■□■□■□■□ □□■■■□□a ■□■□■□■□ ■□■□□□□□ FBFBPBFB FBFBFBFB Fig. 30 15409 80 WOOLEN AND WORSTED PLY WEAVES 17 arranged 1 face and 1 back and both having perfect tying places. 17. Figured warp reversibles may be constructed in a similar manner to that employed in producing figured filling- reversible effects, with the exception that the designs are con¬ structed by amalgamating two warp-reversible weaves instead of two filling-reversible weaves.' The design is usually figured, according to a given motive, with these two warp reversibles, one of which is arranged to throw the odd-num¬ bered ends on the face and the even-numbered ends on the back, and the other to produce the opposite effect; thus, if the cloth is warped 1 white and 1 black, the motive will be reproduced in white on a black ground on the face of the cloth and in black on a white ground on the back of the cloth, or vice versa. Since the filling is entirely hidden in the fabric, cotton filling is commonly used; but the warp yarns should be of equally good quality, since the warp alternately appears on the face and back of the cloth. Any two warp- reversible weaves may be used in constructing designs of this description, but those complete on a small number of ends and picks will be found most convenient. Fig. 28 ( a) shows a warp-reversible weave constructed with the 5-harness satin on the face and back, while Fig. 28 (b) shows the same reversible weave with the exception that in (a) the odd-num¬ bered ends are the face ends and the even-numbered ends the backing ends, while in (b) the reverse is true. If these designs are warped 1 white and 1 green, (a) will produce a cloth with a white face and a green back, while (b) will pro¬ duce a cloth with a green face and a white back. Therefore, if these two weaves are combined according to a proper motive, a figured effect will be obtained. Suppose, for instance, that a simple checker-board effect con¬ sisting of square figures arranged in plain order is desired; then in order to form a figured warp reversible all that is neces¬ sary is to lay out the motive to the required size and place Fig. 28 (a) on the motive and Fig. 28 ( b ) on the ground, or vice versa. When arranging the motive for the reception of 18 WOOLEN AND WORSTED PLY WEAVES §80 the weaves, it should be enlarged twice as much warp-way as filling-way, since warp-backed weaves arranged 1 face and 1 back require twice as many ends as picks to give the same number of face or backing ends as picks per inch. If the motive is not laid out in this manner, the width of the check or other figure, as the case may be, will be reduced one-half, while the length will remain the same, that is, if there are the same number of picks as face ends, which will cause it to appear distorted. Fig. 29 (a) shows the motive for the desired check effect, the light-blue-shaded squares indicating the motive and the blank squares the ground. Fig. 29 (b) shows the weave for the check effect desired, constructed with the weaves shown in Fig. 28 (a) and (b ), Fig. 28 (a) being placed on the motive and Fig. 28 (b) on the ground. If this design, therefore, is warped 1 white and 1 green, a white-and-green check will be made on both sides of the cloth, which will be of the reversible type, a green check on the face covering a white check on the back, and vice versa. Other weaves than Fig. 28 (a) and (b) may easily be made, and any motive may be used as a basis for combining them to produce warp-reversible fabrics. For instance, if the first 5 picks of Fig. 29 are considered as the complete weave and the warp is arranged 1 white and 1 green, a white- and-green reversible stripe will be produced. WARP-BACKED CLOTHS WITH A WADDING FILLING 18. In some cases, the required weight cannot be obtained by backing with warp alone and at the same time the appearance and texture of both the face and back of the fabric be retained. When this is the case, extra picks of fill¬ ing, known as wadding picks, may be inserted in such a manner that they will not show either on the face or back of the cloth. In order to obtain this result, it is only necessary to raise all the face warp and depress all the backing warp when the wadding pick is inserted, thus laying the pick between the two warps, but not interlacing it with either. §80 WOOLEN AND WORSTED PLY WEAVES 19 The wadding filling may be of any cheap material, as it does not show at all, but should not be much larger in size than the face warp if a level cloth is desired. Fig. 30 shows the warp-backed weave shown in Fig. 23 arranged alternately with 1 pick of face filling and 1 wadding pick. The blue squares show the face warp raised over the wad¬ ding picks. DRAFTING OF BACKED WEAVES 19. Filling-backed weaves, since they contain only one system of warp yarn, may be drawn through the.harnesses, and the chain and drawing-in drafts constructed exactly the same as for a single cloth. In these weaves, only as many harnesses are required as are necessary for producing the face weave. In the case of warp-backed fabrics, however, since the backing warp interlaces with the filling differently from the face warp, it must be drawn in on separate harnesses; therefore, in these fabrics, one set of harnesses is required to produce the face weave and an additional set to govern the interlacings of the backing ends. A warp-backed weave may be drawn in exactly as a single cloth, if it is so desired. In this case, if the weave is arranged 1 face and 1 back, the first harness will be a face harness, the second harness will have the backing warp drawn through it, etc., each alternate harness being a backing harness; that is, with a straight draft. If the weave were arranged 2 face and 1 back, 1 backing warp harness would alternate with 2 face harnesses. This method of drafting is adopted in some instances in connection with warp-backed fabrics of simple design, but in the majority of cases it is desirable to separate the harnesses for the backing warp from those through which the face warp is drawn, since this method makes the harness draft much simpler for ' the weaver, thus rendering the liability of broken backing warp ends being tied in on face harnesses, or vice versa, less probable. There are two systems of separating the harnesses through which the backing warp is drawn from those through which 20 WOOLEN AND WORSTED PLY WEAVES §80 the face warp is drawn. The first method consists of draw¬ ing the backing warp on the back harnesses and the second of drawing the backing warp on the front harnesses. Both of these systems are largely in use, but the latter method is to be preferred, as by this means the backing warp is more readily accessible to the weaver, and since the backing ends are frequently of poorer material and break oftener, this is somewhat of an advantage. For the same reason, namely, that the backing ends are often weaker than the face ends, it is an advantage to place the backing warp on the front harnesses, since the harnesses in the rear are lifted higher than those in the front of the loom, thus bringing more strain on the yarn drawn in on those harnesses. If, however, the face warp has a fancy pattern, it is better to draw it on the front harnesses. 20 . To illustrate the method of making the drafts for a warp-backed weave, suppose that it is desired to construct harness and chain drafts for Fig. 23. The first step is to make the harness draft, which is accomplished in identically the same manner as with single cloth, except that two proc¬ esses are required in order to draft both the face and backing weaves. It will be supposed in this case that the backing warp is to be drawn on the front harnesses. The drawing-in draft for the backing weave will therefore be made first, and as in this case the backing weave is an 8-harness satin it will require 8 harnesses. Proceed exactly as in single cloth, taking care, however, as Fig. 23 is arranged 1 face and 1 back, to leave every other vertical row of squares of the harness draft for drawing in the face warp. Next, indicate the drawing-in draft for the face weave, placing it above the draft for the backing weave, but on the vertical rows of squares reserved for the face warp. As the face weave in Fig. 23 occupies but 4 harnesses, there will be two repeats of the face drawing-in draft to one repeat of the draft for the backing weave. Fig. 31 (a) shows the drawing-in draft for Fig. 23 with the backing warp drawn through the first 8 harnesses and the □□□□□□Ban □□□□rannn □□!!)□□□□□ [$□□□□□□□ □□□□ sann □□□□ □ena □□□□ □□pa □□□□ □□□s □□□□□□□□ □□□□□□□□ □□□□□□□□ □^□□□□□n □□□□□□□□ □□snnnnn □□□□□□□□ □□□smm @□□□□□□0 □□□□□□□□ □□□□□□□□ □□□□□□□□ □□@□□□□0 □□□□□□□□ □□□□□□□□ □□□■□□□□ □□□□□□■□ □■□□□□□□ □□□□■□□□ □□□□□□□■ □□■□□□□□ □□□□□■□□ ■□□□□□□a ■□□■ □□■■ □■■□ ■■□□ ■□□■ □□■■ □■■□ ■■□□ (a) (£) Fig.31 □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□121 □□□□□!!□□ □□□«□□□□ □ !!]□□□□□□ □□□□□□□□ □□□$!□□□□ □(§□□□□□□ □□□□□□so □□□□(!□□□ □□^□□□□n □□□□□□□□ □□□□□□□□ □□□□saan □□□□□□□□ □□□□□ana □□□□□□□□ □□□□□□an □□□□□□□□ □□□□□□□H ■□□■□□□■ □□■■□□□□ □■■□□■□□ ■■□□□□□□ ■□□■□□□□ □□■■□□■□ □■■□□□□□ ■■□□■□□□ □□□□ □□■□ □□□□ ■□□□ □□□■ □□□□ □ ■□□ □□□□ (a) Fig. 32 (6) □□□□□□□□a □□□□□□□tan □□□□!!□□□□ □ [£]□□□□□□□ □□□□□!!□□□ □□EDDDDDd!] □□□□□□□□a □ran □□□ □□□ □□□ □□31 tana □□□ □□□ (a) □□■■□□□■ ■□□■□□□a □■■□□□□□ ■■□□■□□a (a) Fig. 33 F B F B F B F B F B F B F B F B Fig. 35 mmmmwmm nmuwwnm ummmnnm umumumu mmwMmmn nmnmomnm mmmmmMM nmo □aninini F B F B F B F B F B F B F B F B Fig. 34 15409 §80 WOOLEN AND WORSTED PLY WEAVES 21 face warp through the last 4 harnesses, as explained. Care should always be taken to arrange the alternation of the face and backing ends in the drawing-in draft exactly the same as they occur in the weave; that is, if the first end of the weave is a face end, the first end of the drawing-in draft must be drawn through a face harness, and if the second end of the weave is a backing end, it must be drawn through a backing harness. Thus, in Fig. 31 {a), the end drawn through the first harness is the first backing end, which is the second end of the weave; therefore, this end occupies the second verti¬ cal row of squares in the drawing-in draft. Having obtained the drawing-in draft as shown in Fig. 31 (a), it is a compara¬ tively simple matter to construct the chain draft, the method being identical with that employed in a single fabric. Since the drawing-in draft is arranged to separate the face and backing warps, the face and backing weaves are separated in the chain draft, as shown in Fig. 31 (b ), which shows the chain draft for Fig. 23 with the warp drawn in as shown in Fig. 31 ( a ). 21 . If it is desired to draft Fig. 23 with the back¬ ing warp drawn in on the back harnesses and the face warp on the front harnesses, the drawing-in draft will be made as shown in Fig. 32 (a) and the chain draft as shown in Fig. 32 (b). The method of constructing the drafts in this case is exactly the same as for Fig. 31 ( a ) and (b) with the exception, of course, that in this case the face warp is drawn in on the harnesses at the front of the loom. When drafting warp-backed weaves that are arranged 2 ends of face and 1 of back, the same methods are employed as previously explained, except that 2 face ends are drawn consecutively on the drawing-in draft in accordance with the arrangement of the face ends in the weave. The drawing-in draft for Fig. 24 is a draft of this description, as shown in Fig. 33 {a). Fig. 33 {b) shows the chain draft for Fig. 24 with the warp drawn through the harnesses according to Fig. 33 ( a). 22 WOOLEN AND WORSTED PLY WEAVES §80 EXAMPLES FOR PRACTICE 1. Back the regular twill with warp, arranging the design 1 face and 1 back and tying each backing end perfectly. 2. Back the regular twill with warp, arranging the ends 1 face and 1 back. Tie the backing warp in 12-end satin order. 3. Make a design for a warp-backed fabric having the -y regular twill on the face and the 8-harness satin weave on the back, arranging the warp ends 1 face and 1 back. Show harness and chain drafts with the backing warp drawn in on the front harnesses. 4. Back the ^y regular twill with warp arranging the design 1 face, 1 back, 1 face. Tie the backing warp in 5-end satin order. Show harness and chain drafts with the face warp drawn in on the front harnesses. 5. Make an 8-end warp satin reversible arranged 1 face and 1 back. 6. Back the regular twill with warp, arranging the design 1 face and 1 back. Tie the backing warp in regular order, each end to be tied once in 12 picks. DOUBLE AND TRIPLE CLOTHS DOUBLE CLOTHS 22. The term double cloth includes those fabrics that consist of two separate cloths, which may be woven in the loom independently, one above the other, or which may be bound together by allowing threads of one cloth to inter¬ lace at certain intervals with those of the other. Two sys¬ tems of both warp and filling are required for the production of a double cloth, while for a backed cloth only one system of backing yarn is necessary. A double cloth may be con¬ sidered as a combination of a warp- and a filling-backed fabric; that is, it may be considered as a fabric backed with both warp and filling, requiring not only extra harnesses in the loom but also extra filling and generally extra shuttles. In a double cloth, however, the backing warp and filling inter¬ lace with each other according to a definite weave, which may be the same as, or different from, the face weave. If a ■□□□□□■□ □□□□□■□■ ■□■□□□□□ □□□□□■□■ ■□□□□□■□ □□□□□■□■ ■□■□□□□□ □□□□□■□■ ■□□□□□■□ □□□□□■□■ anannnnn □□□□□■□■ ■□□□□□■□ □□□□□■□■ ■□■□□□□□ ■□■□■■■a ■□□□□□an ■■■■■■ □□□□biubd BBflfla a □□■□■□□□ ■■■■■□■□ ■□■□□□□□ BBDflDBBB □anannnn BBBBBB □■□■□□□□ □BBBBBDB □□□□□ana □BDBBBBB □□□□□ana BDBDBBBB ■□□□□□an BDBQBBBB □□□□anan ■■■■■□an □□anannn BBBBBnBD ■□■□□□□□ ■□BDBBBB annnnnan BnflDBBBB □□□□anan ■■■■■□■□ □□■□■□□□ bbbbbdbd anannana FBIBFBFB FBFBFBFB Fig.36 FBFBFBFB FBFBFBFB Fig. 37 B a a aaaa ananaafla B F ■□□□□□an annnnna F B a iLiiia ananaaBa B F □□□□a ■□ □□□nanan F B BBBBHDBn BBBBBnan B F □□ananaa nna ■□□□ F B BBB ■■□■□ ■ aaaa nan B F a ■□□□□□ anannnnn F B IB BBBB ■□□□□□■ ananaaBa B F annnnnan F B a a bbbb □□□□ana" ananaaBB B F □□□□a an F B BBHBanan BBBBBnan B F □□» b ]□□ □□■□■□□□ F B F BBBBBnan ■□annnnn BBBBanan a annnnn B F F B F B F B F B F B F B F B F B anan bbb annnnnan ■□■□■■■a □□□□anan aBaanan □□anannn bbbB an □ anannnnn ananBBBB ■□□□□□an Bn - nBBBB nnnnanan BBBBBnan nnanannn BBBBBnan anannnnn anannnnn BBBBanan anannnnn Bnaaiaan □□□□!□■□ an -obbbb □nnnanan BBBBBB anan « bbb annnnnan ananBBBB nnnnanan - bbbb nan nnanannn anannnnn Fig.38 FBFBFBFB FBFBFBFB Fig. 39 annnnaan BUBBBBfln nnnanann nnaannnn BBaanaaB a annnan annnnaan anaaBaan □BBBanna nanaaBi ib □□□□■□□□ BflnnBBBB Baananaa □■□□□□□■ □BBBBnna □anBaana □■■□□□□■ ■■■□■■■a ■□□□■□a □□□□■■□□ □■■■■■□a nnanannn □■■□□□□a ■■■□■■■a nnaaflann □□□nnann ananaian BBBnnaaa n annnnn □BBanaca □□BBiinn □□□nnann □a annna BBnnnnaa BBLjBBBBB BnnnBnan □nnaannn BBBBBnBB nanBnnnB Bannnnaa □□■□□□□□ □■■■□■□a □□■■■■□□ □□□□ ■□□ ■□■□■■an ■■■□□■■a □□■□□□□□1 □■■■□■□a annnnna BBBBnnflB BDBBBnan □nnannnn annaaBan BBnBDBBB annnnnan BBBBnnBB ■■□BBBBB annna an □nnaannn ■■■■■□■a □■□■□□□a ■■□□□□■■ ■■□■■■■■ ■□□□■nan □□□□■□□□ □■□■■■□a ■■□□■■■a □■□□□□□a ■■■□■□■a □■■■■□□a □□□ ■□□□ □■□■■■□a F B F F B F F B F F B F F B F F B F F B F F B F Fig. 40 15409 §80 WOOLEN AND WORSTED PLY WEAVES 23 double cloth, therefore, is woven without binding, or tying, the face and back fabrics together, two separate cloths will be formed in the loom, one on top of the other and only fastened together at the selvages. On the other hand, if a backed fabric were woven without tying the backing warp or filling, as the case might be, the face cloth would be formed perfectly, but the backing yarns would not interlace at all. There are many objects that lead to the production of double cloths, among which may be mentioned: (1) To reduce the cost of heavy-weight fabrics by the addition of cheaper material to the back of the goods; (2) to produce heavy-weight fabrics, the face of which shall be composed of comparatively fine yarns; (3) to produce double-faced fabrics having the same appearance on each side; (4) to produce double-faced fabrics having a different appearance, or pat¬ tern, on each side. 23. In constructing double-cloth weaves, they may be arranged 1 face and 1 back in both warp and filling, or 2 face, 1 back, etc. Sometimes double-cloth weaves are arranged 1 face and 1 back in the warp and 2 face and 1 back in the fill¬ ing, or vice versa. To illustrate the method of constructing a double-cloth weave, suppose that it is desired to back the cassimere twill with a 4-end basket weave, the design to be arranged 1 face and 1 back in both warp and filling, and tied in 8-end satin order. Since the weave is to be arranged 1 face and 1 back and the stitching weave alone requires 8 ends and 8 picks, 16 ends and 16 picks, or 8 backing and 8 face ends and picks, will be required to show one repeat of the completed weave. As both the face and backing weaves are complete on 4 ends and 4 picks, they will be repeated evenly on the 8 face and backing ends and picks, respectively. The first step in the construction of the weave is to indi¬ cate, by some arbitrary method, which ends and picks are to be the face, and which the backing, ends and picks. This may be conveniently accomplished by shading each backing end and pick, as shown by the pink-shaded squares in Fig. 34. The next operation is to place the face weave on the design 24 WOOLEN AND WORSTED PLY WEAVES §80 paper, as shown in Fig. 35, opening it out both warp- and filling-way, in order that it may be placed on those ends and picks that have been indicated as face threads. After placing the face weave on the face ends and picks, the next step is to place the backing weave on those ends and picks that have been indicated as the backing ends and picks, as shown by the red squares in Fig. 36. In order that the backing filling shall not interlace with the face warp and thus show on the face of the goods, it is next necessary to raise every face thread on each backing pick. This is accomplished by raising the face warp at each intersection with the backing filling, as shown by the blue squares in Fig. 37. The weave completed to this stage would, if woven, produce two perfect and entirely distinct pieces of cloth, one woven with the cassimere twill and the other with the 4-end basket weave. In order, therefore, to so amalgamate these two fabrics as to produce a double cloth, it is necessary to bind, or tie, them together. 24. There are two methods of tying ordinary double cloths. The first, and the one adopted in the majority of cases, is to raise each backing end in regular order over a face pick. Care should be taken in doing this to raise the backing end in the same manner as in the case of warp- backed fabrics; namely, between two face warp flushes on the same pick. If possible, it is also always best to have the tying places occur on each of the backing ends an equal number of times in a given number of picks, thus making each end of the backing warp take up the same in weaving. The second method of stitching a double cloth is to depress the face warp threads under the backing filling, making the system of tying as uniform as possible and binding each face-warp thread, in order that the face warp shall take up evenly in the weaving. When tying by this method, the face warp should be depressed, or in other words the backing filling should be raised, in such a manner that the tying places will occur between two flushes of the face filling, as when tying filling-backed fabrics. This method of tying §80 WOOLEN AND WORSTED PLY WEAVES 25 double cloth is not used so much as the first method, but is useful in tying cloths that have a predominance of filling on the face; that is, in cases where the face weave is a filling- flush weave. The completed design for the double-cloth weave under consideration, tied by raising the backing-warp ends over the face picks in 8-end satin order, as indicated by the green squares, is shown in Fig. 38. As each tie is formed by raising the backing end between two flushes of the face warp over the same picks, the ties will be concealed from the face of the goods. The distribution of the ties in this case is perfect, since each backing-warp end has the same number of ties. It is always better to use a satin order for the ties, if possible, since the regular, yet distributed, order of the binding points always makes a perfect cloth with no liability of its cockling. In Fig. 39, the same double-cloth weave is shown as in Fig. 38 with the exception that the stitching is accomplished by allowing the backing picks to float over the face ends. The binding is shown by the green dots, but it should be remembered that in this case it is done with sinkers and not with risers, since each tying place represents the backing filling floating over the face warp. The binding is shown by green dots simply to show the position of the tying points more clearly; the squares thus represented should actually be blank squares. In tying double cloths, it should always be borne in mind that in all perfectly tied double cloths there are the same number of binding places on each backing or face end, according to whether the cloth is tied with the backing warp or filling, and that when the face weave is a warp-flush weave it is better to tie the cloth by raising the backing warp, as the tying will then be covered as well as possible, but when the face weave is a filling-flush weave, it is better to tie the cloths by raising the backing filling, as the flushes of face filling will then cover the tying places to the best advantage. The binding of double cloth also has an influence on the ultimate character of the fabric, since the oftener the cloth is bound, that is, the more tying places there are, the harder 26 WOOLEN AND WORSTED PLY WEAVES §80 and firmer the fabric will feel, while if tied only at wide intervals the cloth will feel loose and spongy. 25 . If, when designing a double-cloth weave with a twill on the back, it is desired to have this twill run to the right, it must be made to run to the left on the design paper, and vice versa. If it is desired to have a warp-flush weave on the back of the cloth, the reverse, or filling-flush, of the desired weave must be placed on the design paper. The reason for this is that the backing weave will always be seen from the under, or reverse, side after the cloth is woven. Care should always be taken, when arranging the weaves for a double cloth, to arrange them in such a manner as to make the best possible places for tying the cloths together. 26 . Double-cloth weaves are often constructed so as to be woven with twice as many face as backing ends and picks. Fig. 40 shows a weave of this description arranged 1 face, 1 back, 1 face in both warp and filling; the face weave is the cassimere twill and the backing weave plain. The two cloths are bound together by raising the backing warp over the face filling in 8-end satin order. The double-cloth weave shown in Fig. 41 is arranged 3 face and 1 back. The face weave is the 6-end regular 45° twill while the backing weave is the cassimere twill. In this weave, the ties are evenly distributed on each twill line of face-warp floats, which is accomplished by twilling the binding points in the opposite direction to the twill of the face weave. This arrangement of the face and backing yarns is suitable for goods with a fine worsted face and a woolen back; the method of construct¬ ing the weave is the same in principle as one-and-one and two-and-one double-cloth weaves. It often happens that the same proportion of face and back is not used in the warp as in the filling of a double cloth. The design shown in Fig. 42 is of this type, as it is arranged 1 face and 1 back in the warp and 1 face, 1 back, 1 face in the filling. The face weave is the cassimere twill, while the backing weave is the small rib weave shown in Fig. 43. The face and back cloths are bound together in 8-end satin order 80 WOOLEN AND WORSTED PLY WEAVES 27 in this weave. Another double-cloth weave of unevenly bal¬ anced construction is shown in Fig. 44, in which the warp is arranged 1 face, 1 back, 1 face, and the filling 1 face, 1 back. The face weave is the cassimere twill and the back¬ ing is the plain weave; the two cloths are tied on the warp- flush twill line of the cassimere. When making double-cloth weaves where two backing ends are placed together, care should be taken to have the tying places on the two backing ends that are together on different picks, so as to allow the face ends to cover them perfectly. In the weave of this description, shown in Fig. 45, careful notice should be taken of the method of tying. In this design, the face weave is the regular 8-harness twill ^r, while the backing weave is the cassimere twill. TYING WITH A COTTON WARP 27 . Double-cloth weaves are often arranged to be tied with an extra system of cotton threads instead of with the yarns that compose the face and back cloths, as in the ordi¬ nary methods of binding. The cotton tying threads are generally wound on a spool, which is placed at the back of the loom in such a manner as to let off the tying yarn as the cloth is woven. The tying threads are arranged in the weave so as to float over every backing pick and under every face pick, except at certain points where they are raised over a face pick between two floats of the face warp over the same pick and certain other points where they are allowed to be depressed under a backing pick between two backing ends that are also depressed, that is, that float on the back of the fabric. The alternate interlacing of this system of tying threads first with the face and then with the back fabric serves to bind the two cloths securely together, although a fabric tied in this manner is never so firmly bound as one tied by raising the backing warp or filling into the face cloth. Fig. 46 shows a double-cloth weave having the cassimere twill on the face and back and tied with a cotton warp. The weave is arranged 1 face, 1 back, 1 tying in the warp and 28 WOOLEN AND WORSTED PLY WEAVES §80 1 face, 1 back in the filling. It will be noted that each tying end passes over 1 face pick, as shown by the filled green square, and under 1 backing pick, as shown by the shaded green square which indicates the warp depressed, but at all other points lies between the face and backing picks, being raised over the backing picks, as shown by the blue dots, but floating under the face picks. DOUBLE-CLOTH WEAVES WITH WADDING YARNS 28. Double-cloth weaves are sometimes arranged with a wadding warp or filling, generally the latter, for the purpose of adding weight and bulk to the goods by inserting cheaper material between the face and back cloths in such a manner that it will not show on either the face or back of the fabric. A double-cloth weave arranged with a wadding filling is shown in Fig. 47. Both the face and the backing weaves in this case are the cassimere twill, and the cloth is tied per¬ fectly in 8-end satin order. The weave is arranged 1 face, 1 back in the warp and 1 face, 1 back, 1 wadding in the filling. When a pick of the wadding yarn, which is usually a bulky slack-twisted thread of cheap construction, is inserted, all the face-warp ends are raised, as shown by the blue dots, and the backing warp depressed, so that the picks will lie in the center of the fabric without interlacing with either the face or backing warps and without showing on either side of the cloth. By this means the weight and bulk of the goods may be increased very cheaply, and at the same time the appear¬ ance of the fabric suffers no deterioration. A double-cloth weave having the same construction as Fig. 47, except that a wadding warp instead of wadding filling is used, is shown in Fig. 48. This weave is arranged 1 face, 1 back, 1 wadding in the warp and 1 face, 1 back in the fill¬ ing. The wadding ends are raised over every backing pick, as shown by the blue dots, and depressed under every face pick, so that they lie in the center of the cloth without inter¬ lacing, in exactly the same manner that the wadding filling is inserted in Fig. 47. However, it is not possible to use as ^ *1 W =3 B F ■■□□□□■ F F B ■■■■■■■■ F F F ■■■□□□□□ ■■■□□□□□ B ■■■■■■■□ F «■□□□□■ F B ]□□□■■□ F □DDDBBBD B bbbBbbbB BBBDBBBD F □DBDBBDD F F ■■■□□□□□ ■■■□□□□□ F F 1*’ B F F F B F F F B F F F B Pig. 41 □□□□BDBD □□1 BDDD □1 □□ BBBD □ □BIBB □□□□ □BDB □□□□ BBBflB! 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F B F IS Fig .42 Fig. 43 BBEBD BDDDDDDD □□□□□□■□ BDSBBEBB □□□■□ bbebbebd ebb® EBB® a bdd ®bd □□□□ bd® □□□□ FBTFBTFB TFBT Fig .46 B■□■■■■ F■□□□□■ B■■■■□■ F□□□■ ■ B■□■■■■ F B■■■■□■ F ■ ■□□□ F B F F B F Fig. 44 F b DBBmn DDDDDDDB B BBDBBDBB BBDBBDBB B BDrjBBBBB BDDBBBBB F bd .:Bnnnn □DDDBDDB F Bfumayco □DDBB DB li BDBBBBDB bubbbbdb B BBBBBDDB BBBBBDDB F □□□□□□□□ BDDBBD B F fl IDBBDQD li ■■□BBijBB BBDBBDBB B BDDBBBBB BDDBBBBB F □□□□BDDB BD BBDDDD F □□□BB DB BDDDDQDD B BDBBBBDB BDBBBBDB B BBBBBDDB BBBBBDDB F BDDBBD B DDDDDDDD F B B F F B B F F B B F F B B F Fig. 45 ®D®D®D®D BBBDBDBB BDDDDDB ®D®D®D®D BDBDBBBB DDODBDBD ®D®D®D®D BDBBBBBD ®D®D®D®D BBBDBDBB BDDDDDBD ®D®D®D®D BDBDBBBB DDDDB BD ®D®D®D@D BDBBBBBD □DB BDDD ®d@d®d®d BBBBBDBD BDBDDDDD ®D@D®D®D BBBDBDBB BDDDDDBD ®D@D®D®D □DBDBDDD ®D®D®D®D BBBBBDBD B BDDDDD ®D®D®D®D BBBDBDBB BDDDDDB ®D®D@D®D BDBDBBBB □□□DB BD ®D®D®D®D BDBBBBBD □DBDBDDD ®D®D®D®D BBBBBDBD B BDDDDD BDBDBBBB □□□□BDBD ®D®D@D®D BDBBBBBD □DB BDDD ®D®D®D®D BBBBBDBD BDBDDDDD F IS F 15 F B F B F B F B F I! F B Fig. 47 BB®BD®BD BDDDDDDD BD®BD®BB □□□□□□BD BD®BB®BB □DDB :DBD Bfl®BB®BD BDDBDDDD ®BB®BB®B □B DBDDD ®BB®BD®B □BDDDDDD ®BD®BD®B □□□□□□□B ®BD®BB@B □DDDB DB □®BD®BB® □□□□□BDD □SBBEBB® □DB :DBDD BSBBEBD® □□BDDDDD B®BD®BD® □□□□□□□□ BB®BD@BD BDDDDDDD BD®BD®Bfl □□□□□□B BD®BB®BB □DDBDDBD BB®BB®BD B DBDDDD ®BB®BB®B □BDDBDDD ®BB®BD®B □BDDDDDD @BD®BD®B □□□□□□□B ®BD®BB®B □DDDBDDB □EBDEBB® □DDDDB ID □EBBEBB® □DBDDBDD BEBBEBD® □BDDDDD BEBDEBD® □□□□□□□□ F B W F B W F B W F IS SV F B W F B W F IS W F B W Fig.48 15409 □■■■■■□■ □BBBBBDB □■□□□□□■ □□□□□■□□ ■■□■■■■■ □□□■□□□■ □■□■■■■■ □■□□□■□■ BBBBDBDB □□□■□■□□ BBBBIJBBB □BDBDDDB □BDDDBDD □BDBDBBB □DDBDDDD □BBBBBDB □BDDDDDB □BBBBBDB □DDDDBDD BBDBDBDB BBflflDBBfll □BDBDDDB □BBBBBDB □BDBDDDD BBDBBBBB □□□□□BDB □BBBDBBB □BDDDBDB □□□□□■□■ □■■■■■□■ ■■□■■■■a □BDBDBBB dbdddbdd □BBBBBDB dddbdddd □BBBBBDB □BnnnnnB BBDBDBDB □□□□□■□□ □DDBDDDB BBDBBBBB □BDDDBDB □BDBBBBB □DDBDBDD BBBBDBDB □BDBDDDB BBBBDBBB □BDBBBDB □BDDDDDD ■BDBDBBB □DDBDBDD □BBBDBDB □DDBDBDD ■BDBBBDB □□□□□□□■ □BBBDBBB □■□□□□□□ □■□■■■□■ □DDBDBDD ■BDBDBBB □DDBDBDD □BBBDBDB BBDBBBDB □BDBDDDB BBBBDBBB □BDBDDDD □BBBBBDB □□□□□BDB BBDBBBBB □BDDDBDB BDBBBDBB BDDDDDDD BDBDBBBD □DBDBDDD BBBDBDBB □DBDBDDD BDBBBDBD □□□□□□BD □ BDBDDDB ■■■■□■■a □BDBDDDD □BBBBBDB □□□□□■□■ ■■□■■■■■ □BDDDBDB □■■■□■■a ■BDBBBDB □■□■□□□■ BBBBIBBB □■□■□□□□ □IBBIBDB □□□□□BOB BBBBBBB □■□□□■□■ □BBBDBBB □■□□□□□□ □BDBBBDB □DDBDBDD BBDBDBBB □DDBDBDD □BBBDBDB □□□□□□□B □BDBDDDB BBBBDBBB □BDBDDDD □BBBBBDB □□□□□BDB BBDBBBBB □BDDDBDB □BBBDBBB ■□■■■□■■ ■□□□□□□□ ■□■□■■■□ □DBDBDDD BBBDBDBB □DBDBDDD BDBBBDBD □□□□□□BD Pig. 50 15409 80 WOOLEN AND WORSTED PLY WEAVES 29 cheap a grade of yarn for a wadding warp as for a wadding filling since a warp yarn must always possess a certain amount of strength in order to withstand the chafing of the harnesses and reed during the weaving process. CUT DOUBLE CLOTHS 29 . Double-cloth weaves that produce fine indented lines, or cut marks , on the surface of the fabric are known as cut double cloths. These cut marks may be produced in double-cloth weaves arranged 1 face and 1 back by reversing the weave in either the warp or filling or both, the principle being similar to that employed for producing a cut mark in the filling-backed weave shown in Fig. 16. The cut marks are generally arranged so as to run lengthwise of the fabric or else so as to run both lengthwise and crosswise and produce checks in the fabric. Suppose, for example, that it is desired to produce a cut double-cloth weave in which the cut marks shall run in the direction of both the warp and the filling. The first step in the production of such a weave is to shade the design paper so as to indicate which are the backing and which are the face ends and picks, at the same time arranging for reversing the weaves to produce the cut marks. Fig. 49 shows the design paper shaded in this manner, the pink-shaded squares indicating the backing ends and picks; it will be noticed that in the first section of 16 ends the odd-numbered picks are the face picks and the even-numbered picks the back¬ ing picks, while in the second section of 16 ends the reverse is true. Thus, the first pick of the weave is a face pick for 16 ends and between the sixteenth and seventeenth ends passes to the back of the cloth and becomes a backing pick, while the second pick is a backing pick for the first 16 ends and then passes to the face of the cloth and becomes a face pick. The filling passing to the back and to the face between the six¬ teenth and seventeenth ends throughout the cloth will produce a fine cut mark the whole length of the piece. In a similar manner, the first end of the weave is a face end for 16 picks and then passes to the back of the cloth and becomes a 30 WOOLEN AND WORSTED PLY WEAVES §80 backing end for 16 picks, while the second end is a backing end for the first 16 picks and a face end for the next 16 picks, and so on throughout the weave. Thus, it will be seen that the ends, in passing from face to back and back to face between the sixteenth and seventeenth picks, will produce a cut mark running across the fabric. After the design paper is shaded in this manner, it is simply necessary to place a face weave on the face ends and picks and a backing weave on the backing ends and picks and to raise all the face warp on the backing picks. In Fig. 50 the completed design is shown, the ■ s t j -¥ 1 t regular twill being used for a face weave and the 8-end twill basket for a backing weave. Generally, it is unnecessary to introduce the ordinary double-cloth binding between the face and the back cloths, as the transposing of the face ends and picks and backing ends and picks serves to bind the cloth securely on each cut mark both warp-way and filling-way; but in case the cut marks are arranged so as to form checks of any consid¬ erable area, it is advisable to tie the face and backing weaves in each section exactly the same as in an ordinary double cloth, since the pockets formed between the cut marks will other¬ wise be too large and thus render the fabric somewhat loose in structure. The cut marks can be made much more prominent by using a cut check weave for the face weave or for both the face and backing weaves and reversing the warps and fillings at the points where the cut of the face or face and backing weaves occurs. By this means, the cut marks that would naturally occur by using a cut check weave in the cloth are greatly accentuated and serve to divide the sections of the check very prominently. Cloths woven with weaves like Fig. 50 are generally woven white and then piece-dyed one solid color, and as both series of yarns appear on the face, both should be of the same quality. 30. When it is desired to produce cut marks in double¬ cloth weaves arranged with two face threads alternating with one back thread, a somewhat different method is □□□ □□□ o £4 □■■■ ■□□■■■■□ *4 ■■■□ ■□■■■□■□ fa □□□□ ■□□□□□■□ PQ ■■■■□□■a fa ■■□■□■■a fa 33 □■■■ ■□□■■■■□ fa ■ !■□ ■□■■■□■□ fa □□□□ ■□□□□□■□ 33 ■■■■□□■■ fa ■■□■□■■■ fa 33 □ □□ □□□ O □□□ ; □□□ ii O □□□□ ■□□□□□■□ £4 □■■□□■■□ ■■■□ ■□■■■□■□ fa ■■□□■■□□ □■■■ ■□□■■■■□ fa ■□□■■□□■ £4 □□■■□□■■ ■□■□■■■ fa □■■□□■■□ ■■■■□□■■ fa ■■□□■■□□ □□□□ ■□□□□□■□ £4 ■ □□■■[ ]□■ ■■■□ ■□■■■□■□ fa □□■■□□■■ □■■■ ■□□■■■■□ fa ■■□□■■□□ £4 □■■□□■■□ ■■□■i ■■■ fa □□■■□□■a ■■■□□■■ fa ■□□■■□□■ □□□□ ■□□□□□■□ £4 ■■□□■■□□ □ □□ □□□ O ' ■■ iraar □□□ □□□ o □□■■□□■■ 33 ■□□■■□□■ □■■■ ■□□■■■■□ fa □■■□□■■□ ■■■□ ■□■■■□■□ fa ■■□□■■□□ □□□□ ■□□□□□■□ 33 H ■> :□■■ ]□■ ■■■■□□■■ fa ^ □□■■□□■■ □■□■ ■■□■□■■■ &. 6 □■■□□■■□ s £ ■■□□■■□□ □■■■ ■□□■■■■□ fa ■□□■■□□■ ■■■□ ■□■■■□■□ fa □□■■□□■■ □□□□ ■□□□□□■□ £4 ■■□□■■□□ ■■■■□□■a fa □■■□□■■□ □■□■ ■■□■□■■■ fa □□■■□□■■ □□□■□□□□ £4 ■□□■■□□■ □ □□ □□□ O ■■□□■■□□ □□□ □□□ O □■■□□■■□ □□□n 33 □□■■□□■■ ■■■□ ■□■■■□■□ ■□□■■□□■ □■■■ ■□□■■■■c fa ■■□□■■□□ □■□c □□□■□□□□ 33 □■■ :□■■□ ■■□■r '■■■ fa □□■■□□■■ ■■■■□□■■ fa ■' ]r ■■□□■ □□□c ■□□□□□■c £4 ■■□□■■□□ ■■■c ■□■■■□■c □■■□□■■□ □■■a ■ ■ ■■■ □□■■□□■■ £4 ■□□■■□□■ ■■□■□■■■ fa ■■■■□□■a □□□c ■□□□□□■c ca ■■sc ■□■■:■]■ >.:■■■ ■□□■■■■L □□□■□□□c « □■□■ ■ ■['<■>..■■■ fa ■■□c ■■■■□□■■ □□□c ■□□□□□■c 33 ■■■c ■□■■■□■c □■■B ■□□■■■■c a. □■□C □□□■□□□c a □■□■ ■■□■□■■■ ■■□L ■■■■□□■■ fa □□□c ■□□□□□■c a c CO □□□ w fc P3 u. r * 15409 Fig. 52 c B F F B F F B F F B F F B C C B F F B F F B F F B F F B F F B F F B F F B F F B C □□ DD :■■■■■□ □BE3BDDDB BBBBBDBB □□□ BBBDBBBB □DDBBBDD BDD BBBD □BBBDDDB BBBBBDBB BD ■ B <□□□□□■□ □□□□□■■□ □■■■□■■a □■□□□□□ □■■■■■□ □■□□■an BDDBBDDD □BDBDDDD BBDBBBBB □BDBDDBB BBDDBDBD BBBBBDBB □DDDBDBD □DDBBDDB □DBDBDDB □BBDDBDB □BBBBBDB □□□□□BDB □DDDBBDD BBBDBBBB □BBDDDDD □BDDDDDB BDD :□□□□ □□ DDBDD BB DDBBB □□ ! 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In this case, if a cut mark running lengthwise of the goods is desired, 2 ends are inserted in the weave that interlace with both the face and backing filling exactly as in a single-cloth weave; or if a cut mark across the cloth is called for, 2 picks similarly interlaced with both warps are inserted. Fig. 51 is a double-cloth weave with cut marks made by this method, arranged to run lengthwise of the fabric. The face weave in this case is an angled stripe weave made with the cassimere twill as shown in Fig. 52, while the backing is the plain weave. Wherever it is desired to make a cut mark, 2 cutting ends are substituted for 2 face ends, these ends being arranged to interlace alternately with the fillings, as shown by the green squares. Thus, cut marks will be produced between the second and seventy-first, twenty-sixth and twenty-ninth, forty-first and forty-fourth, fifty-sixth and fifty-ninth ends. It will be noticed that the cut marks are so arranged as to coincide with and accentuate the cuts that would naturally occur in the face weave. By arranging a weave with cutting picks, the cut marks may be made to run across the fabric; and by combining both methods, the cut marks may be made to form checks in the fabric. A cut double-cloth weave arranged in this manner is shown in Fig. 53, the face weave being a cut check made with the Mayo weave, as shown in Fig. 54, and the backing weave plain. _ DOUBLE PLAIN WEAVES 31. Double plain weaves, although constructed simi¬ lar to ordinary double-cloth weaves, are never tied by raising the ends or picks of the backing fabric into the face fabric, but always by reversing the positions of the two cloths; that is, by bringing the backing ends and picks to the face and pass¬ ing the face ends and picks to the back. A double plain fabric consists of two plain cloths, that is, cloths woven with the ^y, or plain, weave, arranged so that one cloth is above the other in the loom exactly like an ordinary double cloth. A weave that will produce this effect is shown in Fig. 55, which is an ordinary double-cloth weave with the plain 32 WOOLEN AND WORSTED PLY WEAVES §80 weave on the face ends and picks and also with the plain weave placed on the backing ends and picks. The face and back cloths in this weave are not tied together, and so two plain woven cloths will be formed in the loom, one above the other, as shown in Fig. 56. If Fig. 55 were warped and woven 1 black, 1 red, that is, if all the face ends and picks were black and the backing ends and picks red, the face fab¬ ric would be black and the back fabric red, as indicated in Fig. 56. By comparing Figs. 55 and 56, it will be seen that this is true, since the first pick (black) floats under the first end, over the second, third and fourth, under the fifth, and overdhe sixth, seventh and eighth, while on the second pick (red), the filling floats over the fourth and eighth ends and under the first, second, third, fifth, sixth and seventh, etc., the filling alternately interlacing first with one cloth and then the other, each color being always interlaced with its own color of warp. A section of the weave shown in Fig. 55 is shown in Fig. 57, and indicates the interlacing of the filling with the warp. The ends are numbered from 1 to 8, the odd numbers being on the face of the cloth and the even numbers on the back. In this case, however, the cloth is not warped and picked 1 black and 1 red, as in Fig. 56, but is all of one color, being woven from one shuttle, so that the two cloths will be tied at each edge, thus producing a tube, or bag, in the loom. In Fig. 57 only 8 ends are shown, but it will be understood that actually there are a large number of ends working like ends 3, 4, 5, and 6, and that the cloth is bound only on each edge. If it is desired to produce a cloth that is interwoven at one edge only, and will thus open out to twice its width when taken from the loom, 2 picks should be placed in the face, then 2 picks in the back, instead of 1 face and 1 back. The weave for accomplishing this is shown in Fig. 58, while a section of the fabric is shown in Fig. 59. 32. In order to bind double plain cloths so as to pro¬ duce a firm double fabric, it would be impractical to raise a §80 WOOLEN AND WORSTED PLY WEAVES 33 backing warp thread to the face on account of the impossi¬ bility of finding a place in the face weave that would cover the tying place perfectly. The system adopted, therefore, for amalgamating the face and back fabrics and at the same time for producing patterns with double plain weaves is to reverse the fabric; that is, to pass the face cloth, warp and filling, through the fabric to the back and the backing yarns to the face. Double plains are largely used in producing stripe pat¬ terns, it being possible by their employment to produce a heavy fabric of fine texture with stripes of solid color on both sides of the cloth. As a rule, the filling yarn should be finer than the warp yarn in this class of fabrics, and there should be more picks than ends per inch. If there are more ends than picks, the lines or stripes of color will not be so perfect or compact. In designing a double plain stripe, the simplest method is to shade the ends 1 face and 1 back, as in the case of double cloth, reversing the weave by bringing 2 back or 2 face ends together. By this means, since the warp is dressed with a thread of one color alternating with a thread of another color, one color of the warp is brought to the face in one portion of the stripe and the other color is brought to the face for the other stripe. The filling inter¬ laces first on the face and then on the back of the cloth, according to which color of warp is on the face or back, each pick of filling always interlacing with its own color. Fig. 60 shows the design paper shaded for a double plain stripe arranged in the warp 1 face and 1 back for 8 ends and then 1 back and 1 face for 8 ends, in order to reverse the weave as previously explained. The first pick is a face pick for the first section of 8 ends and a backing pick for the next 8 ends, while the second pick is the reverse of the first, so that the filling being picked alternately with different colors will interlace with its own color of warp both on the face and back of the cloth. After the design paper is shaded, it is simply necessary to place the plain weave on both the face and the backing ends and picks and to raise the face warp on the backing picks, as shown by the blue squares, 34 WOOLEN AND WORSTED PLY WEAVES §80 in order to complete the weave as shown in Fig. 61. If this weave is warped and woven 1 black and 1 red, black and red stripes will be formed on both sides of the cloth, the black stripe on the face covering the red stripe on the back, and vice versa. That this is true may be seen by examining the section of this design given in Fig. 62, which shows the method in which each pick interlaces with the warp. From this section, it will be seen that the black picks, which are put in the cloth alternately, interlace only with the black, or odd-numbered, ends, and the red picks interlace only with the red, or even-numbered, ends. Where the odd- and even- numbered, or the black and red, ends change places at 7, 8, 9, and 10, the two cloths are tied together. The cloths are also tied together, of course, at the fifteenth, sixteenth, first, and second ends. 33 . Double plain fabrics are useful in producing many other varieties of patterns besides stripes. Fig. 63 shows the design paper shaded for a double plain checker-board effect, while Fig. 64 shows the complete weave, the face and back plain weaves being placed on the face and backing ends and picks, respectively, and the face warp raised on the backing picks. If this weave is warped and picked 1 black and 1 red, a reversible checker-board effect consisting of black and red checks on the face and back of the goods will be formed, the black checks on the face covering the red checks on the back of the goods, and vice versa. The weave is bound at the first and thirty-second and the sixteenth and seventeenth ends and picks by reversing the cloths. This will have the effect of forming pockets in the cloth, each check being the extent of the pocket. Double plains are not confined to the simple effects that have been described here, as solid twill lines of color, fancy, or figured effects may be readily obtained, the method being to mark out the desired motive and place the double plain weave on it, then reverse the weave around the outline of the figure, and place the reverse double plain weave on the ground. By this means, a weave may be warped and woven 1 black and 1 red and a red spot Face V * P ick 4 ts Pick Pick Back Fig. 57 1 2 3 4 5 6 7 FBPBFBFB Fig. 58 12 3 45678 9 1011 1213141516 Fig. 60 1 2 3 4 5 6 7 □■■■□■a □□ !□□□ ■□I JD □□ 9 10111213141516 Fig. 61 3 d Pick 1 •* - fr 2 * " Fig. 62 15409 Fig. 63 □DDBDDDB □BBBDBBB □bdddbdd BBDBBBDB □DDBDDDB □BBBDBBB □BnnDBDD BBDBBBDfl BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD □DDBDDDB □□□Banna □BBBDBBB □bdddbdd BBDBBBDB □□□Banna □BBBDBBB □bdddbdd BBDBBBDB BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD ■□□□■□no BDBBBDBB ddbdddbd BBBDBBBD bdddbddd BDBBBDBB ddbdddbd BBBDBBBD Bnnnannn □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB ■□■■■□■a ddbdddbd bbbdbbbd bdddbddd ■□BBanaa ddbdddbd BBBDBBBD bdddbddd BDBBBDBB ddbdddbd BBBDBBBD BnnnBnnn BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB Fig. 64 §80 WOOLEN AND WORSTED PLY WEAVES 35 or figure on a black ground made on the face of the cloth, while the back of the cloth will show a black figure on a red ground. DRAFTING OF DOUBLE-CLOTH WEAVES 34 . In constructing the harness and chain drafts for double-cloth weaves, the same methods are employed as for warp-backed weaves. Double-cloth weaves may, of course, be drafted exactly the same as single-cloth weaves, but for the reasons given, when dealing with warp-backed weaves, it is better to separate the harnesses through which the face and backing warps are drawn, constructing the chain draft in each instance to correspond with the method adopted for drawing in the warps. The following drafts for double-cloth weaves indicate the method employed: Fig. 65 (a) is the drawing-in draft and Fig. 65 (b) the chain draft for the double-cloth weave shown in Fig. 38, the backing warp being drawn on the front and the face warp on the back harnesses. Fig. 66 ( a ) is the drawing-in draft and Fig. 66 (b) the corresponding chain draft for Fig. 40, the face warp in this case being drawn on the front harnesses and the backing warp on the back harnesses. Reversible weaves in which the warp alternately interlaces on the face and on the back of the fabric are best drafted exactly like single cloths, although double plain weaves are occasionally drafted so that one color will be drawn on the front harnesses and the other on the back harnesses. EXAMPLES FOR PRACTICE 1. Construct a double-cloth weave arranged 1 face and 1 back in both warp and filling, placing the 8-harness twilled basket on the face and the plain weave on the back and tying the backing weave perfectly to the face in 8-harness satin order. Make harness and chain drafts with the face warp drawn on the front harnesses. 2. Make a double-cloth weave arranged 1 face, 1 back, 1 face in both warp and filling, placing the cassimere weave on the face and the 4-end basket on the back and tying the backing weave perfectly to the face in 8-end satin order. Make harness and chain drafts with the backing weave drawn on the front harnesses. 36 WOOLEN AND WORSTED PLY WEAVES §80 3. Make a double-cloth weave arranged 1 face and 1 back in the warp and 1 face, 1 back, 1 face in the filling, the face weave to be the 3 a 2 i regular twill and the backing weave plain. Make two repeats of the face weave in the filling and alternately tie the backing ends to the face weave on the warp-flush twill line. Make harness and chain drafts, the backing weave to be drawn in on the back harnesses. 4. Make a double-cloth weave arranged 1 face and 1 back in both warp and filling, the face weave to be the regular twill and the backing weave to be a 5-harness satin showing a filling flush on the back of the cloth. Stitch in regular order and show harness and chain drafts with the face warp drawn in on the front harnesses. 5. Make a double plain weave on 16 ends that if warped and picked 1 black, 1 red will show a black stripe on the face of the cloth three times the width of the red stripe, and vice versa on the back—a red stripe three times the width of the black stripe. TRIPLE CLOTHS 35. Triple-clotli weaves are used for heavy-weight woolen goods, such as golf capes, cloakings, etc. As the name indicates, a triple cloth is composed of three cloths woven one on top of the other in the loom. These three cloths are known as the face, ce7iter , and back cloths. The center cloth is tied to the face cloth and the back cloth to the center cloth, thus uniting all three cloths into a strong heavy-weight fabric. The same laws regarding tying that were laid down when dealing with double cloths are appli¬ cable to triple cloths. When binding the back to the center, however, more care should be taken to bind every end regu¬ larly than to lay any stress on raising the backing end between two warp floats of the center cloth, since imperfect stitching of this description cannot show on the face of the goods. Wherever possible the back cloth should also be tied to the center cloth so that the tying points will be covered on the back of the cloth. When laying out triple-cloth weaves, it is always better to use some loose weave for the center cloth, since this cloth does not affect the appearance of the goods, but simply adds weight. Satin weaves are especially appropriate to use in this connection. The first step when making a triple-cloth SDDD □DDD □HDD □□□□ □DSD □□□□ □□□§ □□□□ □DDD SDDD □□□□ □HOD □DDD □DSD □□□□ DDD@ □□□□□DDD □□□□□□□□ □□□□□DDD □0DDDDDD □□□□□DDD □D0DDDDD □□□□□□□□ □DDSDDDD □□□□□□□□ □DDDSDDD □□□□□□□□ □DDDDSDD □□□□□□□□ □□□□□DSD □□□□□□□□ DDDDDDDB (a) Pig. 65 □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□DDD □DDD □□□□ DDD® □DDD □□□□ □□□□ □□□□ □□□□ □□□□ SDDD □□□□ □□□□ □§□□ □DDD □DDD □DSD □□□□□□□□ □□□□□□Dm □DDDODDD □ JSDDDDDD □DDDDfflDD □DDSJDDDD □DtDDDDDD UDDDDDDD □DSflDDDDD □□□□□DDD □□□□□□□□ □□□□□□□□ □DDfflDDDD □S1DDDDDS1 HJDDDDDS1D □□□□□DDD □DDDSDDD □□□□□□□□ □□□DD0DD □□□□□□HD □□□□□□□□ □□□□□□□B □DDDSDDD □□□□□□□□ (a) Fig.66 □□□□□□□ ' □□■■□□■a □□■□□□□□ □□□□□ !□□ ■ ■■■ ■ ■■■ ■ ■■■ □□□ □□□□ □□■■□□■a □□□□□DDD bbddbbdd □ □□□□□□ BBDDBBDD □DDDBDDD BBBB BDDB BBBB □□BB BBBB □BAD BBBB ■ana ( b) □dbdddd bbbdbdb ddbbdddd □bbddddd BBBBDBD BDD !□□□ □dbdddd BBBDBDB □DDD dbdb DBDD □DDD BDBD □□□□ □□□□ DBDB □DBBDDDB □BBDDDDD BBBBBDBD BBDDDDDD BDDBDDDD BBBBDBDB □DBBD ;□□ □BBDDDDD □□□□ □□□□ BDBD □□ :□ □□□□ DBDB □□□□ □□□□ _DBD BBDDDDDD BDDBDDDD BBBBDBDB □DBBDDDD □BBDDDDD _DBD □□□□ □ BDBD 0DDD □□□□ DBDB □DDE! □□□□ BDBD □□□□ ( b ) Fig. 67 15409 §80 WOOLEN AND WORSTED PLY WEAVES 37 weave is to shade the design paper, and for this purpose two differently colored pencils may be used, one to shade the center ends and picks and the other to shade the backing ends and picks. As more familiarity with the construction of both double and triple cloths is obtained, it will be possible to construct the simpler weaves without shading the ends and picks, but for the beginner, or with complicated and large designs, shading is to be preferred, as it eliminates the possi¬ bility of error. To illustrate the construction of a triple-cloth weave, suppose that it is desired to make a weave having the cassi- mere twill on the face, the center cloth to be an 8-end satin, and the back of the fabric to show the 4-harness basket weave. The center cloth is to be bound to the face cloth and the back to the center in 8-end satin order, the weave to be arranged 1 face, 1 center, 1 back, in both warp and filling. The first step is to shade the center and backing ends and picks with differently colored pencils after the manner shown in Fig. 67, in which the light-blue-shaded squares represent the center ends and picks, and the pink-shaded squares the backing ends and picks. The next process is to place the face, center, and backing weaves on their respective ends and picks, as shown in Fig. 68, where the face weave is shown in black, the center weave by the blue marks, and the backing weave by the red-filled squares. After placing the weaves on the design paper, the cloths are tied by raising the center ends over the face picks, arranging the binding points in 8-end satin order and so that the center end will be raised between two face warp floats. This binds the center to the face, but does not bind the back cloth, this latter being accomplished by raising the backing warp ends over the center picks in a similar manner. After the separate cloths are tied together, the next step is to raise each face end over the center and backing picks and each center end over the backing picks, in order that each filling may interlace with its own warp. The completed triple-cloth weave with each of the above points worked out is shown in Fig. 69, where it will be noticed that the binding of both the center to the 38 WOOLEN AND WORSTED PLY WEAVES §80 face and the back to the center cloth is accomplished in satin order. In this design, the black squares represent the face weave; the blue squares, the center weave; and the red squares, the backing weave. The green squares show the method of stitching the center to the face, and the green dots indicate the tying of the back to the center cloth. The black-shaded squares indicate the face warp raised over the backing and center picks, while the light-blue-shaded squares indicate the center warp raised over the backing picks. DRAFTING 36 . When making the drafts for triple-cloth weaves, it is always better to separate the face, center, and backing ends, as by this means the harness draft is simplified for the weaver. The method of procedure in drafting is the same as that employed for double cloths, except that three separations are made instead of two. Fig. 70 (a) shows the harness draft for Fig. 69 with the face ends drawn in on the first 4 harnesses, the center on the next 8, and the back on the last 8 harnesses. The chain draft for Fig. 69, according to the drawing-in draft in Fig. 70 (a), is shown in Fig. 70 (b). EXAMPLES FOR PRACTICE 1. Make a double plain stripe weave complete on 8 ends and 4 picks, which, if dressed and woven 1 red and 1 black, will produce red and black stripes on each side of the cloth. 2. Make a triple-cloth weave, the face to be the - T regular twill, the center weave the 8-harness satin, and the backing weave the cassi- mere twill. Tie the center to the face and the back to the center in 8-harness satin order. The design is to be arranged 1 face, 1 center, and 1 back. Give harness and chain drafts. 3. Make a double plain weave for a stripe, the face of the cloth to show 8 red ends, 4 black, 8 red, and 2 black. 4. Make an original triple-cloth design. 5. Make a double plain checker-board weave on 24 ends and picks, that if dressed and woven 1 black and 1 white, will show solid checks of black and white on each side of the cloth. □□□□□□□a □□□□□□□□ ■□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□■a □□□□□□□□ □□□□□□■□ □□□□□□□□ □□■□□□□□ □■□□□□□□ □□□□□□□□ □■□□□□□□ □□■□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□a □□□□□□□a ■□□□□□□□ □□□□□□□□ □□□□□□□■ □□□□□□■□ □□□□□■□a □□□□□□□□ □□■□□□□□ □■□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□■□ □□□□□■□□ □□□□□□□■ □□□□□□■□ □□■□□■□a □□□□□□□□ □■□□□□□a □□□□□□□□ □■□□□□□□ □□□□□□■□ □□□□□□□□ □□□□□□□■ □□□□□□■a □□□□□□□□ □□□□□□□□ □□□□□□□a □■□□□□□□ □□□□□□□□ □□□□□□□□ F C B F C B F C BFCBFCBF CBFCBPCB Fig. 68 ■ llllBllllClIi uwwomuuw □■□□□ "SBBSBH! mpwwmmmm nnmnnmn □□□□□■□□ mammummm anmuamn □ mummammn □ mnaman □□□□□□□■ nmnnmmom □□□□■ mmmmmmam □HD M\JEM mmwmnmum □□■□□□□□ anmEamna □□□□□□□□ aamnnmma □□□□□■ "□ mommummm mnamnamm □□□□□□■ mnnw□«mu □□□■□□■a mmmmmm m mmnmoama ■?□■□□□□ ' □ □□Banana □□□□□□□□ □□nannan □□□□□□□□ □□n □□■□□■□a □bbbbbbb □□ unnunn □□□□□□□ ■• □□Banana □□□□□□□□ 20 19 18 17 16 15 14 13 12 11 IO e 8 7 e 6 4 4 3 3 2 2 l 1 (a) Fig.70 IBBBB ■ J mmamnmaa mmmmuumm □□□□□□□□ □□□□□□□□ mmmmuumm □□■□□□□□ mmmmumna □□□□□□□a □□□□□□□□ mmmmmmuu ■□□□ •]□□□ ■□□□□□□□ mmmnnmm □□□■□□□« WMMMOOMW mmwwnuw □ □ mmmmmmmm □■■□□□□□ mmammhan □□□ □□□□□□□□ □□□□□□□□ mammmmu □ □ !□□□□□□ mmmmmman □□□□□□□□ □□□□□□□□ □ □□ •] □□□□ □ □□□ □ □□□ □ □□ □□□□ □□□□ □□□□ □□□□ □ □□□ □ □□□ □ □□□ □ □□□ □ □□□ (b) 15409 LENO WEAVES PLAIN GAUZE INTRODUCTION 1. Leno weaves is the general term applied to all classes of weaves, of a peculiar structure in which some of the warp ends do not lie parallel with, but are twisted partly around, other ends. This principle of interweaving is called leno weaving, or cross-weaving, and admits of a great number of variations and combinations in developing ornamental effects decidedly different from those produced by the ordinary method of fancy weaving. As every leno weave is what is termed the plain gauze weave, or some vari¬ ation or enlargement of it, or a combination of an ordinary weave with it, known as fancy gauze , the subject of leno weaves is best treated in its natural divisions—plain gauze and fancy gauze. Fig 1 2. A plain, or pure, gauze fabric, as represented in Fig. 1, is one in which an end of the warp is raised on one side of an adjacent end on one pick and raised on the other For notice of copyright, see page immediately following the title page l 81 2 LENO WEAVES 81 side of the same end on the next pick. Thus in Fig. 1, the end a, which is known as the doup end, is raised over the first pick on the left of the end a x , which is called the ground end; but on the second pick, a is raised on the right of a x . It will also be noted that the doup end a is raised and the ground end a 1 depressed on every pick, the formation of the cloth being made possible by the doup end crossing the ground end between the picks. The weave is complete on 2 picks, as the succeeding picks are merely repetitions of the picks described. Two ends only are required for the completion of this weave, since the entire warp is composed of pairs of ends, each pair working similarly to the 2 ends described. Thus throughout the width of the warp the doup ends are raised over every pick inserted, first on one side and then on the other side of the ground ends around which they twist. Between the picks, each doup end crosses under the ground end with which it works. This method of interlacing results in several features peculiar to leno weaves. Since the ends of the warp cross each other and more room is usually allowed them than if they were parallel in the cloth, an openwork effect is pro¬ duced. This open effect is often increased by leaving more space between the pairs of ends than is actually required for their proper working; this is done by leaving certain dents of the reed empty. Since the crossing of the ends prevents the beating up of the filling as close as in ordinary cloths, the openness of leno fabrics is still further increased. The crossing of the warp yarn binds the warp and filling very firmly together, so that the plain gauze weave makes the strongest cloth that can be woven with a given weight of yarn. A gauze fabric may thus have an open, or lace-like, appearance, be light in weight, and yet possess sufficient strength to wear well. A peculiar zigzag effect, due to the twisting of the ends, is also characteristic of leno fabrics, but this effect is much more noticeable in fancy gauze than in plain gauze weaves for reasons that will be obvious as these weaves are studied in detail. 81 LENO WEAVES 3 PLAIN GAUZE ON CLOSE-SHED LOOMS BOTTOM DOUPS 3. The majority of gauze fabrics are woven on dobby looms, of either the close-shed, or open-shed type. The terms close-shed dobby and open-shed dobby are practically synony¬ mous with the terms single-lift dobby and double-lift dobby so frequently used in the cotton-mill industry. There is some confusion as to the exact meaning of these latter terms, but the consensus of opinion is that a single-lift dobby is one with but one lifting knife, or bar, while a double-lift dobby is equipped with two knives. Single¬ lift dobbies form a close shed, while double-lift dobbies, such as are ordinarily used in cotton mills, generally form open sheds. A close-shed dobby is therefore usually understood to be a single¬ lift dobby, while the term open- shed dobby generally infers a double-lift dobby. 4. Harnesses. —The crossing of the ends in weaving plain gauze requires extra harnesses, so that 4 harnesses are necessary, as well as special mechanisms, to control the warp yarn. Two of the har¬ nesses are of the usual type, but in gauze weaving they are called the ground and the back harnesses. of peculiar construction and are called the standard and the do tip harnesses. The standard harness, shown in Fig. 2, is like an ordi¬ nary harness with the exception that each heddle has two eyes instead of one. Sometimes heddles are used that have eyes The other harnesses are 4 LENO WEAVES §81 of the same size, but heddles with the upper eye, in the case of bottom doups, considerably larger than the lower are often used on the standard harness. A standard heddle that has one eye larger than the other will not chafe the doup so much as when both eyes are of small size. The doup harness, shown in Fig. 3, consists of a frame similar to that of an ordinary harness, to the lower part of which are attached worsted, cotton, or linen loops, called doups—bottom doups in this case, because they are attached to the lower part of the harness frame. Worsted yarn is preferred for this purpose on account of its elasticity and superior wearing qualities. Heddles are not used on the doup harness. In order to provide for crossing the doup and ground ends in weaving, it is necessary to combine the doup and the standard harnesses in the manner shown in Fig. 4. In attaching the doup harness to the standard har¬ ness one end of the doup is fastened to a cord stretched tightly across the lower part of the doup-harness frame; §81 LENO WEAVES 5 the other end is passed around the heddle bar, through one eye of the standard heddle, back through the other eye, and, after being passed around the heddle bar again, is fastened to the cord beside the first end. It is not essential that the cord be placed in the exact position shown in Fig. 3. It may be higher up and nearer to the heddle bar, or it may be about i inch above the heddle bar; in fact, the latter is the position preferred by many. It is secured on each side either by being passed through holes in the side piece of the harness frame and tied there, or by being attached to hooks fixed on the inside of each side piece of the harness frame. Some¬ times the doups are merely fastened to the heddle bar and no cord is used. In Fig. 3, the proper method of passing the doups around the heddle bar of the doup-harness frame is shown; in Fig. 4, and other figures, the doup is simply indicated as being attached to the cord. No ends are drawn through the standard heddle, but the doup end is drawn through the loop formed by the doup passing through the eyes of the standard heddle. If the loop is on the right of the standard heddle, as in Fig. 4, it is a right-hand doup; if on the left, it is a left-hand doup. 5 . Tlie Slackener. —The normal position of the doup end is on one side of the ground end, but on every alternate pick it is crossed under the ground end and raised on the opposite side. Whenever this crossing takes place, an addi¬ tional strain would be brought on the doup ends if some arrangement were not provided to compensate for the extra length of warp yarn required by the crossing action of the doup ends. To obviate this difficulty a mechanism, called the slackener, easing bar, or easer, is applied to the loom, the object being, as previously intimated, to give a little slack to the doup ends when they are raised out of their normal position. This arrangement is shown in Fig 5; d is a rod extending the width of the loom, attached at one side to an arm d 3 and at the other side to a similar arm. These arms are fastened to a rod d 3 , to the end of which nearest the dobby another arm d x is fastened. The arm d , is connected e LENO WEAVES §81 Fig. 5 81 LENO WEAVES 7 by a strap d if which passes over a separate sheave attached to the arch of the loom, as shown in Fig. 5, to one of the harness levers of the dobby. This lever is usually the one farthest from the fell of the cloth and is operated in the ordi¬ nary manner by the dobby. The warp in weaving a plain gauze is usually wound on one beam c, and the ground ends a x passed over the whip roll c, in the ordinary manner. The doup ends a, however, are passed over the bar d of the slack¬ ened thus whenever the doup ends are required to cross the ground ends and be raised out of their normal position, they may be slackened by placing a peg in the harness chain so as to raise the lever that operates the slackener. When this lever is raised, the bar d will be drawn in so as to give the required slack to the doup ends; this is necessary on every alternate pick of a plain gauze weave. 6. Arrangement -of Harnesses and Ends. —The crossing of the doup and ground ends in weaving necessi¬ tates a peculiar arrangement of the harnesses and the ends controlled by them. The 4 harnesses already mentioned are arranged in the following order, beginning at the front: doup harness, standard harness (through the heddles of which the doups pass), ground harness, and back harness. The ground and the back harnesses are usually placed as far back as pos¬ sible, so as to put the least possible strain on the doup ends when the crossing takes place. In the European method of weaving lenos, the relative position of the last 2 harnesses is reversed; but they are operated in the same manner as in the American system to obtain like results. Fig. 6 shows the arrangement of the harnesses and the method of drawing in the doup and ground ends. The doup end a is first drawn over the slackener rod d, Fig. 5, and through the back harness and doup, as shown in Fig. 6. Although this end is usually called the doup end, it is also called the doupingend, crossing end, or whip end. The ground end a 1 is drawn in the usual manner over the whip roll and through the ground harness, but is then crossed over the doup end; it is then drawn in the same dent in the reed as the 8 LENO WEAVES §81 doup end. This reeding is absolutely necessary in order to allow the ends to cross in front of the reed. If the ground end and the doup end were not drawn through the same dent of the reed, whenever the doup end crossed the ground end the split of the reed would prevent the crossing from passing forwards; and in consequence, no shed could be formed in front of the reed. This would take place on every alternate pick in the case of plain gauze. It must be understood that in plain gauze every alternate end throughout the body of the warp is a doup end drawn in like a, and that the other ends are ground ends drawn in like a lf though for conve¬ nience of explanation only 2 ends are shown. 7. Operation of Harnesses.— The operation of the harnesses when a plain gauze fabric is being woven on a close-shed loom, will now be considered. It has been noted in Fig. 1 that the doup end a is raised on every pick, but on §81 LENO WEAVES 9 successive picks is on opposite sides of the ground end. On the first pick, the doup end is raised on the left of the ground end and passes straight from the back harness to the fell of the cloth, as shown in Fig. 7. On this pick the ground harness remains down, as does also the standard harness; the back harness is raised, in order to lift the doup end, and the doup harness must also be lifted, so that the doup end in rising may pull the doup through the eyes of the standard heddle. If the doup harness were not raised, the back har¬ ness could not raise the doup ends, as the doups would hold them down. After the pick has been inserted in the shed, the harnesses are returned to the bottom of the shed, as shown in Fig. 6. On the second pick the doup end is raised on the right of the ground end, which it crosses in forming 10 LENO WEAVES §81 the shed, as shown in Fig. 8. The doup end is raised on this pick by lifting both the doup and standard harnesses, which act as one. As the ground harness is down, the back harness must also be down to avoid straining the doup end, since the doup end crosses the ground end directly in front of the ground harness. It is evident that when this crossing of the ends takes place and the shed is formed wholly in front of the ground harness, there is considerable strain on the doup end. The slackener, shown in Fig. 5, is designed to relieve the tension of the doup ends, which are drawn over it, by moving the rod d forwards as the crossing takes place. This second pick completes one repeat of the weave, and after it has been inserted the doup and standard harnesses, as well as the lever of the dobby that operates the slackener, 81 LENO WEAVES 11 are lowered and all the harnesses are level at the bottom of the shed, as shown in Fig. 6, ready for another repeat of the weave. In summarizing the operation of weaving plain gauze on a close-shed dobby, it may be said that the ground harness is never raised and that on one pick the doup and back harnesses are raised, while on the next pick the doup and standard harnesses are raised and the slackener is operated. 8. A careful study of Figs. 6, 7, and 8 will show that the several harnesses and the slackener must be operated as described, in order to form properly the sheds required in weaving plain gauze without putting undue strain on the yarn and the doups. The positions of some of the harnesses might be changed and plain gauze could still be woven, but these changes would be of no particular advantage and would involve several disadvantages. As has already been stated, in the European method the ground ends are drawn through the last harness and the doup end through the next to the last harness. The ends controlled by these harnesses, how¬ ever, are operated in the manner described, and there is practically no choice between the convenience and effective¬ ness of the two systems.. The doup and standard harnesses could be reversed in position, but there would be no advan¬ tage in this arrangement, and broken doups could not as easily be replaced. 9 . When the crossing of the doup and ground ends occurs, it is desirable, in order to put the least strain on the ends, to reduce as far as possible the angle formed by the ends in front of the point of their intersection, which is just in front of the heddle eye through which the ground end is drawn. This object is accomplished by placing the ground and back harnesses as far back in the loom as possible, and the doup and standard harnesses at the front. In weaving plain gauze, the available harnesses between the doup and standard harnesses at the front and the ground and back harnesses at the rear are not used at all. When the plain gauze weave is combined with a plain or a fancy weave in 12 LENO WEAVES §81 the production of fancy gauze, or leno, fabrics, as explained later, the ends required for the ordinary weave are drawn on the inner harnesses between those that are required at the front and back for weaving the gauze. 10 . The doup harness is so constructed that when it is lifted it lifts only the bottom of the doup, while the doup itself must be lifted from the top either by the doup end, when it is raised by the back harness on one side of the ground end, the standard harness being down and the doup sliding loosely through the eyes of the standard heddle, or by the standard harness, when it raises the doup end on the other side of the ground end. If the standard harness is raised, in order to raise the doup end, and the doup harness is not lifted, the entire weight of the doup harness must be sustained by the doups; thus they will be strained or worn out very quickly. On the other hand, if the back harness is raised without raising the doup harness, the doups will hold down the doup ends, thus preventing the formation of a shed and producing considerable strain on the doups and the doup ends. This difficulty, however, is obviated if the doup harness is raised when the back harness is raised, since the only strain on the doups is, in this case, their own weight and a slight amount of friction, which is unavoidable. In view of these facts, it is evident that in weaving plain gauze it is necessary to raise the doup harness on every pick, since the standard harness must be raised on one pick and the back harness on the next pick. Another important matter connected with the doup and its operation is the relative position of the loop and the standard heddle. In order that the standard and doup harnesses may work properly in weaving plain gauze, it is necessary to have the loop of the doup on the same side of the standard heddle that the ground end is drawn. Thus in Fig. 6, the ground end is drawn at the left of the standard heddle, and the doup end, drawn through the back harness at the left of the ground harness, passes under the ground end through a left-hand doup. If the doup and ground ends were drawn at §81 LENO WEAVES 13 the right of the standard heddle, a right-hand doup would be required. 11. Methods of Representing the Weave, and Har¬ ness and Chain Drafts. —The study of gauze weaving brings up for the consideration of the designer several points that are not involved in the weaving of ordinary fabrics. Among the most important of these are the representations on paper of the weave and the harness and chain drafts. In a fabric woven in the ordinary manner, each end of the warp is drawn through one harness only and is drawn straight from the beam through the harness to the reed. So far as the weave itself is concerned, the number of harnesses used is the same as the number of ends in the warp that have different inter¬ lacings, and the chain draft shows the operation of each harness. In gauze fabrics, the ground ends are drawn through one harness of the ordinary type, while the doup ends are drawn through an ordinary harness at the back, crossed under the ground ends, and also drawn through the doups, which are controlled by both the standard and doup harnesses at the front. Thus in weaving plain gauze, twice as many harnesses are required as there are ends that work differently. In order to show clearly the method of drawing in the doup and ground ends and their operation, a special system of representing the harness and chain drafts must be used. In making the harness and chain drafts it is necessary to keep in mind which are the doup ends and which are the ground ends. When looking at the surface of a plain gauze fabric that is up in the loom, the doup end is the one that is raised on every pick, but on successive picks is raised on opposite sides of the ground end, which is depressed on every pick. 12. The Weave. —The representation on paper of a gauze weave does not follow the rules that apply to the representation of the weaves of ordinary fabrics. The ordi¬ nary method makes use of design paper divided into squares by vertical and horizontal lines. A vertical row of squares is 14 LENO WEAVES §81 used to show the interweaving of a warp end and a horizon¬ tal row shows a pick of filling. Thus each square represents the intersection of an end and a pick. If the square is marked, it indicates that the end is raised over the pick; if it is blank, it indicates that the end is depressed and the filling floats over it at that point. This method of representation cannot be applied to the weave in gauze fabrics. The first pick of a plain gauze weave, shown in Fig. 1, may be represented in accord with the principles of this method, since there would be a mark on each alternate end, showing that the first, third, fifth, and seventh ends were raised above the filling and the second, fourth, sixth, and eighth ends depressed, just as in the rep¬ resentation of an ordinary plain weave. The second pick, however, presents several difficulties, since the first end is found to have changed its place and to have assumed a 4th Pick 4th Pick 4th Pick dDunumun □■□■□■□a ®D®D®D®D let Pick 1st Pick 1st Pick Fig. 9 Fig. 10 Fig. 11 position that in the plain fabric would have been occupied by the second end, which has also changed position and assumed the place of the first end. If this change in the positions of the ends is ignored and the interlacing of the ends is marked on design paper in the ordinary way, the result will be a series of black marks in one vertical row and blanks in the next vertical row, as shown in Fig. 9. This will show one-half of the warp ends raised and the other half depressed on every pick, in which case there will be no interlacing of warp and filling, and hence no production of a fabric. If the change in the position of the ends is taken into account, but the crossing itself is ignored and the ends are marked accord¬ ing to their position in the cloth, the result will be that shown in Fig. 10; this gives the impression that the fabric is an ordinary plain cloth, which is obviously incorrect. 13 . Two methods of representing gauze weaves on paper suggest themselves. The first is to use design paper, but to 81 LENO WEAVES 15 adopt different marks to indicate different positions of the ends. Since the ground ends are never raised, the squares showing the working of these ends are left blank. Two marks should be used to indicate the working of the doup ends, one mark, a filled-in square, for instance, for the raising of the end on one side of the ground end in its normal posi¬ tion, and the other mark, a dot, for the raising of the end on the other side of the ground end in its crossed position. According to this method, the weave shown in Fig. 1 would be represented on design paper as shown in Fig. 11. On the first pick, the first, or doup, end is shown raised in its nor¬ mal position, in this case on the left-hand side of the ground end, and the next end, which is the ground end, is shown depressed, as indicated by the blank; the other pairs of ends are repeats of the first and second ends. On the second pick, the crossing end is raised, but as this is shown by a dot instead of a filled square, it indicates that the doup end is raised on the opposite, or right-hand, side of the ground end after the crossing has been completed. The second, or ground end, is shown depressed by means of a blank, as on the first pick. The other pairs of ends are repetitions of the first and second ends, and the third and fourth picks are repetitions of the first and second picks, since the plain gauze weave is complete on 2 ends and 2 picks. The system just described is not one that gives at first glance a clear conception of the fabric represented, as it requires a little study before the observer can correctly picture the fabric in his mind. It may be made more clear by the use of color; for instance, by using marks of different colors to represent the raising of the crossing end in different positions; but even these markings are not satisfactory, and this system is therefore not commonly used. 14. The other method of representing a gauze weave on design paper is a diagrammatic one. A typical representa¬ tion of such weaves that would be entirely satisfactory and could not possibly lead to error or misinterpretation would be to make a sketch or drawing of the ends and picks 16 LENO WEAVES §81 composing the fabric, showing their relative positions to one another at every pick and the crossing between the picks; but this would require too much time and practice and some knowledge of freehand drawing. A system, therefore, in common use is a modified system of sketching the cloth, representing it by a diagram. In this case, lines are ruled on a piece of paper, as shown in Fig. 12 (a) dividing it into equal-sized squares. Each vertical line represents a ground end, and each horizontal line, a pick of filling. This differs from the regular use of design paper, where the rows of squares, or the spaces between the lines, represent ends and picks, respectively. In this system some method must be adopted to indicate when an end is up and when it is down. Therefore, at each point representing the intersection of (a) ( h ) Fig 12 \ \ 'l ( ) ( ) ( ) ( 7 \ V \ 'i \ ( ) < ( T ( € \ \ ( ■ft/'Pick JstPicIc warp and filling, a short, oblique mark is made where the warp is raised over the filling, and no mark where the filling is over the warp. By such a system an ordinary plain weave (not a plain gauze weave) would be shown as in Fig. 12 (£). A plain gauze cloth, as shown in Fig. 1, is shown on paper by this system in Fig. 12 (c). Curved marks, either in black ink or colored ink, are made to indicate the crossing of the doup end and show on which picks it is raised on the right of the ground end and on which picks it is raised at the left of the same end, as will be seen by comparison with Fig. 1. 15. Harness Draft. —The majority of gauze fabrics are woven on dobby looms, but simple leno weaves may be made on cam-looms, although this is seldom if ever done. Whether cams or dobbies are used, it is necessary to adopt 81 LENO WEAVES 17 a system of representing the method by which the ends are drawn through the harnesses, so that when prepared by the designer it may be intelligible to the person who must draw in the ends. In making a harness draft for a gauze fabric it is neces¬ sary to keep in mind the construction and arrangement of the harnesses and the method of drawing in the ends, since these differ radically from the arrangement of harnesses and method of drawing in employed in weaving fabrics of the ordinary construction. It is customary when indicating the drawing-in draft of a gauze, or leno, fabric to make a diagrammatic sketch, ruling horizontal lines to represent the Fig. 13 harnesses, vertical lines to represent the doup ends, and curved lines to represent the ground ends, marking with a small cross where each end is drawn through its respective harness. Such a harness draft is shown in Fig. 13, the hori¬ zontal lines, representing the harnesses, being marked with the names Back , Ground , and DouP and Standard; the ends drawn through each harness are indicated as explained, as is also the position of the doup end with relation to the ground end. This draft shows the drawing in of the 8 ends represented in Fig. 1, with the harnesses arranged as in Fig. 6. In Fig. 13, it will be noticed that the doup and standard 18 LENO WEAVES 81 harnesses are shown as 1 harness. This is because the doup end passes through the loop that is formed by the doup pass¬ ing through the eyes of the standard heddle. So far as position is concerned, the doup and standard harnesses may be considered as one when drawing in the ends, but it must be kept in mind that no end is drawn through either eye of the standard heddle. There are numerous modifications of the draft shown in Fig. 13 in use in different mills, one of them being like Fig. 13 with the exception that the doup and standard harnesses are shown separate. A very common method of representing the harness draft is similar to that shown in Fig. 13, with the exception that the doup end is shown by a curved line and the ground end by a straight line. In another system, the draft is marked on design paper, with each horizontal row of squares denoting a harness and each vertical row representing an end, as shown in Fig. 14, which gives a draft of the same ends as those shown in Fig. 13, the doup and the ground ends being drawn through the twelfth and eleventh harnesses, respectively, the doup ends also passing through the doups connected with the second, or standard, harness, as indicated by the short oblique lines. In Fig. 14 it will be noticed that 8 harnesses have been skipped, in order to allow room between the standard and ground harnesses for the crossing of the ends to take place. The manner in which the doup and ground ends that work together are reeded is so well understood by the person who draws in the ends that the reeding is not always indicated. If, however, it is indicated, the ordinary method of enclosing, by marks placed below the harness draft, those ends that are reeded in the same dent is usually employed. If any dents are skipped between the pairs of doup and ground ends, in order to produce a more open effect, they are indicated in the 12 12 12 12 11 11 II 11 V \ \ \ \ > V \ V ' Pig. 14 §81 LENO WEAVES 19 ordinary manner by the reed draft at the bottom of the harness draft. 16. The chain draft for a gauze weave is shown, in the same manner as other chain drafts, by means of design paper on which the vertical rows of squares represent the harnesses, and the horizontal rows, the picks, or bars, of the harness chain. A marked, or filled-in, square shows that the harness represented by the vertical row of squares in which it is placed is raised over the pick represented by the horizontal row of squares in which it is placed. Three columns must be reserved to indicate the ■□□□□□■□ working of the 3 harnesses required to ist Pick. bdddddbd manipulate the doup end; also one column | ,3 for the ground harness; and one column for 11 111 the harness lever that works the slackener. fig. 15 The standard and doup harnesses each require a vertical row of squares to show their operation. With Fig. 13 for the harness draft, the gauze weave shown in Fig. 1 is produced by the chain draft shown in Fig. 15. In Figs. 13 and 15, the number of harnesses skipped to allow for the proper crossing of the ends is not definitely indicated, since this varies and does not affect in any way the drawing in and operation of the ends. It will be well to keep in mind the fact that, although the harness and chain drafts show the working of 8 ends for 4 picks, the weave itself is complete on 2 ends and 2 picks. TOP DOUPS 17. While all the explanations given have referred to the production of plain gauze by means of bottom doups, it is also possible to produce plain gauze on a close-shed dobby by using toj> doups, or doups that are attached to the upper part of the doup harness. Top doups have certain advantages and disadvantages in weaving leno fabrics on open-shed dobbies, which will be considered later in their proper place. So far as the weave itself is concerned, there is no face or back to a plain gauze fabric, since both sides appear alike. 20 LENO WEAVES §81 The interlacing of the donp end when one side of the cloth is viewed is the same as that of the ground end when the other side is examined. As the interlacings are the same, the deflection of the doup and ground ends from a straight line is equal. Therefore, a study of the use of top doups will show that although in weaving the cloth in the loom the relative positions of the doup and the ground ends are reversed, the product will be a cloth that when turned over will show the same interlacings of both the donp and ground ends as in the cloth woven with bottom doups. In the fabric woven with top doups, the same similarity in appearance of the two sides will be noticed as was observed in the fabric woven with bottom doups. It is thus apparent that it is impossible to tell from a sample of a pure gauze fabric whether it was woven with top or botton doups, or right- or left-hand doups; these particulars can only be told when it is known which side of the fabric was uppermost in the loom and which end is the doup end. 18 . Construction and Arrangement of Harnesses. The same number of harnesses is required in weaving a plain gauze fabric with top doups as is required for weaving it with bottom doups. The ground and back harnesses are of the ordinary construction. The standard harness, if it carries heddles having both eyes of the same size, is also the same as when used in connection with bottom doups, but if, as is sometimes the case, it carries heddles having eyes of unequal size, these are reversed, so that the large eye is the lower, and their action in conjunction with the top doup, therefore, will be the same as when used with the large eye uppermost, as with bottom doups. The doup harness is constructed the same as when used with a bottom doup, with the exception that the doup is attached to the top of the harness frame instead of to the bottom. The doup and standard harnesses are connected by carrying one end of the doup through one eye of the standard heddle, then back through the other, and fastening both ends of the loop at the top of the doup-harness frame. When top doups are under consideration, a left-hand §81 LENO WEAVES 21 doup is one in which the loop of the doup is at the left of the standard heddle, and a right-hand doup, one in which the loop is at the right of the standard heddle, exactly the same as in the case of bottom doups. The harnesses are arranged in the same order as already described for bottom doups— the doup harness at the front of the loom, the standard har¬ ness next, then the ground harness, and finally the back harness at the rear. The construction and arrangement of harnesses just described is shown in Fig. 16. The doup and ground ends are drawn through the har¬ nesses when top doups are used in exactly the same manner as when bottom doups are employed, with the one exception that when top doups are used, the ground end must be crossed under the doup end instead of over it, as is the case with bottom doups. 19. Operation of Harnesses. —An understanding of the operation of the harnesses when weaving plain gauze with 22 LENO WEAVES §81 bottom doups will enable one to comprehend readily their operation when producing the same cloth with top doups. When top doups are used to weave gauze, the doup end remains down and the ground end is raised on every pick. If the doup end a, Fig. 16, is to be depressed under the first pick on the left of the ground end a ly it is necessary that the back harness and the doup harness be left down, the doup slipping through the eyes of the standard heddle and allowing the back harness to retain the doup end a at the bottom of the shed as the standard harness is raised. The ground end a y is raised by lifting the ground harness, but in order that this may be done the standard harness must also be raised, allowing the ground end to rise between the doup and the standard heddle. The positions of the harnesses 81 LENO WEAVES 23 and ends to form the shed for this pick are shown in Fig. 17. After the pick has been inserted, the harnesses are brought level at the bottom of the shed, as shown in Fig. 16. On the next pick, the doup end a must be down on the opposite side of the ground end tx x . In older to accomplish this result, the doup and standard harnesses must remain down. Since on this pick the doup end a crosses the ground end a it which is raised by lifting the ground harness, the back harness must also be raised to avoid straining the doup end. As the crossing of the ends occurs on this pick, the doup end a must be eased by the operation of the slackened Fig. 18 shows the position of the harnesses and ends on this pick. The leveling of the harnesses at the bottom of the 24 LENO WEAVES §81 / ) y / y, j V \ v \ 'i * 'i \ / '■/ / V x V v V l v \ J ' \ ' \ / -t&Picfc shed brings them into position for another repeat of the weave; the weave is completed by the 2 picks described. 20. The Weave.—Since the method of operating the doup and ground ends when using top doups differs from the method necessary when using bot- tom doups, the representation of the working of these ends, or the weave, will also differ. In the case of bottom doups, the representation of the weave. Fig. 12 (c ), shows the doup end above every pick and crossing below the ground end between picks. With top doups the positions of the doup and ground ends are reversed, so that the representation of the weave must show the doup end below eveiy pick and crossing above the ground end between picks. Fig. 19 illustrates the method of representing the gauze weave shown in Fig. 1 if it is woven with top doups. It must be remembered, however, that if Fig. 1 is considered as being Back Ground Fig. 19 Doup and Standard Fig. 20 woven with top doups the end a, represents the doup end, since when top doups are used the doup end is below every pick, and also that the end a is the ground end, which is raised over every pick. §81 LENO WEAVES 25 21. The harness draft for top doups is made on the same principle as that explained for bottom doups and shown in Fig. 13. The only change that must be made is to indi¬ cate that in drawing in the ends the doup end mugt be crossed above the ground end. Fig. 20 is the harness draft for the 8 ends shown in Fig. 1 with the harnesses arranged for top doups, as in Fig. 16. The more simple harness draft made on the principle exemplified in Fig. 14 can easily be changed to apply to top doups by merely indi¬ cating on the draft that the doup end is crossed over the ground end when drawing in the warp instead of under it, as in the case of bottom doups. 22. The chain draft for top doups, giving the lifting of the harnesses on different picks, is made according to the method explained for bottom doups and shown in Fig. 15. When weaving with top doups, however, the doup end is below every pick that is inserted, whereas in the case of bottom doups its position is 4 " above every pick. It is therefore evident i fl □□□□□■■■ □□□□□■■■ fjj Q to o pa oo Fig.21 that in order to produce the same cloth with top doups as with bottom doups, the oper¬ ation of the harnesses must be reversed. If on any pick the doup end is to remain down in its normal position, the doup and back harnesses are not lifted, but the standard and ground harnesses are. On the next pick, the doup end must be crossed over and depressed on the other side of the ground end, so that the doup and standard harnesses remain down and the ground and back harnesses are raised. As the crossing of the ends occurs on this pick, the slackener must be operated. After the insertion of this pick, the harnesses are returned to the bottom of the shed, ready for the next repeat of the weave. According to this method, Fig. 21 is the chain draft, which must be used in connection with the harness draft given in Fig. 20 in order to produce the fabric shown in Fig. 1. 23. There is only one noticeable advantage that top doups have over bottom doups in weaving plain gauze; that 26 LENO WEAVES 81 is, that they are more easily repaired or replaced. As top doups are attached to the upper part of the doup harness, they are easily accessible for repairs or replacement; but in order to put in new bottom doups it is necessary for the weaver to reach down through the warp ends to attach the loops to the bottom part of the doup harness. For reasons that will be given later, bottom doups are in more common use in weaving leno fabrics, so that all references in this Section, unless otherwise stated, should be understood to apply to them. PLAIN GAUZE ON OPEN-SHED LOOMS ADDITIONAL, MECHANISMS REQUIRED 24 . The description given so far refers to the weaving of plain gauze on a single-lift, or close-shed, dobby, in which all the warp ends are level at the bottom of the shed after the insertion of each pick. An understanding of the explanations that have been given will show that in order to make the crossing of the ends required in weaving plain gauze, it is nec¬ essary to have the doup and the ground ends level between the insertions of successive picks. This point need not be considered when weaving gauze with a close-shed dobby, for on such a loom all the ends are lowered after each pick. When gauze is to be woven on a double-lift, or open-shed, dobby, this point is important, as it necessitates the use of extra mechanisms to bring the doup and ground ends level after the insertion of each pick. On such a loom, an end in the top shed is never lowered until it is required in the bottom shed on the next pick, and an end in the bottom shed is never raised unless it is required in the top shed on the following pick. As the standard and back harnesses are alternately raised and lowered on successive picks, their operation presents no difficulty with this type of loom. Since, however, the doup end is raised and the ground end depressed on every pick, additional mechanisms are applied to an open-shed dobby to raise the ground harness and lower §81 LENO WEAVES 27 the doup harness to the center of the shed and return them to their original positions between the insertions of successive picks of filling, so that the ground and doup ends may meet and cross each other and then return to the bottom and top sheds, respectively. Two devices are used to enable the crossing of the doup and ground ends to take place; namely, the jumper , to operate the ground harness, and the yoke , to operate the doup harness. 25. Tlie Jumper.—The most practical movement of the harnesses is to move each harness one-half of the full throw, so that the doup and ground ends are leveled at the center of the shed, as previously described. The jumper is designed to raise the ground end to the center of the shed and lower it again to its position in the bottom shed between successive picks. Fig. 22 shows this mechanism. To the dobby rocker- arm e is attached an arm e x connected by a rod e 2 to a togglejoint e 3 that is hinged at e t . This joint is connected at one end to the dobby frame at / and at the other end to an arm g attached to the shaft g lt to which a segment h is set- screwed. Fastened to the top of the segment is a strap h l connected by a wire //, to a loop h 3 through which the dobby lever j passes. 'This loop must be at least equal in length to the distance that the lever will travel in lifting the harness half the distance of the shed, so as to allow k 3 to move as desired in weaving without interfering with the lever j, which, when plain gauze is being woven, is stationary. This arrangement of the dobby lever and the loop Zi 3 allows the lever to raise the ground harness, to which h 3 is connected in the ordinary way, to the top shed, as is often required when weaving fancy gauze, or leno, patterns, in the manner to be described later. The dobby operates in such a way that the top and bottom arms of the rocker e move alternately outwards and inwards on successive picks. This motion is such that e 3 has a vertical movement, being raised on one pick and lowered on the next pick. Fig. 22 shows the position of the dobby 28 LENO WEAVES §81 when the shed is formed and the rod e 2 is in its lowest position. As the rocker moves so as to form the next shed, the rod e 3 rises until it occupies, at the central point of its rise, the position shown in dotted lines. This movement has forced the togglejoint e 3 and the arm g into the positions shown by dotted lines. Since g and h are both fastened to g lt the segment h has been moved to the right, thus lifting the ground harness half the height of the shed. As the rod e, continues to rise, it will push the togglejoint e 3 still higher, but after it has passed its central position, it will draw the arm^ - to the left, causing the segment to move in the same direction, so that when the rod e, has reached the limit of its upward throw, the segment has reached its former position and lowered the ground harness to the bottom shed. 81 LENO WEAVES 29 During the movement of the dobby, a new shed has been formed for the next pick, so that it will be evident that the desired result—that of raising the ground harness to the center of the shed and lowering it again—has been accom¬ plished in the same time that it takes for a harness to change from one shed to the other. From this description it is evident that on the next pick the movement of the segment and, consequently, of the ground harness will be the same as that already described, although in this case the rod e 2 will move downwards. The jumper thus gives automatically all the movement required by the ground harness, bringing it from the bottom shed to the center and lowering it again between successive picks. Sometimes a spring, as shown in Fig. 22, is attached at one end to the dobby lever j and to the upper part of the frame of the loom at the other end, by means of a cord or strap. This keeps the dobby lever in place when the jumper is in operation. 26 . The Yoke. —In weaving plain gauze on an open- shed loom, the doup end must also receive a movement equal to half the height of the shed, being lowered from the top shed to the center, to meet and cross the ground end, and then raised again between the insertions of successive picks. The device by which this movement is accomplished is called the yoke and is shown in Fig. 23. The regular harness straps are attached to the doup, or first, harness, but these, instead of being fastened to the harness lever, are attached to the loop u 3 of the yoke. The hook u 3 is held in one of the notches of the first harness lever by the springs attached to the bottom of the harness. The standard harness is attached to the second lever of the dobby in the ordinary manner. 30 LENO WEAVES §81 27. In weaving gauze, the doup harness is raised without the standard on the first pick, and the doup and standard har¬ nesses are both lifted on the second pick. The first lever is operated in the ordinary manner, and in rising it carries with it the hook thus raising the doup harness. On the second pick, on which the doup and the standard har¬ nesses are raised, the second lever must be raised, thus raising the standard harness in the ordinary way; on this pick the first lever is lowered. As the lever moves down, it allows the yoke to move and lower the doup harness. When, however, the lever has reached the center of its throw, the second lever, which is rising, catches in the hook u 2 and, by carrying back the yoke, raises the doup harness to its former position in the top shed. On the next pick, the harnesses must be brought to the position described for the first pick; this is accomplished by raising the first lever and lowering the second lever. When the yoke has lowered the doup harness to the center of the shed, by the lowering of the second lever, it is caught by the first lever as it is rising and raises the doup harness to its position in the top shed. From this description of the action of the yoke it will be evident that the doup harness will be up on every pick, but between successive picks will drop to the center of the shed and rise to the top shed again. Thus the jumper and yoke give to the ground and doup harnesses the peculiar motions that are necessary if plain gauze is to be woven on an open-shed dobby. These move¬ ments of the harnesses, by raising the ground end and lower¬ ing the doup end, bring the ends level at the center of the shed, allowing the crossing to take place, and then carry the ends back to their original positions in time for the insertion of the next pick. This whole operation is accomplished in the same time that would be required for a harness operating in the ordinary way to move from the top to the bottom shed, or vice versa. 28. Harness and Chain Drafts. —When plain gauze is woven on an open-shed dobby with the jumper and yoke §81 LENO WEAVES 31 attachments, the warp is drawn through the harnesses exactly the same as though a close-shed dobby were used; that is, the harness draft is the same in both cases. The chain draft, however, is different from that used on a close-shed dobby. The jumper gives automatically the neces¬ sary movement to the ground harness, so that in making the chain draft for weaving plain gauze on an open- shed dobby, the squares that correspond to the ground harness require no marks. In making a gauze fabric on the machine under consideration, the ground harness need not be connected to any harness lever. It is usually so con¬ nected, however, when weaving fancy gauze, or leno, in the manner to be described later, in order to allow the ground end to be raised above the pick, as required, independently of the action of the jumper. The harness to which the jumper is connected is sometimes indicated on the chain draft, often by the letter J above the row of squares de.voted to that harness. With an open-shed dobby the working of the doup harness must be indicated in a different manner from that used for a close-shed dobby. If the doup harness were marked as in the latter case, it would remain in the top shed and the ends could not cross. If, however, the lever operating the doup harness is raised only on alternate picks, and the lever opera¬ ting the standard harness is raised on the y other picks, the doup end will be lowered to between picks, so as to allow the crossing le to take place, and will be raised on every pick by the yoke, which is alternately raised by the doup and the standard levers. The doup harness, therefore, on an open-shed dobby should be marked to rise only on alternate picks, since the standard lever, by means of the yoke, will raise it on the other picks. The chain draft required for weaving the gauze shown in Fig. 1 on an open-shed dobby is given in Fig. 24, in which one method of indicating the harnesses connected by the yoke is shown; that is, by the letter Y. □■□□□□□■ ■□□□□□■□ □■□□□□□■ ■□□□□□■□ o o ^ 2 3 §0000“ Fig. 54 §81 LENO WEAVES 63 beams are sometimes used so that the tension of the doup ends may be regulated as desired in weaving fancy gauze; however, several beams are usually required. In a fancy-gauze fabric the take-up of the ends that weave in the ordinary way is determined by their interlacings. The take-up of the doup ends, however, is dependent not only on their interlacings, or the number of times they cross their respective ground ends, but also on the number of ground ends crossed; the greater the number of ends crossed, the greater will be the take-up of the doup ends. When more than one beam is used, it is customary to place the largest beam in the usual position in stands on the frame of the loom. The other beams are placed in a vertical row above this beam with the smallest beam at the top, the ends resting in adjustable stands placed on rods attached to the back part of the loom. This arrangement of the beams according to their size is adopted because a heavy beam, if placed above the loom, is liable to break some part of its comparatively weak supports, and in falling to break the loom or injure any one who is near it. When doup ends are placed on a beam that occupies a position in the loom above the slackener rod, they are drawn and operated as already described, except that they are passed under the slackener rod. This general method is varied to a considerable extent in adapting it to peculiar conditions under which leno fabrics are often woven. The result generally sought in leno weaves is the largest possible deviation of the doup ends from the straight line taken by the other ends, and this is accomplished by putting considerable tension on the beam carrying the ground ends and by placing little tension on the beam containing the doup ends, so that the ground ends tend to retain their position and force the doup ends to make a sharp angle with the other ends. The proper regulation of the proportionate tension of the different beams, though apparently a simple matter, contributes very largely to the effectiveness of any leno weave. 64 LENO WEAVES §81 DISSECTING EENO WEAVES 54 . When seeking to pick out a leno weave and to find all the particulars necessary for reproducing a cloth of this character, it should be understood that it is not possible to ascertain the weave, at least the gauze part of it, by picking out each pick separately and marking its interlacings on the design paper. The best plan to follow is to study the weave carefully with the aid of the pick glass, endeavoring to under¬ stand the method of interlacing that is employed, and after this has been learned, to mark out the chain draft on the design paper. 55 . In a great many leno fabrics open spaces occur between the different sets of doup ends. This is caused by leaving a number of dents in the reed empty and having several ends drawn through other dents. The crossing of the ends that takes place in gauze weaving retains the ends in their proper positions when in the cloth, which would not be the case if any dents were left empty when weaving an ordinary fabric. In cases where a doup end crosses several ground ends that work plain part of the time, as in the weave shown in Fig. 32, the splits, or wires, of the reed that would naturally separate the ground ends must be taken out, in order to allow the doup ends to cross them in weaving; this also leaves sufficient space for the ends to spread when weaving plain instead of gauze. 56 . The doups that pass through the heddles of the stand¬ ard harness are fastened securely to the framework of the doup harness, generally by being sewn to a cord fastened to the frame; consequently, they can be placed in the exact position that they should occupy. It is necessary, however, to give definite instructions to the person doing this work, since, if the doups are not made to occupy a position that will bring them in direct line with the ends drawn through them, considerable chafing of both yarn and doups must necessarily follow. §81 LENO WEAVES 65 It is the custom when giving particulars for the doup harness, to state exactly how much space exists between the gauze stripes, and how much space each stripe occupies, together with the number of doups necessary for that stripe. For example, 4 doup ends may be working together to form a stripe, occupying 4 inch; then the four doups necessary for these ends will be distributed evenly on \ inch of the doup- harness frame. Next, there may be 1 inch of plain cloth in which no doup ends appear; consequently, this space will be skipped, then four more doups fastened to the frame, and so on until the whole is completed. In this way the harness maker will leave spaces on the harnesses to correspond with the requirements of the design. In cases where part of the doups are right-hand and part left-hand, the necessary instruction for this part of the work must also be given, so that the desired effect will be produced. A convenient method employed in preparing the doup harness is to mark off on a stick the positions of the doups throughout the width of the warp, the stick being then used as a guide in fasten¬ ing the doups to the doup harness. PILE WEAVES CONSTRUCTION OF PILE FABRICS INTRODUCTION 1. Cloths of the class of textiles known as pile fabrics are distinguished in their finished condition by having a large number of threads projecting almost vertically from the body of the cloth; this is technically known as the pile of the goods, from which the name pile fabrics is obtained. The pile is supported by a closely woven ground cloth, the face of which is usually entirely hidden through being covered by the pile. Pile fabrics are, of course, entirely distinct from those cloths having a napped surface produced by a finishing process of gigging, napping, or raising, such as blankets, Canton flannels, and fleece-lined goods, in which the nap is produced by loosening and brushing some of the fibers of the yarns forming the body of the cloth. Pile fabrics are produced in great variety, some of simple structure and others involving intricate patterns and com¬ plicated interlacings of the various series of yarns. While produced in relatively small quantities, they are of great importance on account of their usefulness for various pur¬ poses or for the artistic effects that are produced. Most varieties of pile fabrics in their finished state are familiar to the average person, but their structure and design are comparatively unknown except to the more experienced designers. This is partially due to the fact that their pro¬ duction is not large and is confined to certain districts, and also because of the complicated structure of certain varieties For notice of copyright, see page immediately following the title page l 82 2 PILE WEAVES §82 of these fabrics. To thoroughly understand them requires ’ an excellent knowledge of cloth structure and of weaving mechanism. The system of yarn that forms the pile of a pile fabric is spoken of as the pile warp or the pile filling , as the case may be, while the systems forming the foundation fabric are spoken of as the ground warp and the ground fillhig. The pile appears in different forms in different classes of goods. In some cases, it covers the entire surface of the ground fabric, appearing like a continuous brush of uniform height, as in velvets and plushes; in other cases, it forms cords with a distinct rounded formation, running lengthwise of the goods, as in corduroy fabrics. Sometimes the pile remains in a series of loops of uniform height covering the surface of the ground cloth, as in Brussels carpets, or with the same effect on both the face and back of the fabric, as in Turkish towels, although in the latter case the pile does not stand so erect nor is it so thick and close as in other pile fabrics. Still other varieties are produced by a combination of different forms of pile arranged to give a figured effect, as in mantle cloths and draperies. The different varieties of pile fabrics may be classified in several ways, one of which is to make two divisions, one to include those fabrics in which the pile yarn is uncut and remains in the form of loops issuing from the body of the cloth, and the other to include those in which the pile is cut ■J so as to form two individual ends of pile projecting from the face of the fabric. Since, however, this classification does not provide for those fabrics in which both cut and uncut pile is combined, it is not sufficiently definite. Another classification separates the different varieties of pile fabrics into two divisions, one of which includes those fabrics of a corduroy nature, in which the pile is arranged in cords run¬ ning lengthwise of the fabric, while the other embraces those in which the pile extends uniformly over the entire face of the cloth. This classification also is not sufficiently compre¬ hensive, since certain fancy or figured pile fabrics cannot correctly be placed in either class. Another system, and the ; 82 PILE WEAVES 3 one adopted here, which admits of a definite classification of all pile fabrics, provides for two main classes, namely, filling-pile fabrics, in which the pile is formed of filling yarn, and warp-pile fabrics, in which the pile is formed of warp yarn. 2. In all pile fabrics, the pile yarn is uncut when the cloth is first woven. In the case of filling-pile fabrics, the cutting is the object of a special process performed after the cloth is taken from the loom. In cut warp-pile fabrics, the cutting usually takes place in the loom after a sufficient number of picks have been inserted to prevent the cut pile being pulled from the fabric; in some warp-pile fabrics, however, the pile is left uncut and standing in loops. There is a certain similarity in warp- and filling-pile fabrics, since in each the weave is so arranged as to produce a sub¬ stantial, closely woven foundation, or ground, cloth that is not disturbed during the cutting process; this serves to hold the pile in position and bind it after it is cut, so that the fabric will not fray easily or the pile be loosened from the cloth. In many filling-pile fabrics, it is customary to use only one size or quality of filling, which serves on certain picks as ground filling and on other picks as pile filling. When the ground filling is inserted in the cloth, the sheds are so formed as to cause it to interlace with the warp in such a manner as to form the ground cloth. When, however, the pile filling is inserted, all the warp is depressed with the exception of certain ends that are raised so as to allow the pile yarn to be bound to the ground cloth. The pile filling, therefore, floats over the ground cloth in long floats, the length of which depends on the length of pile desired; this is governed by the position of the ends that are raised over the pile pick to bind it to the ground cloth. The prin¬ ciple of construction of a filling-pile fabric closely resembles that of an ordinary backed cloth, with the exception that in the latter the extra, or backing, filling floats on the back of the cloth, while in a filling-pile fabric the extra, or pile, filling floats on the face of the fabric. 4 PILE WEAVES §82 Owing to the fact that separate ground and pile warps are used for producing warp-pile fabrics, it is not customary in this case to have both the pile and ground warp of the same material, size, or quality. Usually the pile warp is a finer yarn and constructed of superior material. While it would be possible to make a warp-pile fabric on the same principle as a filling-pile cloth, namely, by allowing the warp to float on the surface of the cloth so that it may afterwards be cut in the same manner as in filling-pile fabrics, this method is seldom adopted. The usual method is to construct loops of pile by raising the pile warp and inserting a wire in the shed. The pile warp being depressed under the ground picks preceding and following the insertion of the wire results in a row of loops of pile yarn being formed across the cloth by the wire; the size of the wire governs the size of the loops. In case it is desired to make a cut-pile fabric, the top of the loop is cut with a knife either before or during the removal of the wire, while if the pile is to remain uncut, the wire is drawn out without any cutting operation, which leaves a row of loops across the fabric. FILLING-PILE FABRICS CORDUROYS 3. Perhaps the simplest pile fabrics are those in which the pile is formed with extra, or pile, filling; and of this class the construction of that variety known as corduroy is the easiest to understand. Corduroys are cotton fabrics char¬ acterized by brush-like cords of pile running in the direction of the length of the piece. These cords are formed by allowing certain picks of filling, called the pile filling\ to float over the surface of the fabric, while certain other picks, called the ground picks , interlace with the warp in such a manner as to form a firm foundation, or ground, cloth. After the cloth is woven, the floats of pile filling are cut in such a manner as to form the series of ridges of pile running lengthwise of the cloth that is the distinctive feature of a 82 PILE WEAVES 5 corduroy fabric. These ridges are rounded, with the longest pile in the center of the ridge and shorter pile on either side, so as to leave a well-defined groove between the cords; in fact, it is almost possible to distinguish the ground fabric between the ridges of pile, especially in the cheaper grades. In all corduroy cloths, it is possible to observe the ground cloth by bending the fabric so as to separate the ridges of pile. The ground weave for this type of pile fabrics should be of simple structure, such as the plain weave, or basket or twill weaves, the latter being used when it is desired to introduce more filling into the ground cloth and thus make a closer and heavier fabric. 4. Fig. 1 shows one repeat in the ends and two repeats in the picks of a corduroy weave in which the ground is woven with the plain weave. The first pick of this weave is a ground pick, the second and third are pile picks, the fourth pick is a ground pick, and the fifth and sixth, pile picks. In this weave, the interlacings of the ground picks with the warp are shown by the filled black squares and the interlacings of the pile filling by the shaded squares. This method of showing filling-pile weaves is adopted here only for the purpose of allowing the interlacings of the pile and ground picks to be readily distinguished, and is not actually necessary, since all marked squares—whether black or shaded—represent the warp raised. In constructing weaves for corduroy fabrics, after the number of ends and picks on which the weave is to be com¬ plete have been determined, the first step in representing it on design paper is to indicate the ground picks and place on them the desired ground weave, which in the case of Fig. 1 is the plain weave. The next step is to raise certain ends of the warp over the pile picks so as to bind them to the ground ploth. Thus, in Fig. 1, on the first pile pick, which is the □HBD □□□□ □□□□ □HDD mama □□□□ □□an □□□□ omaooam □ mnunuunm omoooomo moonaoam amannama □■□■□■□a □□□□ □ana □□□□ □□□□ □□□□ □□□□ □ana Fig. 1 6 PILE WEAVES §82 second pick of the weave, the second and seventh ends are raised, while on the second pile pick, which is the third pick of the weave, the first and eighth ends are raised; the fifth and sixth picks interlace with the warp exactly the same as the second and third, respectively. Two adjacent ends are thus alternately raised over the pile picks so as to fasten them to the foundation cloth. These two ends do all the binding, since in a corduroy the binding points of the pile filling run lengthwise of the piece, in order to produce a series of floats running ia the same direction to form the cord when cut. For binding the pile filling in corduroys, 2 ends are used instead of 1 end in order to make the cord of sufficient width to cover the ground well, and also so as to make the cloth more compact by allowing the ground picks to be placed closely together, since if all the pile picks were tied by 1 end, the intersections of the pile filling would tend to hold the ground picks apart. Moreover, if 1 end were used for tying purposes, that end would be considerably strained. Since all filling-pile fabrics are woven with a large number of picks per inch, the ground picks will be forced together by the lay of the loom in beating up the filling and lie side by side; thus, in Fig. 1, the first, fourth, seventh, and tenth picks will be forced close together and form a plain ground cloth. This will cause the floats of the pile filling to be forced to the face of the cloth and float over the closely woven ground cloth except at those points where it is bound. Thus the second and third, fifth and sixth, eighth and ninth, and eleventh and twelfth picks will be very tightly com¬ pressed between the ground picks at those points where they are depressed under a single warp end, but at all other points will float over the surface of the ground cloth, thus forming ridges or lines of float lengthwise of the goods; these ridges are known as races. Fig. 2 is a section of Fig. 1 showing the interlacings of the first four picks. The first pick, which is a ground pick, interlaces with the warp in plain order. The second is a pick of pile filling that floats over all the warp except the §82 PILE WEAVES 7 second and seventh ends, which are lifted, according to the weave in Fig. 1, to bind the pile. The third is a pile pick bound to the ground cloth by being passed under the first and eighth warp ends. The fourth pick of Fig. 1 is shown in Fig. 2, and is the second pick of the plain ground weave. Fig. 2 If the fifth and sixth picks, which are pile picks, were shown, their interlacings would be like those of the second and third. In order to form the characteristic corduroy cord, the races of pile filling are severed at the points of intersection with the lines a, Fig. 2, the severed ends rising and forming a cord the center of which will be midway between the dotted lines a at the point where the pile filling is bound into the cloth. As one pick of pile filling alternately floats over 4 and 6 warp ends, and the other alternately over 6 and 4 ends, after the floats are cut the length of the pile on each side of the binding point will vary slightly, and the longer Fig. 3 pile will have a tendency to remain in the center of the cord, while the shorter pile will be on each side, thus giving the desired rounded appearance of the cord when finished. Fig. 3 shows the appearance of the section in Fig. 2 after the pile filling has been cut. PILE WEAVES 82 5. Cutting Corduroys. —The cutting of filling-pile fabrics is accomplished with a knife, shown in Fig. 4, having a sharp-pointed blade, on the end of which is a sheath that is brought to a point at its forward end. In operation, the point of the sheath is inserted in the race of floats formed on the surface of the cloth, shown in Fig. 2, and as the knife is pushed forwards the yarn is raised by the sheath b until it comes in contact with the sharp cutting edge of the knife a and is severed. The sheath is adjustable, Fig. 4 in order to regulate the point at which the yarn comes in contact with the knife, so that the knife can be used to cut long or short floats of the pile filling, according to the cloth that is being made. When cutting the pile, about 2 yards of the cloth is stretched tightly on a frame and the operator, commencing at the right-hand side of the cloth, cuts each race of floats as he proceeds. The operation of cutting the pile on a filling-pile fabric is a laborious task, requiring some skill and adding materially to the cost of the fabric. After the pile is cut, corduroy fabrics are brushed and singed in order to obtain a smooth, rounded cord, and are dyed usually dark shades of brown and drab. Corduroy fabrics possess excellent wearing qualities and are largely used for rough outdoor wear. 6. If the back of a cloth woven with the corduroy weave shown in Fig. 1 is examined, the appearance of plain cloth will be recognized. Those portions of the ground fabric between the ends that bind the pile filling are woven with the regular plain weave, but the binding ends do not inter¬ lace with the filling exactly as in a plain weave, although the difference can hardly be noticed, owing to the binding points being almost covered by the close structure of the fabric. Filling-pile fabrics that are woven with a plain ground weave are said to have a plain back , or, as it is sometimes termed in the textile trade, a tabby back. Although tabby backs are §82 PILE WEAVES 9 frequently used, all corduroy fabrics are not constructed with a plain ground weave. When it is desired to produce a some¬ what heavier ground cloth, a twill weave is often used for the ground weave, thus permitting more picks per inch to be inserted. When a twill weave is used for the ground weave, it gives a distinctive appearance to the back of the fabric, which is then spoken of as a twill back. The weaves most commonly used for this purpose are the prunelle and cassimere twills. Another name for the prunelle twill is the jean twill; from this is derived the term jeanette back , which is used when the ground fabric of a filling-pile cloth is woven with a prunelle-twill weave. Fig. 5 shows a jeanette-back cor¬ duroy weave, the ground weave being the prunelle twill. In 1 ° ■□□□□□□■ □□□□ mooanoom amoaaomo □■■□■■□a moaooonm omaaaam □ ■■□■■□■a □□□□ ■■□a □□□□ □□□□ ■□■a □□□□ □□□□ Ground Ground Fig. 5 Fig. 6 this weave, 1 pick of ground filling alternates with 2 pile picks, the latter being bound to the cloth by being passed under certain warp ends in a similar manner to that employed Fig. 7 in Fig. 1. Fig. 6 is a section of Fig. 5 showing the inter¬ lacings of the first 3 picks, the pile filling in this case being uncut. In Fig. 7 a section is shown of Fig. 5 in which the 10 PILE WEAVES 82 momm □HDD □□□□ □□□□ □□□□ RDM □□□□ □□□□ ■□□a □□□□ nmonoomo mannnonm amaaaamo UMUnUUMU □□■■□□■a □□□□ BBDD □□□□ □□□□ □aan □□□□ □□□□ □□BB !} pile Ground • Pile Ground Fig. 8 pile filling has been cut so as to form the characteristic cor¬ duroy cord. Fig. 8 is another corduroy weave, but in this case the cassimere twill is used for the ground weave; this weave closely resembles the one shown in Fig. 5, with the exception that a different ground weave is used— it will produce a twill-back cor¬ duroy. In the corduroy weaves that have been shown, 1 pick of ground filling has alternated with 2 picks of pile filling, but in some cases corduroy weaves are constructed in which 1 pick of ground filling alternates with 3 picks of pile filling. Fig. 9 shows such a weave, in which the first pick is a ground pick and the next 3 picks pile picks bound to the ground cloth as indicated. The ground weave in this case is the 4-harness basket weave. Fig. 10 is a sec¬ tion showing the interlacings of the first 4 picks of Fig. 9; in □□□Banna □□□annaa □□□□□□□□ □□□□□□□□ □□□anona □□□BDODB ■□■□□■□□ nwnuwnmn mnnanunn nwuuuunn !□□□□□□□ □naannaa »□□□□□□ mnnannoo □»□□□□□ □□aannaa Bun^BDiin BMDB^OT □□□□□□□□ □□□□□□□□ annaanna anananna □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□annna □□□annoa □□□□□□□□ □□□□□□□□ □unaiioiiB ^□IBMDB lire | Pill Fig. 9 this figure, tho pile filling is shown cut so that the cord is formed as in all corduroy fabrics. In the weaves already described, each pile pick is bound to the ground cloth by being passed under only 1 end of the warp, but in some varieties of filling-pile weaves the pile picks are bound more securely by being passed under one end, over §82 PILE WEAVES 11 the next, and under the third, before floating, which causes the weave to require a larger number of ends in the repeat in order to obtain any given length of pile-filling float. The proportion of pile picks to ground picks varies in dif¬ ferent corduroy weaves, and although 2 picks of pile to 1 pick of ground is the usual proportion, these weaves are sometimes made with 2 of pile, 1 of ground, 1 of pile, 1 of ground, or 3 of pile, 1 of ground, 2 of pile, 1 of ground; and in special cases other combinations are used. The number of ends over which the pile filling floats also affects the repeat of the weave. Those weaves already given represent the smallest floats that are generally used, but in order to make more pronounced cords it is not unusual to have the filling float over a larger number of ends—from 7 to 15, or even more. VELVETEEN 7. Besides corduroy, in which the pile is distributed in lines running lengthwise of the goods, there is a filling-pile fabric—that known as velveteen—in which the pile is uni¬ formly distributed over the entire surface of the cloth, pro¬ ducing a level pile that completely hides the ground cloth from view. Since the pile in this fabric is formed by an extra, or pile, filling, the name velveteen is used to distin¬ guish it from the true velvet, which is formed with an extra, or pile, warp. As the object in a fabric of this description is to produce a pile over the entire surface of the cloth, every end at some point or points may be used to bind the pile filling; but more frequently every other end only is used for this purpose, the binding points occurring often on a twill and sometimes on a satin basis. In arranging the weave for a velveteen, the most important points to be pro¬ vided for are the formation of proper races, or lines of floats, for the cutter, and a good method of binding pile picks. The velveteen pile is cut in a somewhat similar way to the cutting of corduroy, except that the cutting knife runs diag¬ onally across the cloth, whereas in corduroy fabrics it is run in a direction parallel to the warp. The number of traverses 12 PILE WEAVES 82 to be made by the cutting knife for velveteens is much greater than for corduroys; frequently it must be run across several hundred times in order to cut the pile on 2 yards of fabric. The number of races for the cutting knife affects the expense of cutting velveteen, so that if the number of races can be reduced, the expense is lessened. The number of races, however, must not be reduced to such an extent as to produce a ridgy or corded effect, since a perfect velveteen should have an absolutely even surface. By arranging the binding points so as to produce only a sufficient number of races for the particular quality of fabric being produced, satisfactory results are obtained, and the number of traverses of the cutting knife reduced to a minimum. 8 . One of the most common velveteen weaves is shown in Fig. 11, which gives four repeats of the weave. This weave is woven with 1 pick of ground PlIe filling and 3 picks of pile filling, the pile picks being tied to every alter¬ nate end of the ground fabric in twill order. The ground weave is the pile plain weave and the pile filling floats Grouod over 5 warp ends. The number of Pile ends over which the pile filling floats Ground j s one Q f f ea t ures that govern the length of the pile on the face of the goods; thus it may float over 3 or 5 ends for a short pile, or over 7 or 9 ends for a longer pile. Fig. 12 is a section of the weave shown in Fig. 11, illustrating the interlacings annamaao unwunaun mnannnmu naaouaaa □□■□□□□□ moooonmo 1 □□□□J aamm mono) □□□□J nanamnaa □□!!□□□□□ mananamn □□!!□□□□□ maaooamn aamm MOOD > □□□□1 nnm m MOOD 1 □□□□J Fig. 11 Fig. 12 of the first 5 picks; in this figure, the pile is supposed to have been cut. §82 PILE WEAVES 13 Fig. 13 shows a weave for a velveteen that is very similar to the weave shown in Fig. 11, the chief difference being that in this weave 4 pile picks alternate with 1 ground pick, while in Fig. 11, 3 pile picks alternate with 1 ground pick; in this weave, also, the pile filling floats over 7 ground ends. In Fig. 14 is shown a weave for a velveteen that is similar | Pile Ground J Pile Ground Fig. 13 Fig. 14 oooooomo oooomooo oooooomo oooomooo oomooooo maoaaaaa oooooomo oooomooo oomooooo mooooooo □■□■□■□a oomooooo maoaaaaa anananan aaaooama oooomooo oomooooo mooooooo □■□flDaafl Pile Ground Pile Ground aaaaamaa □□□□□□□□ □□□□□□□□ oomooooo oaaoooam oooomooo amananaD omoooooa □□□□□□HD ooomoaoo maoaaaaa □BDBDBDB ooooooom □□□□nemo anananan omaaaaaa oaaaaama aaamaaao mooooooo □BOBDBDB to Fig. 13, in that the ground weave is the plain weave, but in this figure the pile filling is bound to the ground cloth in 8 -end satin order. This design will weave better than Fig. 13, because the interlacings of the pile picks are equally distributed over all the warp ends, but it will be more difficult to cut. If a heavy, or thick, pile on the face of the fabric is desired, the picks per inch can be increased proportionately; while if a light, or thin, pile is desired, the picks per inch can be reduced. Velveteens, like corduroys, may be made with twills or other simple weaves for ground weaves; Fig. 15 shows a weave made in this manner. The ground is the cassimere twill and the pile picks are tied to the warp in twill order. The weave is arranged 1 pick of ground and 3 picks of pile filling. 9. In the velveteen weaves given so far, the pile filling, at each place where it is being tied to the ground, passes under a single warp end. By this method, however, there is some danger of the pile being pulled from the cloth in the cutting, especially if the cutting knife is a aoaomaoa □□!!□□□□□ mooooomo uomuonon maoooom □ oooomooo □□■□□□□□ mooooomo oooomooo oomooooo ~ooooomo mOO □ S-Pile □□□□j Ground OOMO) mooo 5-Pile □□□□) Ground MOOO fPile Ground oomo) mao □ (-Pile □□□□) Ground 14 PILE WEAVES §82 little dull. To prevent the possibility of this happening, velveteen is often made with the pile pick interlacing with 3 warp ends, as shown in Fig. 16; that is, between each long cutting □□□□□□□□ naonmoma mnmanno □ □□□□□□□□ uuauwomu mamnoaa □ □■□■□■□a mama) □□□□ f Pile Ground float the pile pick passes under a □□□□ Pile □□□□J □ana Fig. 16 warp end, then over a single end, Ground an d fi na Uy under another end. Fig. 17 is a section of the weave in Fig. 16, showing the interlacings of the second, third, and fourth picks, which are pile picks, and the method of tying them into the ground; it will be seen that they are much more firmly tied by this method than when they are passed under only 1 end of the warp. If it is necessary to secure the pile even more than in Figs. 16 and 17, the pile picks may be made to interlace with 5 ends of the warp instead of 3 ends. Fabrics in which the pile is formed by an extra filling may, in general, be woven from one beam; and in cases where the pile filling is of the same yarn as the ground filling, in single¬ box looms. Sometimes, however, a different filling is used for the pile, in which case a box loom is necessary, and when a single pick of ground or an odd number of pile picks is placed in the cloth a pick-and-pick loom is required. In consequence of the pile filling floating on the face of the goods, a large number of picks per inch is required; in some cases, where a fine, thick pile is produced, there are as many as 400 picks. The harness and chain drafts for filling-pile fabrics are made exactly the same as for single cloth, and therefore need no further description. 10 . The length and density of the pile in filling-pile fabrics may be easily altered when it is necessary to meet §82 PILE WEAVES 15 some special demand. The length of the pile may be changed by allowing the pile filling to float over a greater number of ends, so that when the floats are cut the length of the pile will be increased. If, however, the length of the pile is increased and the number of picks per inch remains the same, the density of the pile will be reduced. For instance, suppose that the pile filling in a fabric was floating for 1 inch on the face of the cloth and that the length of the floats was increased to \ inch; if the number of picks per inch remained the same, the density of the pile would be reduced one-half. In order to keep the same density of pile, therefore, the number of picks per inch should be doubled. A case like this may always be treated proportionately, and the number of picks per inch increased. Whenever the fineness of the ground cloth is altered, there is a corresponding alteration in both the density and length of the pile. For instance, if more warp threads per inch arc placed in the cloth, the pile picks in floating over the same number of ends will make shorter floats, which, of course, will shorten the pile. The density of the pile will be altered at the same time, since the binding points of the pile will be brought closer together. Any change in the number of picks per inch affects the density of the pile, but does not change its length. EXAMPLES FOR PRACTICE 1. Make a corduroy weave to be picked 1 ground and 2 pile, the ground weave to be plain and the pile filling to float over 5 and 7 ends. 2. Make a section of the above weave, showing the interlacings of the first 3 picks. The pile is to be shown uncut. 3. Make a corduroy weave to be arranged 1 pick of ground and 2 picks of pile filling, the ground to be the 4-harness twill. Arrange the tying places of the pile filling so that the pile will float over 6 and 8 ends. 4. Make a section of the above weave, showing the interlacings of the first 3 picks. Show the pile picks uncut. 5. Make an original weave for a velveteen cloth. 6. Make a weave for a velveteen, the ground weave to be the Aj. twill and 3 picks of pile filling to alternate with 1 pick of ground filling. 16 PILE WEAVES 82 FIGURED FIDLING-PILE FABRICS 11. Figured effects may be produced in connection with filling-pile fabrics by allowing the pile to be formed on the face of the ground cloth according to a given motive. When it is not desired to produce the pile, the pile filling is allowed to float at the back of the ground fabric. In this manner any figure may be produced in pile on a plain or twilled ground. In Fig. 18 (a) a motive is shown for a filling-pile figure to be placed on a plain ground cloth, while in Fig. 18 (b) the complete design is shown. In Fig. 18 (a) the shaded squares represent the method of allowing the pile filling to float on the surface of the fabric, but in Fig. 18 (t>) the shaded squares represent warp raised over the pile filling. This design is arranged 3 picks of pile filling and 1 pick of ground; therefore, the complete pattern occu¬ pies 24 ends and 96 picks, since the motive is complete on 24 ends and 24 picks. The con¬ struction of this design should be carefully stud¬ ied, since although this is a small and compara¬ tively simple pattern, all designs of this class are constructed on the same principle. It will be noticed that where the figure occurs the construction of the design is the same as a simple velveteen weave, but where the ground of the fabric is to be plain all the warp is raised, allowing the pile filling to float on the back of the cloth, and enabling the ground picks to be forced together to form the ground fabric. This waste yarn is afterwards cut from the back of the fabric. Thus, pile is formed only where the figure occurs. Great □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□a □□□□□□□a □□□□□□□□ □□MM* □□MM* □□□□MM □□□□MM □□□□□□□□ □□□□□□□a □□□□□□□□ □□□□□□□□ □■■■■■■■ mmwmwwwm wmmmmmm ulSSBSSS □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ mmmmmmma 11 El HU HH HHllllllH®!! «□□□□□□ »□□□□□□ □□□□□□□□ □□□□□□□□ □□□□MM □□□□MM □□□□MM □□□□HHHH mmmmmmuu ■!■!□□□ mmmmnnnn mmmaaana □□□□□□□□ □□□□□□□a □□□□□□□□ □□□□□□□□ mmmmmmmm mwmwmmmm uwmmwmmm uumwmmmm □□□HHHHIl □□□□□KM □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□a MMMH MMMM mmmm MMMM □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ Fig. 18 (a) VMWWWWWW 1 mmmmwww i !□□□□□■□ mmwmwwmw i HiUMliimil1 1DDDBDDD Pile %mwwwwww i MMMWWWM 1 1DBDDDDD i IDBDBDBD 1 IDBDBDBD Ground WWWWWWMW 1 W2MWMWWM C DDDDDBDD WWWWWWWW 1 i mwwwwww c □DDBDDDD Pile HH1M1111111! I 1 wwwwwmw □BDDDDDD [ DBDBDBDB I1BDBDBDB Ground mwwwwwww i ’mmmmwmu IDDDDDBD mWWWWWWW 1 mmwwwwu □DDDBDDD Pile mwmWWWWW mmwwwwu □DBDDDDD idbdbdbd i IDBDBDBD Ground mmwwmwwm mmmmwom □DDDDBDD WWWWWWWW mmwmwuu \ □DDBDDDD [pile WWMWWWWW mmwmwuu i □BDDDDDD □BDBDBDB □BDBDBDB Ground mmwmmmww ihhheddd IDDDDDBD HHHHHM!!! ■■■■■□■□ □DDDBDDD [pile mwwwwwww i mhhuddd □DBDDDDD ) i IDBDBDBD IDBDBDBD Ground BliBIBBI1 MMDDDP □DDDDBDD mwwwwwww wmmuwuu □DDBDDDD Pile mwwwwwww mmmw □□□□ □BDDDDDD □BDBDBDB □BDBDBDB Ground mwwwwwww ■■■■□□□□ IDDDDDBD iiiiniB IHMDD^D □DDDBDDD Pile mwwwwwww ■■■■□□□□ □DBDDDDD ■i a a a IDBDBDBD Ground wmmwwmm mwwwuuuw □□□□□BDB mwwwwwww mmwwumuu □DDBDDDB Pile mwwwwwww mmwmuuuu JBDDDDDB □BDBDBDB □BDBDBDB Ground mwwwwwww mwmmanw □ □DDDBDBB mwwwwwww mmwwDano □DBDDDBB [pile mwmwwwmw mmdddd 1DDDDDBB IDBDBDBD IDBDBDBD Ground wmmwwmm ^wmmuwuu □DDBDBBB 'mwwwwwww imudddd □BDDDBBB Pile HHHHUMli! mwmwuuum □□□□□BBB □BDBDBDB □BDBDBDB Ground mwwwwwww MMDDDD □DBDBBBB wmmwmwwm mwmmunn n 1DDDBBBB Pile mwmwwwmw mmmwuum □ □DDDBBBB BDBDBDBD BDBDBDBD Ground mwwwwwww wwwwu □□□ □ HD 1111111111 wmmmmwm MMDDDii □DDBBBBB [pile wmmwmwm MMDMD □DDBBBBB □BDBDBDB □BDBDBDB Ground MMMMMMMWi BBBBBBBB mwmwwmm wmmwmwm Pile mmwmwmwm mmwmwmwm BDBDBDBD BE Bt 3BDB □ Ground □□□□□□HQ 1111111111111111 mwmwwwmw ] □DDDBDDD mwmmmwmm mwwwwwww Pile □DBDDDDD mmwwmmmm hbbbbbbb □BDBDBDB 1 IBDBDBDB Ground □nn^nnnm wmmwmwm □□□□□■□□ UWWWWWWW BBBBBBBB [Pile □DDUDDDD [ 1 ^ 11 §1111 fil Ell ill BBBBBBBB BDBDBDBD BDBDBDBD Ground □d®ddddd muwwwmwm wmmmmwm 1 □□□□□□pd □□mm mm wmmwwmm > Pile uuwwwwww. mmwmwmwm 1 □BDB( JBCJB 1 B 1BDBDB Ground □□□^□□□d uwuwwmww wmmmmwm 1 otdddddi UUUWWWW% mmwmwmwm > Pile □□□□□^□d □DDMMI mmwmwmwm I BDBDBNBD BDBDBnBD Ground naanmna c □D^D^MI mwmwwwmw 1 □□■□□□□d BDDDBBBE mwwwwwww. > Pile □□□□MM 13 MWWMWMM 1 □BDBDBDB □BDBDBDB Ground uwuuwwmw. 1111111111111111 I UUUUWWWW wmmwmwm^. > Pile □□□□□enc □DDDBBB1 llllllilllililil J ■□■□■□BE BDBDBDBr BDBDBDBD Ground maaawoac □DBDBBBI BBBMBBB 1 I3DHDDDDD BDDDBBBI mmwwmmww > Pile WDoaoomo □□□□■■Hi wmwwmwwM. ) □BDBDBDI □BDBDBDI □BDBDBDB Ground HHDPDDDD □PDO^HIl^ \ mddddd i □□□□■Ml mwwwwwww > Pile hudddudd □□□□MM mummum^ 1 ■□BL1BDBC BDBDBDBD Ground HMDPDDC □DUDlliSllE mmmmwMm. 1 wmmnauuL ■□□□■■■1 nn mm ii min > Pile □□□□MM bbbbbbbi J □BDBDBDI □BDBDBDI □BDBDBDI Ground MMDDDC □■□□■■■K mwmwwwmw. l TV, MMDDD1 1DDDDBBBi i mmwmwmwm. >Pile mmmmnmnz ]DDDDBBBI i iiniiii J ■□■□BUB : ■□■□■□■: ] B IBDBDBI Ground mmmmmum ] DDBDBBBI i MmmmmmwMi 1 mwwwwnn c D BDDDBBBI immmmmmmi > Pile wmmmcwL D DDDDBBBI immmmmmmi J □BDBDBDI 1DBDBDBDI 1DBDBDBDI Ground Fig. 18 (b) 18 PILE WEAVES §82 care must be taken in arranging the binding points of the pile filling where the figure occurs, so that proper races may be formed for the cutting knife, especially in the more complicated patterns. WARP-PILE FABRICS 12 . Warp-pile fabrics, although similar to filling-pile fabrics, are constructed in a slightly different manner, as the pile effect is obtained by means of an extra, or pile, warp; two warps are therefore necessary—one for the ground cloth and another for the pile. There are two effects obtained with warp pile—one in which the pile yarn is uncut and forms upright loops on the surface of the fabric, and another in which the pile is cut to form a brush-like surface on the goods; in the former case the pile is known as terry pile , while in the latter case a true velvet, or plush , pile is formed. 13 . In the production of warp-pile fabrics, the pile is produced by raising the pile warp over a wire and then depressing it to interlace with the ground again. When the pile shed is formed in the loom, the wire is inserted; and as the shed closes on the wire and the lay beats up, the wire is forced up on the surface of the cloth, thus forming the loops. The pile warp should be down on the picks preceding and following the wire. It is not necessary to raise all the pile warp when each wire is inserted, since a better distribution of the pile may often be obtained by raising every alternate end of the pile warp over one wire and then raising the other ends over the next wire. The thickness of the wire regulates the size of the loops made by the pile warp, and consequently the length of the pile. Where the pile is disposed in loops, as in a Brussels carpet, the wire is smooth; but when it is cut, as in velvet, a knife at the end of the wire cuts the loops of pile when the wire is withdrawn. In power looms, the wires are inserted automatically when the pile shed is formed and are often withdrawn automatic¬ ally, although they are sometimes drawn out by the weaver, §82 PILE WEAVES 19 either cutting the pile or leaving it in loops, according to whether or not there is a knife on the end of the wire. Fig. 19 is a view of a wire knife designed to be inserted under the pile and withdrawn automatically. The knife of the wire is shown at b, while at a the portion on which the mechanism of the loom operates is shown. The wire is withdrawn by means of a hooked lever that engages with the head a, and is actuated by a cam placed at the side of the loom. The wires are not withdrawn immediately after being inserted in the pile shed, but are allowed to remain in the cloth until they are a short distance from the fell of the cloth, since if the wire were withdrawn immediately, the tension of the warp would pull the pile ends from the cloth if the pile was cut, or pull down the loops if it was not cut. Many of the most beautiful and costly plushes and velvets are woven on hand looms, even today, in Europe. In this case, a different method is employed for cutting the pile. The wire used is flattened or elliptical in section, and has a groove cut in it so that its section appears as shown in Fig. 20. This wire is inserted by hand when the pile shed is formed, and before it is withdrawn a knife, or trevet , is drawn along the groove in the wire, thus neatly severing the loops of pile. When the pile is not to be cut an ungrooved wire is inserted. Fig.20 14 . The weave in Fig. 21 shows several repeats of a simple warp, or true, velvet arranged; in the warp, 2 ends of ground and 1 end of pile and, in the filling, 3 picks of ground and 1 shed with the wire inserted instead of a pick of filling. This weave is complete on -3 ends and 4 picks, but for the purpose of illustration several repeats are shown. If this 20 PILE WEAVES §82 weave is analyzed carefully, it will be seen that the ground weave is virtually plain, but that when the pile warp is lifted over the wire, as shown by the shaded squares, 2 ground picks are placed in 1 shed, and the pile warp is raised over the wire between them. Therefore, as these 2 picks are forced up by the lay, the wire will be forced to the sur¬ face of the fabric, carrying the pile warp with it and thus forming the loops of pile, the size of which will depend on the diameter of the wire. The pile warp is also raised over a ground pick, as shown by the dotted squares, for the purpose of binding it to the ground more firmly. The section in Fig. 22, which shows the interlacings of the third, or pile, end of Fig. 21 with the filling and wires, illustrates this point more clearly. The wire is elliptical in section; thus, when the reed is brought against it, the wire is raised on the surface of the cloth with its longer axis vertical, thus gaining the requisite length of pile without forcing the adjacent ground picks apart. When the wires are withdrawn, terry pile will be formed if there is no knife on the end of the wire, and velvet pile if the loops are cut. Warp-pile fabrics are woven with two warps, the tension on the ground warp being fairly tight so as to give the ground the requisite firmness, and the tension on the pile warp being slack in order that the wires may be easily forced to the sur¬ face of the cloth and the pile thus formed. 15 . In drafting a weave similar to that shown in Fig. 21, it is customary to separate the pile and ground harnesses in the same manner as the face and back harnesses are separated when drafts are made for double cloth, the pile warp being drawn on the front harnesses. The harness and chain drafts 0000)0 0O0 • — ' ■ — ■ u ~ □BBDBSDB namoomo □ □B®DB®[DB Wire □BCD) ®DB® f Ground □BDD) UlllOli Wire □BDm ®DB® ^Ground □BDD) 82 PILE WEAVES 21 for Fig. 21, constructed in this manner, are shown in Fig. 23 (a) and (b). In order that the ends may not be crowded on the harnesses, since a large number of ends are necessary for a warp-pile fabric, these drafts are shown on 6 harnesses, although they could be made on 3 harnesses. (a) VELVETS !□□□□ [•][•]□■□■ 16 . Velvet fabrics, for which Fig. 21 is a weave, are usually made with either a cotton, linen, or silk ground warp and !□□□□ filling and a silk pile warp; it is only in -— the more costly fabrics that silk is used ^ for the ground, cotton or linen being gen¬ erally employed. The ground weave is usually either the plain weave or a small rib, basket, or twill weave. The pro¬ portion of pile warp and ground warp, as well as the length of the pile, varies with different qualities of fabrics. Velvets are often classified as 2-pick, 3-pick, etc., the terms refer¬ ring to the number of ground picks inserted between the wires; the design shown in Fig. 21 would be known as a 3-pick velvet. Fig. 24 shows a very common velvet, known as the 2-pick; the warp ends are arranged 1 ground, 1 pile, and 1 ground; the ground weave is the plain weave. In Fig. 25 a similar design is shown, with the exception that the ground is a rib Ground ■ Ground □SBDBB Ground Ground Fig. 25 Fig. 24 weave. The method of interlacing the pile warp should be noticed in connection with these two designs. Although it was stated that the pile warp should be depressed on the pick preceding and on the pick following the wire, an 22 PILE WEAVES 82 o exception is sometimes made to this, as in the case of Figs. 24 and 25, where the pile warp is raised over the pick preceding the wire. However, although it is not always possible to depress the pile warp on the pick preceding the ■g 1 •§ wire, after being raised over the wire it must always be depressed under the pick following, in order to force the wire to the surface. In these two designs the pile is only bound into the fabric by being passed under 1 pick; it would Ground therefore be more liable to be pulled out than the pile in Fig. 21, which is inter¬ picks. When it is desired to insert more aamaama □ □□■□□■□□ ® J- Ground H Wire □ l ® > Ground □ J H Wire □ Fig. 26 laced with 3 picks per inch, a twill is often used for the ground weave of warp-pile fabrics. In Fig. 26 a weave of this description is given; the ground weave in this instance is the warp prunelle twill. 17 . Sometimes only a portion of the pile is lifted over one wire, while the remaining portion is lifted over the next wire, thus forming an alternate distribution of the pile, which covers the ground ° T3 T5 T3 T3 T3 better in some instances. In Fig. 27 a weave for T5 TJ *e *e c c c c o £ o £ o £ c £ r-''—! aaaaamaa □□!!□□□□□ non® Wire ®HOO\ . □OH®/ Grrmnd ®000 Wire BDSBDDBD □□□□□HDD ■□®BDDBD □BDDBSDB □□!□□□□□ nBDDBBDB ■□dbeobd □□B ®\ r ®Bnn/ Ground □ □□H Wire □□B® } Ground WOOD Wire ®Bnn} Ground Fig. 27 3 .. 3 3 „ 3 P .. 3 g J2 ° O « O « O JU O « o £ o £ o £ o £ 6 £ o £ aoaaamaa BBBBDDDB aaamaaaa SBBQBDSD DU Wire BBODDBBB oauaooaa ■□□□B®BB □□SBBDBB aoaaamaa □BBBBDBD BBDBBann aamaaoao □BBSDDDB maaaaama □BD®DBDB ®nDDBB®B aaamaaaa ®DBDBB®B □BBSBBDD maaaaama HS / Ground [HD Wire ^ Ground U® Wire □@} Ground □ □ Wire BBDBDBDB BBannnBB aoaaamaa ■□®DBDBB □□□BB®BB aamaaoao □BDBBSBD BBSBBDm □BBBBDDD ®BBnnn®B aaamaaaa ®BDDDB®B □□□SBBOB maaaaama □□BBBBDB ®BBDBB®D B® \ r , j j Ground OH Wire HO \ r , J Ground □□Wire QQ f Ground Fig. 28 what is known as Utrecht velvet is shown; when the first wire is inserted every alternate end of the pile warp is raised over it, and when the next wire is inserted those ends 82 PILE WEAVES 23 that were depressed under the first wire are raised, while those that were previously raised are depressed. The ground weave in this instance may be considered as a plain weave with 2 picks in a shed or as a small rib weave. The weave in Fig. 28 is of the same type as that in Fig. 27, with the exception that the ground weave in the latter design is the y-g- twill. In order to effect the alternate distribution of the pile over the wires, it is necessary to have an even number of ground picks between the wires, while with all the pile warp lifted on each wire the pile can be best arranged with an odd number of ground picks between the wires. Fig. 29 is a section of the weave in Fig. 28 and shows the interlacings of the first and second pile ends with the filling, and also the alternate interlacing with the wires. The inter¬ lacings of the ground ends are not shown. The density and length of the pile in warp-pile fabrics may be altered to suit the requirements of the designer. The density may be increased by introducing more wires or by using more pile and ground ends. The length is, of course, regulated by the size of the wires inserted in the pile shed. DOUBLE PLUSHES 18 . By the system of weaving warp-pile fabrics known as the double-plush, two plush fabrics are formed in the loom face to face, being connected by the pile, which passes from one cloth to the other. After the filling is inserted, the two cloths are wound on separate cloth rollers, the pile between being cut by a knife, thus leaving a pile face on each fabric. The knife is set between two rollers and is 24 PILE WEAVES 82 given a reciprocating motion by means of a cam at the side of the loom; thus, when the cloth is drawn forwards, the pile con¬ necting the fabrics is neatly severed. By this method, plain velvets and plushes may be manufactured and perfect fabrics obtained, but the process does not lend itself so readily to fancy figured effects. The main advantage, of course, is the large production that may be obtained by this method. The weave in Fig. 30 illustrates one method of producing double-plush weaves. This weave is complete on 5 ends; 2 ends are face ground ends and weave the Sanaa1 ground for the top fabric, while 2 ends are □□□§□ | Face back ground ends and produce the ground for the bottom fabric. The pile end passes from one ground cloth to the other, thus producing the pile on the surface of each cloth when they are cut apart. This weave is complete on 6 picks; 3 picks are backing picks and interlace with the bottom fabric, while 3 picks are face picks and interlace with the top fabric. In Fig. 31 a section of the weave in Fig. 30 is shown. The method of interlacing the pile warp with both ground cloths will be understood by carefully comparing the section with the weave. In order to show the interlacings of the pile warp more thoroughly, two repeats are shown in Fig. 31; the dotted line shows where the fabrics would be cut apart, Fig. 31 thus forming two perfect plush fabrics. It will be noticed in this figure that the picks in each fabric are shown in sections of three; this is only to show the interlacings of the ends more clearly; the lay, of course, would actually beat the picks up to each other and make two closely woven fabrics. 82 PILE WEAVES 25 TERRY TOWELS 19 . Besides the double-plush method, which produces a cut pile on the fabric, there is another method of producing a pile fabric without the use of wires, which is commonly used in the production of what are known as terry towels; in this case the pile is uncut, being produced by an especially constructed loom. These towels are produced in the loom by means of two warps—a ground and a pile warp—as is the case with all warp-pile fabrics, but the method of producing the pile is dif¬ ferent. The ground warp is arranged with a heavy tension, while the beam of the pile warp, which is placed above the loom, is weighted very lightly, just enough friction being applied to prevent its turning too easily; this friction is regu¬ lated by a pattern chain. For 2 picks, the pile warp is held tight; but on the third the friction is taken off. The reed is so arranged that the first 2 picks are not forced up to the fell of the cloth but are left a short distance from it; the distance being regulated by the length of the pile desired. When the third pick is placed in the cloth, however, all 3 picks are forced home to the body of the cloth; and as the pile warp is lightly weighted on this pick it will be pushed out in loops more or less evenly distributed on each side of the towel. Since the ground warp is heavily weighted, it does not come forwards with the pile warp, but the 3 picks slip on it and are carried to the body of the cloth. 20 . In Fig. 32 is shown a section that illustrates the interlacings of the pile warp with 3 picks of filling. This section is shown as it would appear if the filling did not slip Fig. 32 on the ground warp, but in Fig. 33 is shown a section in which the picks have been forced home and the loops of pile warp formed on each side of the towel. The weave for 26 PILE WEAVES 82 producing the standard terry towel, of which Figs. 32 and 33 are sections showing the interlacings of the first and third, or pile, ends, is shown in Fig. 34 (a). The harness draft with the pile warp drawn on the first two harnesses is shown O JS O E 6 E o munn lamma Imaam (a) □Sinn □□tan noun ( 6 ) Fig. 34 — o E e> r mam □ ammo maam (c) in Fig. 34 (b ), while in view (c) the corresponding chain draft is shown. It should be noted that the ground ends in Fig. 34 (a) are interlaced with the picks situated between the upper and lower pile loops to prevent the filling from Fig. 35 being forced out with the loops of pile warp. This will be more clearly understood by referring to the section in Fig. 35, which illustrates not only the interlacings of the pile ends in Fig. 34 (a), but also of the ground ends. 21 . It must always be borne in mind that the production of terry towels requires a special loom. These looms often have attachments by means of which the pile can be pro¬ duced as desired, since there is in some towels a space at each end devoid of pile. Most towel looms also have a fringing motion, so that no filling is placed in the warp for a space of about 6 inches between the towels, so that when the towels are cut apart each has a fringe 3 inches in length at either end. 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]DDI IDDD n ]DDD IDDD !□( ion® ODD □I iddd ODD ODD DDD □□□ □DD DDD □□□ □HD DDD □m □DD Dl ID □□□ □■□ HDD □□□ idd □□□ HDD 3D® 3DD □DD 3D® 3DD HDD 3D® HDD HDD ID® HDD :dd jar HDD :bd 3D _ ]DD HDD ID® :□□ ]§□ ID® 1DD IDD IDIl ]DD ]®D id_ 3DD JDD iaa idd !DP IDD IBD ID® DDDDDDDD □□DDDDDD □ddddddl DDDDDDDD □□DDDDDD □DDDDDDD DDDDDDDD □DDDDDDD □DDDDDDD DDDDDDDD DDDDDDDD □DDDDDDD DDDDDDDD □□DDDDDD □odddd: _ DDDDDDDD DDDDDDDD □DDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD □DDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD □□DDDDD - DDDDDDD_ DDDDDDDD DDDDDD, DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDBDSD DDDDDDDD DDDDDDDD □BDBDBD DDDDDDDD DDDDDDDD □BDBDBD DDDDDDDD DDDDDDDD □BDBDBD DDDDDDDD DDDDDDDD □DDDBDBD DDDDDDDD DDDDDDDD DDDDDDDD □□□□□□dp □□□□□DDE DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD aaaaDaan DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD aapaaDDa DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DaaaaaDa DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD □BDBDBD DDDDDDDD DDDDDDDD “□BDBDBD DDDDDDDD DDDDDDDD BDBDBDBD DDDDDDDD DDDDDDDD “□BDBDBD DDDDDDDD ^DDDDDDD D®DBD@D DDDDDDDD DDDDDDDD BD®DBD®D DDDDDDDD DDDDDD D®DBD®D DDDDDDDD DDDDDDDD DDDDBD®D DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD aapaaDDa DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD aaaaaaan DDDDDDDD DDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD □DDDDDDl. DDDDDDDD □DDDDDD _D0DSD_ □□□□□□□□ DDDDDDDD □□□□□□□£] □□□□□□□□ DDDDDDDD DDDDDDDD BDDDDDDD DDDDDDDD DDDDDDDD “□BDBDDD DDDDDDDD DDDDDDDD “□BDBDBD DDDDDDDD DDDDDDDD □®DBD®D DDDDDDDD DDDDDDDD BD®DBD@D DDDDDDDD DDDDDDDD □®DBD®D DDDDDDDD □DDDDDD_ “□BDBDBD DDDDDDDD DDDDDDDD “□BDBDBD DDDDDDDD DDDDDDDD “□BDBDBD DDDDDDDD □DDDDDD® □DDDBDBD DDDDDDDD DDDDDDDD □□□□□□□□ DDDDDDDD DDDDDDDD □□□□□□□□ DDDDDDDD □□□□□□□□ DDDDDDDD □DDDDDD® □□□□□□□□ DDDDDDDD DDDDDDDD □□□□□□□□ DDDDDDDD □DDDDDD^ □□□□□□□□ □DDDDD“jj DDDDDDDD □□□□□□□□ DDDDDD- DDDDDDDD □□□□□□DP DDDDDDDD □DDDDDD_ □□□□□□□□ DDDDDDDD DDDDDDDD □□□□□□□□ DDDDDDDD □□□□□□a □□□□□□□□ □DDDDDD - □DDDDDD_ □□□□□□□□ DDDDDDDD DDDDDDDD □□□□□□□□ DDDDDDDD □DDDDDDl. □□□□□□□□ DDDDDDDD □DDDDDDD □□□□□□□□ DDDDDDDD □DDDDDD_ □□□□□□DP DDDDDDDD DDDDDDDD “DDDDDDD DDDDDDDD DDDDDDDD “□BDBDDD DDDDDDDD DDDDDDDD □®DBD®D DDDDDDDD DDDDDDDD .□®DBD®D DDDDDDDD DDDDDDD □®DBD®D DDDDDDD D DDDDDD_ □®DBD®D DDDDDDDD □DDDDD □®DBD®D DDDDDDDD □DDDDDDD ~ DBDBDBD □DDDDDDD □®DBD®D □DDDDDDD □DDDDDDD □□□□BD®D □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDD □DDDDDD__ □DDDDDDD □DDDDDDD □BDBDBDB □□□□□□□a □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDD_ □□□□□□DP □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD DDDDDD- □DDDDDDD □DDDDDD - □DDDDDD_ □DDDDDDD □DDDDDD - □DDDDDDl.. □□□□□□□a □DDDDD - □DDDDD □DDDDDDD □DDDDDDD □□□DDDDD □DDDDDDD □DDDDDDD □DDDDDDD □□□□□□□n □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDD □□□□□□□ □DDDDDDD DDDDDDD □BDBDDD □DDDDDDD □DDDDDDD BDSDBDBD □DDDDDDD BD®DBD®D □DDDDDDD □DDDDDDD □®DBD®D □DDDDDDD □DDDDDDD ~ DBDBDBD □DDDDDDD □DDDDDDD “□BDBDBD □DDDDDDD □DDDDDDD “□BDBDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □□□□□□DP □DDDDDDD □DDDDD_ □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □□□□□□□□ □DDDDDDD □DDDDD_ □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □□□□□□□a □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □□DDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD DDDDDDD □DDDDDD □DDDDDDD □DDDDDDD “□BDBDDD □DDDDDDD □DDDDDDD “□BDBDDD □DDDDDDD DDDDDDD □BDBDDD □DDDDDDD DDDDDDD .□□□□□□□ □DDDDDDD □DDDDDDD □□□□□□□□ □DDDDDDD 82 PILE WEAVES 27 EXAMPLES FOR PRACTICE 1. Make a section showing the interlacings of the first 3 ends of Fig. 24. 2. Make a velvet weave having the -2 twill for a ground weave. Employ the alternate system of raising the pile warp. 3. Make a section of the weave in Fig. 27 showing the interlacings of the third and sixth ends. 4. Make a weave for a warp-pile fabric, employing the -3 twill as a ground weave and raising the entire pile warp for the insertion of the wires. 5. Make a section of the above weave showing the interlacing of the pile warp. 6 . Make harness and chain drafts for Fig. 28, the pile warp to be drawn on the front harnesses. FIGURED WARP-PILE FABRICS 22. Figured warp-pile fabrics are constructed in many ways; and in many cases, when constructed with elaborate patterns and expensive yarns, rank among the most costly fabrics woven. A simple method of producing a figured warp-pile fabric is to pro¬ duce a figure in pile, either cut or uncut, according to a given motive, on the sur¬ face of an ordinary fabric. This is performed in a manner similar to that employed in producing a filling-pile figure, except that the warp-pile con¬ struction is used for the figure instead of the fill¬ ing-pile. In Fig. 36 (£) is shown a design of this descrip¬ tion; it is arranged 2 ends of ground and 1 end of pile in the warp, and 3 picks of ground and 1 shed for inserting the wire in the filling. The pile warp is depressed under both □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□■■■■ID □□□□□□BB □□□□□BBB □□□□BBBB □□□BBBBB BBBBBB □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□■ □□□□□□■■ ■■■□□□□□ aannnann □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□BBflBBD □□□bbbqd □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □■■■■■□□ ■■■■■■■■ ■■■■■■■■ □■■■■■■■ □□■■■■■a □□□■■■■■ □□□□aaaa □□□□□■■■ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ Fig. 36 (a) 28 PILE WEAVES §82 the ground picks and the wires, except where it is desired to have the figure formed in pile; in order to show the design more clearly, the ground is indicated by shaded squares and the pile by solid black squares. The motive for this design is shown in Fig. 36 (#). The ground weave used may be considered as a small rib weave or as a plain weave with 2 picks in every alternate shed. The pile warp is raised to form the figure in the same manner as in Fig. 21, and since the ground weave is also the same, the construction of the figure is really a true velvet; the ground weave only appears on the ground of the design, the pile warp floating underneath when not used to form the figure. This waste yarn is afterwards cut off in the finishing of the fabric. 23. Tapestry Carpets.—What is known as tapestry carpet is one of the simplest of figured warp-pile fabrics. Its construction is very similar to an ordinary warp-pile fabric with the exception that an extra warp is used for thickening and strengthening the fabric. The loops of pile warp are uncut and the entire surface of the fabric is uni¬ formly covered with the pile. The pattern is produced by printing the design on the pile warp so that it will be formed by the pile on the surface of the cloth. When this pattern is printed, due consideration must be given to the take-up of the pile warp, according to the length of the pile being- formed. If this item is known, it is comparatively easy to print a certain length of pile warp a certain color, so that the pile will be formed of that color for a certain distance in the cloth, and then change to another color, according to the pattern. It is not possible, however, to gauge the length of printed yarn with exact accuracy, since there are so many disturbing factors, as the take-up, length of pile, etc.; conse¬ quently, there is a certain indefinite or misty appearance to the pattern, which is one of the distinguishing features of a tapestry carpet. The structure of the cloth itself is comparatively simple, as shown in Fig. 37, which is a design for an ordinary 82 PILE WEAVES 29 tapestry carpet. This weave is complete on 4 ends and 6 picks. The ends are arranged 2 ground, 1 center warp, and 1 pile warp, while the picks are arranged 2 ground and 1 shed for inserting the wire. The center warp, which is simply a wadding warp, passes between •§ g •§ g the ground picks and does not interlace with the fabric; this is accomplished by depressing every other ground pick under the center warp; the pile warp is raised on this pick. The center warp has the same function in this fabric as a system of wad¬ ding yarn in a backed or double cloth. The construction of Fig. 37 will be understood by comparison with Fig. 38, which shows the interlacings of several repeats of the O u a. O u &. i-*—\ □ □□linillOll Wire □■shobe® \ rrm . n j □■□□□■□□/ □ □□^□□□^ Wire ■□inaans® \ rrnimd ■□□□■□□□ ) Ground Fig. 37 weave. The designing of a tapestry carpet is a comparatively simple matter, as the weave has nothing to do with the pattern. These goods are generally made 27 inches wide and contain 216 pile ends. The pattern is first painted out Fig. 38 in solid color on a sheet of design paper containing 216 ends, or 27 squares with 8 ends in a square, and then printed on the pile warp. 24. Brussels Carpets. —The structure of a Brussels carpet is entirely different from that of a tapestry carpet, and in its production the designer is allowed the widest scope of taste and ingenuity, while the patterns that are produced are brilliant and sharply defined. In this fabric, the pattern is formed by lifting solidly colored pile threads 30 PILE WEAVES 82 to form pile on the surface of the fabric as required to make the pattern, each pile-warp end remaining in the interior of the fabric when the pattern does not call for its color on the surface. In a Brussels carpet the ground, or, as it is sometimes called, the binder warp , is woven from a beam, but the pile ends, owing to the difference in their take-up because of their varying interlacings with the wires, are each wound on separate spools, which are placed in frames. These spools are arranged so that friction can be applied to them in order to obtain the necessary tension of the pile ends. The terms 3-, 4-, 5-, and 6-frame carpets refer to these frames in which the spools of pile warp are placed and designate the number of colors in the pattern of the carpet, since generally only one color is placed in each frame. The creels, or frames, that take the place of beams also denote the number of pile ends in the fabric, since each frame is designed to hold 256 spools, each carrying 1 end of the pile warp. The complicated interlacings of the pile ends in a Brussels carpet require the use of a jacquard to produce the proper sheds. The reeding of the fabric is controlled by the colors or frames of the pile warp; thus, if a 3-frame carpet is being made, each dent will contain 5 ends, 1 end of each color of pile warp and 2 ground ends; if a 5-frame carpet is being made, each dent will contain 5 pile and 2 ground ends. In weaving, a row of loops is formed across the cloth at the insertion of each wire, for which purpose a given number of pile ends are raised on each pick; in this case 256 ends are raised. The pile threads that are not required for the pattern are disposed in the body of the cloth as wadding, or thicken¬ ing, ends. The bulk of the fabric, therefore, in a Brussels carpet is made of as good yarn as the face and is not obtained by an extra thickening warp of cheaper material, as in a tapestry carpet. The ground weave that is used for these fabrics is the 4-harness basket so arranged that 2 successive picks are placed in a shed, but separated by the pile warp. This will be understood, as will also the statement that the pile 82 PILE WEAVES 31 warp lies in the body of the fabric except when wanted on the face, by referring to Fig. 39, which is a section of a 3-frame Brussels carpet showing the 2 ground, or binder- warp, ends and the 3 differently colored pile-warp ends. The ground picks are alternately passed over and under the pile ends, so as to bind them into the cloth. 25 . The method of producing designs for Brussels car¬ pets is quite simple. The pattern is first painted in solid color on design paper, 3 colors being used for a 3-frame carpet, 4 for a 4-frame, etc. The design is then made, being dressed 2 ends of ground and 3 ends of pile for a 3-frame, or 4 ends of pile for a 4-frame, etc., and being picked 2 picks of ground and 1 shed for the wire. The pile warp is raised over each wire according to the pre¬ viously prepared and painted pattern. To illus¬ trate the method of making the weave for a carpet of this description, as it would be impossible to give a large flowered design here, let it be supposed that Fig. 40 represents a small portion of a large pattern for a 3-frame Brus¬ sels carpet. In this figure, the different marks represent 3 colors of pile warp with which the design is to be formed. As a 3-frame carpet is arranged 2 ground and 3 pile, 40 ends will be taken to weave the color effect, and as these fabrics are picked 2 of ground and 1 shed for the wire, 24 sheds will be required to form the pattern; .16 sheds are for the insertion of the ground picks and 8 sheds for the wires. Fig. 40 32 PILE WEAVES 82 Fig. 41 shows the complete weave for the effect shown in Fig. 40 arranged for a Brussels carpet. As the weave is for a 3-frame carpet, it is arranged with 3 pile ends in a section, each section being separated by 2 ground, or binder- warp, ends. The different marks on the pile ends denote the different colors, corresponding to the marks in Fig. 40. If the lifting of these pile ends over the wires is carefully noted, it will be seen how the design in Fig. 40 is formed in £ - £ xj £ ~ ^ ~ ~ E ts £ ~ £ -a £ £ k ^ E .-S ^ ^ - ~ * - rt r *p-.a § m g g .g ^ g § * ^ g § ^ g § -g ^ g ° ££ 2 § 'g 2 2 * 'g 2 2 j- 'g 2 2^o2 2 ^ " 2^22 oEtfO S £ cS 5 5 o Stfo o EtfO o Swo e £ « e e £ « o e -» X X 7 o o o r □ H V X 7 o o o 1 1 X 7 o o o iff 1 X H E X o 1 o o w X X o o o X X X s 8 o o 3 7 X X o ■ « ■ o i X X x o o 1 n x x X o o o Wire Ground Wire Ground Wire Ground Wire Ground Wire Ground Wire Ground Wire Ground Wire , Ground Fig. 41 pile in Fig. 41. For instance, suppose that the shaded squares in Fig. 40 represent black, the crosses red, and the circles green. On the first pick of Fig. 40 there are 2 black, 3 red, and 3 green. By referring to Fig. 41 it will be seen that this is exactly the manner in which the pile is formed over the first wire. The pile is lifted over the second wire according to the second pick of Fig. 40-, and so on. A 4-frame carpet is designed in the same manner as a 3-frame carpet, except that .4 colors and 4 pile ends are used. In a 3-frame carpet one-third of the pile warp is raised over each wire, and in a 4-frame, one-fourth is raised. The ends that are raised may be of any color, according to the design. 82 PILE WEAVES The other two-thirds or three-fourths of the pile ends, as the case may be, lie embedded in the body of the fabric, as explained in connection with Fig. 39. In order that these ends shall pass to the center of the fabric only and not to the back it will be noticed, by the dot marks, that all the pile ends are lifted on every alternate ground pick, thus throwing 1 ground pick on the back of the cloth to cover the pile warp. 26. What are known as Wilton carpets are constructed in practically the same manner as a Brussels carpet, except that in the former the loops of pile are cut, while in the latter’ they remain uncut. The pile warps in carpets are gen¬ erally made of worsted. VARIETIES OF PILE FABRICS 27. The leading features that produce differences in pile fabrics and, consequently, the use of different names are the material or materials used in each fabric—including the material used for the ground warp, the material used for the ground filling, and the material used to form the pile— the length of the pile, and the appearance of the back of the fabric, in addition to the weave used, the series of threads that form the pile, and the mechanisms employed for forming and cutting the pile. Four classifications of pile fabrics are commonly made from the appearancfe of the pile on the fabric— fustian , velvet, plush , and terry. 28. Fustian is a general term that has long been used and includes all the heavier filling-pile fabrics of the corduroy style, also embracing velveteens. Fustians are usually under¬ stood to be heavy cotton fabrics with a short pile, and besides the regular corduroys and velveteens include fabrics of a simi¬ lar nature frequently known by special names, such as round- top cords, constitutional cords, cable cords, thickset cords, etc. 29. Velvets and plushes are distinguished by the relative length of the pile; the weaves, and in some cases the mate¬ rials used, are similar, but silk fabrics having a smooth pile surface with a pile not exceeding iib inch in length are known 34 PILE WEAVES 82 as velvets, while plush fabrics have a pile exceeding this length. A true velvet not only has this short pile, but is composed of silk alone and is a warp-pile fabric. Like many other w.ords applied to textile fabrics, the term velvet has been misapplied, and consequently fabrics with a silk ground warp and cotton ground filling, or even with a ground of both cotton warp and filling, or linen warp and filling, etc., are sometimes spoken of as velvets. For this reason it is not sufficient to use the word velvet alone when describing a fabric manufactured exclusively of silk, but the term silk velvet should be used and only applied to velvets that are entirely manufactured of that material. When the ground is composed of cotton or linen it should be spoken of as a cotton-backed velvet or a linen-backed velvet, respectively. Plush fabrics are manufactured in great variety, the pile varying in length but in general being of greater length than in velvets. The pile yarn of a plush fabric is generally silk, worsted, mohair, or some other animal fiber, while the ground fabric may be cotton, linen, or jute, which is used not only to cheapen the fabric, but to give it the required stiffness and strength. Among the various kinds of plush may be mentioned those intended to imitate the skins of animals—such as sealskin plush, made with a pile surface of silk, imitation dogskin, made with a curled pile, etc. Mohair plushes are woven with a cotton, linen, or jute ground cloth, while the pile is formed of yarn spun from mohair. Silk plushes are made with a silk pile; the ground cloth is usually composed of cotton. 30. Uncut warp-pile fabrics, whether woven with wires or not, are called terry fabrics. Strictly speaking, the term originated with the warp-pile fabrics woven with a wire, but owing to their similarity certain towel fabrics that are woven by a special loom without wires are also classified as terry. The word terry is not applied to uncut fabrics of the filling- pile class, such as those woven on the fustian principle but used without being cut; these are simply spoken of under the trade name or as uncut fustians. COLOR IN TEXTILE DESIGNING (PART 1) PRINCIPLES OF COLORING THEORY OF COEOR 1. Many theories of light and color phenomena have been advanced from time to time by eminent artists and scientists, but while many of these seem to be based on fundamental laws, there has been much disagreement. It may be safely stated, therefore, that at the present time there is no universally accepted theory of color or system of color nomenclature. 2. Eight. —The great majority of bodies emit no light of themselves and are therefore known as non-luminous bodies; but some, as for instance the sun, have the property of emitting light and are therefore known as luminous bodies. Luminous bodies, as the sun, or a gas or electric light, etc., are visible because of their own luminosity, but non-luminous bodies are visible only because of the property they have of reflecting the light that falls on them from lumi¬ nous bodies. This is proved by the fact that the eye is unable to see non-luminous bodies at night or any other time when they are not illuminated by natural or artificial means. White light, which is considered as pure light, is composed of all the. colors found naturally or made artificially. If a Copyrighted, by International Textbook Company. Entered at Stationers’ Hall, London 2 COLOR IN TEXTILE DESIGNING §83 beam of white light is allowed to pass through a glass prism, the light is decomposed, or separated, into colors. If these colors are allowed to fall on a screen in a room that has been darkened, a beautiful band of color will be produced. This band of color is known as the solar specti*um and contains every gradation of pure color, but for convenience the fol¬ lowing division is usually made, the colors being given in the order in which they are arranged: violet, indigo, blue, green, yellow, orange, and red. Fig. 1 A simple arrangement for the dispersion of white light into its component parts is shown in Fig. 1. A beam of white light is admitted into a darkened room through a hole in a shutter, and passing through a glass prism, is decomposed so that a spectrum is thrown on a screen. The positions of the various colors of the spectrum are indicated on this screen, in Fig. 1, by their initial letters. The decomposition of the white light is due to the refractive power of the prism. As some colors are refracted to a greater degree than others, 83 COLOR IN TEXTILE DESIGNING 3 the light is divided into its component colors, each of which assumes its proper relative position in the spectrum. It will be noticed that the red light is refracted, or bent, from its true course the least, and the violet the most. The seven spectrum colors are known as the prismatic , or primary , colors. Sometimes the spectrum is so divided as to make only six primary colors, the indigo being left out, as it is considered by some to be only a gradation of the blue. Red, yellow, and blue are sometimes considered as the primary spectrum colors, and orange, green, and violet as secondary spectrum colors. The pigment tlieory of color is the one that is made use of industrially; it is based on the assumption that there are three primary colors—red, yellow, and blue—that are inde¬ pendent and separate pigments, differing widely from each other. These pigments are made as nearly like the spectrum colors as possible, but it is impossible to manufacture a pig¬ ment that will exactly match a spectrum color. With these three pigments and the passive colors black and white, any color, hue, shade, or tint may be produced by proper admixture. _ CLASSIFICATION OF COLORS 3. Definitions. —All colors are divisible into two classes; namely, simple , or primary , colors and compound colors. Simple colors are those that cannot be split up into other colors; in other words, they are fundamental colors, the term being practically synonymous with primary colors, and in the pigment theory includes red, yellow, and blue. Compound colors are those that are obtained by mixing two colors together. There are two important classes of compound colors; namely, secondary and tertiary colors. The secondary colors are produced by mixing primary colors, and consist of orange, green, and purple. Orange is obtained by mixing red and yellow. Green is obtained by mixing yellow and blue. Purple is obtained by mixing blue and red. 4 COLOR IN TEXTILE DESIGNING § 83 The tertiary colors are russet, citrine (or citron), and olive, and are each composed of two secondary colors. Russet is obtained by mixing orange and purple. Citrine is obtained by mixing orange and green. Olive is obtained by mixing green and purple. Note.—T his color theory is not absolutely satisfactory to many color experts, but is the one most generally accepted from an indus¬ trial point of view. A pure, or full, color may be said to be an unadul¬ terated color; that is, the most intense expression of a * color without any addition of black or white. A broken color is one produced by the mixture of two or more pure colors. While black and white are not really colors, yet since they are used in producing shades and tints of colors, they are often spoken of as colors. The term passive colors has therefore been suggested for these two colors, together with silver, gold, and very gray colors, but this term is very indefinite, as is also the term neutral colors, which is some¬ times used. A sliade is a pure color mixed with black. A tint is a pure color mixed with white. The tone of a color is an expression that, in the strict consideration of color, is confined to the shades and tints of a full color. The pure, or full, color is known as the normal tone of that color. Tone is sometimes considered as refer¬ ring to the combined effect of several colors placed in juxta¬ position, or to the general effect of a single color. In either case reference may be had to the prevailing tone, or to such qualities as luminosity, purity, warmth, shade, tint, etc. For instance, it may be said of one color combination that its tone is cold, of another that it is warm, etc. Or, a single color may be spoken of as being a deep tone of green, a warm tone of red, a bright tone of orange, etc. The lme of a color may be said to be that color mixed with a small amount of another color; thus, an orange hue of red is made by adding a small amount of orange to a pure red. The term hue is sometimes used to refer to that quality §83 COLOR IN TEXTILE DESIGNING 5 which distinguishes one color from another, be they primary or compound. For instance, red differs in hue from green, yellow from orange, etc. Red, orange, and yellow, and combinations in which they predominate, are known as warm colors because of their great luminosity. The term cool colors is somewhat indefinite, but is gen¬ erally considered to include green, blue, and violet, and color combinations in which they predominate. Theoretically, the complement of a color is a color that, when mixed with it in equal proportions, will produce white. While this is possible to accomplish with spectrum colors by means of mirrors and lenses, it is impossible with pigments, owing to the imperfection of the colors. As white light is the sum of all colors, if any color is taken from it, the remain¬ ing color is the complement of that color. An interesting experiment in this connection may be performed by gazing intently at a red spot on a white surface for two or three minutes or until the eye becomes fatigued. If the eye is now turned from the red spot toward a white surface, a faint tint of bluish green is seen. This is called the accidental color of red, and is practically the same thing as its comple¬ mentary color. There are many pairs of complementary colors, but the simplest ones, which are most frequently met with, are as follows: The complementary color of red is a bluish green; of yellow, ultramarine blue; of violet, greenish yellow; of orange, deep blue; of green, reddish violet. 4 . Color Sensation. —As already explained, pure light, as it comes from the sun, is white. A colored light is a light that is incomplete, that is to say, it is lacking in one or more of the colors that constitute white light. It may therefore be said that colored light is the result of subtraction. For instance, if we perceive a red light, it is to be -supposed that the other principal colors (blue and yellow) that, combined with red, produce white light, have been removed from the white light and that red is all that remains. Similarly, if a 6 COLOR IN TEXTILE DESIGNING green light is visible, we may conclude that red light from some cause has been withheld. In other words, whatever color is visible is a result of its complementary color being subtracted from pure white light. It should be remembered that color does not exist in and by itself, but is simply a matter of sensation, that is, an impression produced on the optic nerves of the eye. If, therefore, the eye is not affected by any light it cannot perceive any color. An object painted white is not in itself really white, but appears so because the paint with which it is covered has the property of reflecting nearly all the light it has received from the sun. Whatever quantity of light that has not been reflected is absorbed by its surface. An object painted black appears black because nearly all the light it receives is absorbed by it. For that reason it is unable to send any, or but little, light to the eye, and the latter cannot be affected by it, or only to a very small extent. It is not to be supposed that color is a quality that a sub¬ stance retains under all conditions and that is inseparable from it. If such should be the case, an object, for instance, painted green, should always remain green, even when in the dark or when exposed to other than white light. We have seen that it can appear green only when green is contained in the light to which it is exposed. The paint with which it is covered serves simply the purpose of absorbing all but the green rays, which are reflected. This can easily be proved if we expose it to a very strong light from which the green rays have been removed, as for instance, by letting the light pass through a red glass. In this case the object will be unable to send out green rays because none have been received, and it will therefore appear black. It is a familiar fact that it is impossible to judge the true values of colors when seen with artificial light. The reason for this is the same as that just given. They are exposed to light that is lacking in certain rays, and the objects are there¬ fore unable to reflect all the colors that would be reflected under normal conditions. With ordinary gas light, greens 83 COLOR IN TEXTILE DESIGNING 7 may appear blue, and under a Welsbach burner reddish tints may lose their red, because this light is deficient in red rays. 5. Harmony. —Two colors may be said to harmonize when they produce a pleasing effect in juxtaposition or are Color Pairs Modification by Contrast [ Red.. Inclines to violet [Orange.. Inclines to yellow [ Red .... . . Inclines to violet [Yellow.. • Inclines to greenish yellow [ Red. Becomes more brilliant [Green. Becomes more brilliant [Red.. Inclines to orange [Blue ........... Inclines to green [Red... Inclines to orange [Violet .. Inclines to blue [Orange.. Inclines to red orange [Yellow. Inclines to greenish yellow [ Orange. Inclines to red orange [Green .. Inclines to bluish green [ Orange .. Inclines to yellow [Violet. Inclines to blue [Yellow .......... Inclines to orange [Green. Inclines to blue [Yellow. Becomes more brilliant [Blue . Becomes more brilliant [Green. Inclines to yellow [Blue. Inclines to violet [ Blue . Inclines to green [Violet. Inclines to red [Greenish yellow. Becomes more brilliant [Violet. Becomes more brilliant used together in suitable proportions in a design. Colors that do not harmonize when associated together produce effects that are displeasing to the eye. 8 COLOR IN TEXTILE DESIGNING 83 6. Contrast. —If two colors are placed side by side or associated in a design, the eye will no longer see the same tone of either color, because each becomes modified by its adjacent color. The effect of contrast is one of utmost importance to textile designing, since the designer should know what effect will be produced when two colors are placed together in a fabric. For instance, if red and blue are used in the fabric, the red will appear to be an orange red and the blue a green blue, the true tone of each color being modified by contrast with the other. 7. The preceding table, prepared by a well-known color expert, shows the modifications of various colors when com¬ bined with another color. From this table, it will be seen that, in general, if two colors are placed together, each appears to be tinged with the complementary color of the other. ATTRIBUTES OF COLORS 8. For want of a better word, the term attributes of a color is applied to certain distinctive qualities and properties of each color that govern its appropriateness for certain purposes. 9 . Red. —Red, orange, and yellow have been classified as warm colors, and of the three it may be said that red is the most aggressive. Red is a very useful color to the textile designer, but, owing to its strength, must be applied with care to conventional fabrics where quiet, subdued effects are desired. Care must be taken in applying not only red but any primary color in its full strength, on account of the vivid effects obtained from the use of unadulterated colors. Primary colors are therefore but little used in textile fabrics, espe¬ cially in men’s wear and other fabrics where quiet effects are desired. Red, when used with care, imparts a bright, clean appearance to a fabric. It is used largely in printed fabrics and to some extent in piece-dyed goods for women and children’s wear. As a color for forming spots on men’s vestings and also on dress goods, red is largely used; but in §83 COLOR IN TEXTILE DESIGNING 9 conventional men’s wear it is not often applied except as a double-and-twist yarn, being usually twisted with a black thread. The darker shades of red are sometimes used as the ground of fabrics, but excellent results are difficult to obtain except in carpets and oriental effects. Tints of red are quite extensively applied in connection with vestings, silk neckties, ribbons, dress fabrics, buntings, etc. In the ordinary run of woolen and worsted fabrics, however, especi¬ ally in the men’s-wear trade, red or its derivatives are but sparingly employed. In using red in combination with other colors, great care should be taken not to destroy the harmony of the design by using too much red or a tone that is too strong and brilliant. Very pure and warm tones of red are better employed in piece-dyed goods than in combination with other colors, although brilliant reds do not produce bad effects with the passive colors black and white, if used in suitable proportion. 10. Yellow. —This is a very vivid and bright color, although it does not possess the strength and warmth of red. Yellow may be said to be the most luminous color and has a great tendency to produce lustrous effects. The vivid bril¬ liance of this color necessarily limits its application to textile fabrics, although it is a useful color for fancy threads and for overchecks in complicated plaid patterns. It also finds a limited use in oriental fabrics and their imitations, carpets, ginghams, and to some extent in woolen blankets. Care must be taken when using yellow in textile fabrics to limit the quantity used. It is rare that a large quantity of this color will produce harmonious results, yet if used in small quantities it is useful in brightening the fabric, especially in plaid designs, in which it is principally used in the ordinary run of designing. It is seldom that yellow or any tone of yellow is used for piece-dyed goods, but this is occasionally met with in silk fabrics. 11. Orange. —This color, like red, is vivid and strong, and is second only to red in warmth and strength. The use of orange for the great majority of textile fabrics is limited; 10 COLOR IN TEXTILE DESIGNING 83 it may be used, however, in a manner similar to yellow, and is also a very useful color for fancy twist yarns, being often twisted with black or white yarns. Orange is very similar to both red and yellow, and is a very lustrous color, although not to such an extent as yellow. The luminosity and vivid character of orange makes it retain its individuality when used in combination with almost any'color, and it is but little affected in tone by either light or dark grounds. 12. Blue. —Blue, being a primary color., is strong and distinctive, but unlike red, which is warm and aggressive, blue is cold and retiring, and for this reason is of value in producing quiet effects, which are still strong and pro¬ nounced. Blue is one of the most useful colors in textile fabrics and has always been highly esteemed. The ancients were particularly fond of this color, and robes of blue and purple were symbols of the highest rank. Pure blue has a certain aspect of freshness that is readily imparted to fabrics into which it is introduced. This quality is sometimes called the bloom , a term that is only used in this connection to indi¬ cate freshness and force of coloring. Dark shades of blue are largely used for the ground of fabrics and also in piece- dyed goods, while the lighter shades are useful for figures and spots, as well as for light-colored silk fabrics, ginghams, plaids, and many other dress-goods fabrics. Its property of cold¬ ness makes blue a useful color for subduing fabrics that would otherwise be too brilliant and for those fabrics where inconspicuous effects are desired. Blue, although not used to any great extent for fancy threads in men’s-wear fabrics, is largely used for piece-dyed suitings. For ladies’ dress goods, blue is a color that may be used in a variety of ways. 13. Green.— This color is of a retiring and inconspic¬ uous nature, its principal characteristic being an appearance of freshness that is readily imparted to fabrics to which it is applied. Green is a very restful color to the eye, and is the most common color found in nature. According to the spectrum theory green is a primary color, but accord¬ ing to the pigment theory it is a secondary color, being 83 COLOR IN TEXTILE DESIGNING 11 composed of the primary colors blue and yellow. For this reason green is an easier color with which to produce har¬ monious effects than the primary colors, since the more broken a color is the easier it usually is to make it combine with other colors with good effect. Many of the shades, tints, and hues of green are very useful in textile designing; among those most commonly used may be mentioned olive green, slate green, pea green, and dark green. The greens form excellent combinations with the shades and tints of red, when used in proper quantities, and also with black and white. Green is largely used for suitings, dress goods, shawls, broadcloths, billiard cloths, carriage cloths, etc., and is also employed as a fancy thread in men’s wear, suitings, and trouserings. 14. Purple.—This color is not largely employed for textile fabrics at the present day, but in ancient times was the royal color and the most highly esteemed. The character¬ istics of purple are its richness of tone, bloom, and softness. This color finds a limited use in silk fabrics, furniture cloths, and draperies, but otherwise it is of very little importance at the present time. 15. Russet, Citrine, and Olive.—The tertiary colors, being still more broken, are more easily combined with har¬ monious results than either the primary or secondary colors, and, since they are quiet and subdued, they are the most use¬ ful colors in the ordinary run of designing, being especially adapted to men’s wear. 16. It must be remembered that there are hundreds of shades, tints, and hues of either primary, secondary, or ter¬ tiary colors, and that the best combinations for quiet effects are obtained from such broken or modified colors. The pure, or full, colors rarely produce pleasing effects when used in combination. 12 COLOR IN TEXTILE DESIGNING §83 FACTORS MODIFYING THE COLORING OF TEXTILE FABRICS 17. There are many factors that will modify the appear¬ ance of a color when applied to a fabric, but the principal ones maybe said to be: ( a ) The nature of the raw material from which the fabric is constructed; (b) the structure of the yarn; (c) the build of the fabric; and (d) the finish of the cloth. 18. Dealing first with the raw material, it may be said that the difference in the structure of the fiber largely affects and, in fact, is the basis of the difference in the tones of color in textile fabrics of different materials. With wool it is possible to obtain not only full, dull tones, but also bright and lustrous effects, depending on whether the yarn is woolen or worsted. With short wool fibers hav¬ ing a large number of serrations and being crimped and curled to a great extent, the resultant tones are deep, full, and somewhat dull. With the longer wool fibers, which have fewer serrations and, consequently, smoother surfaces, the reflecting power of the fiber is much greater and the colors obtained are therefore bright and lustrous. Cotton is a fiber that is not so easily colored as wool, having less affinity for most dyestuffs. In general, the colors obtained on cotton are dull and have a flat, dead appearance, with the exception of mercerized cotton, which has a luster almost equal to silk. Flax is a straight, compact, semitransparent fiber, on which colors appear bright and full, but not so lustrous as on silk or mercerized cotton. Silk is a smooth, glass-like fiber on which color appears bright and true and with an incomparable luster. 19. The structure of the yarn is also an important factor in modifying the color effect of a fabric. A good example of this may be observed by comparing a woolen and a worsted yarn dyed in the same bath. The worsted yarn cannot fail to appear brighter in color than the woolen §83 COLOR IN TEXTILE DESIGNING 13 yarn, because of the yarn structure. In the worsted yarn, the fibers are all laid parallel to the direction of the thread; thus, the sides of the fibers are exposed to the light, and, by reflec¬ tion, heighten the lustrous effect and brighten the color. In the woolen yarn, the fibers are laid in all directions, and, projecting from the bulk of the thread, give it a fuzzy appear¬ ance. The effect of this is to partly absorb the light instead of reflecting it, thus giving the yarn a duller and deeper color. The amount of twist in a thread also affects its color, slack-twisted yarns appearing brighter than hard-twisted yarns dyed the same color. 20. The effect of the build of the fabric in modifying the tone of the color is also apparent to an experienced designer. The more intersections of warp and filling there are in a fabric, the greater the tendency will be for the pro¬ duction of full but dull colors; and vice versa, the longer the floats of warp or filling, or both, the brighter the color and the more lustrous the fabric. That this is true may be readily seen by comparing a fabric woven with the plain weave and a similar cloth woven with a satin weave. Another good illustration of how the build of a fabric affects the colors may be obtained by comparing a Brussels carpet, in which the pile is uncut, with a Wilton, or velvet, carpet, in which the pile is cut. In the latter the color always appears duller and more softly toned and possesses fulness and depth, while in the former the colors appear brighter and more pro¬ nounced, although the yarn may be dyed exactly the same. This is due, of course, to the one reflecting the light from the sides of the uncut pile, while the other, having the pile cut, absorbs the light to a great extent. That the colors are not dull in a cut-pile carpet may be readily seen by bending the pile over so that the light will fall on the sides of the pile instead of on the cut ends. Figured pile fabrics are sometimes made by utilizing this principle and combining cut and uncut pile according to the figure desired. 21. The character of the finishing process also has much to do with the appearance of the colors in a fabric, 14 COLOR IN TEXTILE DESIGNING 83 and they may be made to appear bright and lustrous or dull and full according to the finish and the nature of the fabric. Many woolen fabrics are steamed, which, combined with the brushing and other processes through which they go, gives them great luster. Those fabrics that are sheared and singed close show the colors bright and true, while those having a short, thick nap show duller and fuller tones of color. Cloths with long and sparsely raised naps that are brushed and laid flat are very lustrous. _ METHODS OF APPLYING COLOR TO TEXTILES 22. Color is applied to textiles in several ways, the method of application and the character of the design depend¬ ing largely on the class of fabric desired and whether it is to be made of cotton, woolen, worsted, or silk yarns. Piece- dyed fabrics are woven white and then dyed a solid color; or a fabric all one color may be made by dyeing either the raw stock or the yarn. Mixture yarns and fabrics are made in woolen and other goods by mixing raw materials of different colors. In woven fancy patterns, the fabric is colored and the pattern formed in the majority of cases by the use of colored yarns in the warp or filling, or in both warp and filling, in combination with a definite method of interlacing the warp and filling. Printed goods are those to which the color is applied by a stamping or printing process. Usually the pattern is engraved on a series of copper rolls that are afterwards placed in a machine that prints the desired colors on the cloth. COLOR EFFECTS 23. Definition. —Distinction is made between a weave effect and a color effect. The effect produced by the inter¬ lacing of warp and filling, when both are of the same color, or the warp one color and the filling another, is said to be a weave effect. If, on the other hand, either the warp or the filling, or both, consists of an arrangement, or pattern, of colored yarns, the effect produced by their interlacing is 83 COLOR IN TEXTILE DESIGNING 15 termed a color effect. It may therefore be stated that a weave effect is the effect of the interlacing of the warp and filling alone, whereas a color effect is the effect of colored yarns combined with a suitable weave. In a color effect, the weave is lost and is hardly noticeable in the pattern or design. This is, of course, due to the weave effect being broken up by the colors used in the com¬ position of the pattern. Color effects are often—in fact, generally—produced with very simple weaves and with warp and filling patterns with few ends and picks in a repeat. Figures and effects may thus be produced that,'although small, may be combined with other small but different figures or effects to produce large and effective stripes and checks. 24. Method of Making Color Effects. —It often hap¬ pens that the designer, when making a design, desires to ascertain what the exact effect of a certain weave together with certain warp and filling patterns will be when the cloth is woven in the loom. When this is the case he proceeds to make a sketch of the effect, using colored pencils, paints, or inks as nearly like the colors to be used in the cloth as possible, or if he only desires to know the form of the pattern or the size of the spot or figure to be produced, he may simply sketch it out in pencil or ink and make a black-and- white effect, provided that not more than two colors are used in either warp or filling. If three colors are used, one coloi must be indicated in some other manner. In making a color effect, the first process is to dot the weave very lightly on design paper. Instead of dotting the weave, a very convenient method is to prick it on the design paper with a dissecting needle or other sharp instrument. The manner of arranging the colors of the warp may then be indicated for convenience on a horizontal line of squares above or below the weave. Then mark with the proper color each warp end where it covers the filling. The filling pattern may then be arranged in the same manner and each pick of filling marked with its proper color wherever it floats over the warp. 16 COLOR IN TEXTILE DESIGNING 83 m I a I i i I I i • • • • • • * * * * - • • • • • • • * • * . • • • • • • • • * * * • • • . • • * * * * * • • • • • • * * * — . • • • • • * * * . • • . • • * * * • • • • • • • • * * * • • • • • • * • * * • • • • • * • * * • • • • • • • • * * * • • • • * * ■f — i . • • . . . . • • • • % • • • • • • * * # % • • • • • • • # * * • • • • • * * — * 7 I . # . • . . • • • • • • • • • • • • • * * * 1- . • • • • 2 . .1 * 2. * Fig. 2 To illustrate this process, suppose that Fig. 2 represents a weave that is to be warped and picked 1 of black and 1 of white, as indicated by the horizontal and ver¬ tical rows of squares at the sides in which the coloring of the pat¬ tern is represented. It will be noticed that this weave is a check design on 24 ends and 24 picks, formed by cutting the cassimere twill. The effect of this weave when warped and picked as indicated is found, ac¬ cording to the method previously explained, as follows: The black warp ends are first marked with black wherever they float on the face of the cloth; this is shown in Fig. 3. It is not neces¬ sary to mark the white warp ends, as they will be white wherever they are on the surface, and in this connection it should be noted that, wherever a warp end is white in a color effect, it will be necessary to erase the dots indi¬ cating the weave or the interlacing of that end with the filling be¬ fore the color effect is finished. The next % step is to mark the picks of filling, wherever they pass over 1 «i % a * M & • k • i • • • * • I k 1 • • • % i • i • $ • % • • i • i $ % • m % • • i • k. • k • % • k • % • ... f. * • • k m • . 1 . % • • i • 1 n % • 1 • i * w • •k • i • i i * % w • • 1 • 1 * i . • p • 1 • i I • • w m 1 • 1 • * . m • * • • 1 • m I k k f 1 % • • • % • I • 1 k • ♦. • g * 1 • % • • ■v, m • • ■ • • • • I i T # • • k 1 • 1 • • 'w k • • • % • i • % • • % ♦ * • • • • • % • i • I k | • • k Y 7 '’ • • • • '// k • • • 'f/ • i • i * 'Z. • Fig. 3 83 COLOR IN TEXTILE DESIGNING 17 the warp ends, with the proper color, as indicated by the scheme of filling, or filling pattern. This being accomplished, the color effect as shown in Fig. 4 is ob¬ tained, but, as some of the warp ends are white and show the dots that indicate their interlacings with the filling, it will be neces¬ sary to erase these, after which the com¬ pleted color effect, as shown in Fig. 5, will be obtained. The same method of making a color effect is em¬ ployed whether only two colors are used or several, and whatever may be the warp and filling patterns. 25. Repeats. —A color, effect may require a greater number of ends and picks to show one repeat than either the weave or the warp and filling patterns require. If the patterns of warp and filling do not require more ends and picks than the weave, and if the number of ends and picks required for the pat¬ terns are exactly divisible into the number of ends and picks required for the weave, the color effect will be complete on the same number of ends and picks as the weave. The number 18 COLOR IN TEXTILE DESIGNING §83 of ends required to show one repeat of a color effect is equal to the least common multiple of the ends required for the weave and the ends in the warp pattern. Similarly, the number of picks required is the least common multiple of the picks in one repeat of the filling pattern and the picks in one repeat of the weave. For instance, if a cloth is to be woven with a weave complete on 8 ends and 6 picks and the pattern of the warp contains 10 ends while the filling pattern requires 7 picks, then 40 ends and 42 picks will be required to show one repeat of the color effect because 40 is the least common multiple of 8 and 10, while 42 is the least common multiple of 6 and 7; that is, in every case the pattern of the warp and the pattern of the filling must repeat with the weave before one repeat of the color effect is obtained. 26. Importance of Records. —It is of the utmost importance that the designer shall keep detailed records of the color schemes of all the fabrics manufactured by the mill, since if there is a slight change in the order of the coloring, or if the colors are not inserted in the cloth on the proper pick of the weave, the entire color effect may be changed. The importance of this may be seen by making two color effects with the plain weave, both to be arranged 1 black and 1 white in the warp, one effect to be arranged 1 white and 1 black in the filling and the other, 1 black and 1 white. One of these color effects will be a fine hair-line stripe running in the direction of the warp, while the other will be a similar stripe but running across the cloth. Although this may seem to be an exceptional case, it may be stated that, in almost every instance, a radical change is made in a color effect by inserting the colors on the wrong picks. _ EXAMPLES FOR PRACTICE 1. Show the effects produced by warping and picking the plain weave as explained in Art. 26. 2. Show the color effect on 16 ends and 16 picks obtained by warp¬ ing and picking the plain weave 2 black and 2 white. §83 COLOR IN TEXTILE DESIGNING 19 3. Show the effect on 12 ends and 12 picks of coloring the cassimere twill 1 black and 1 white in both warp and filling. 4. Show the effect on 16 ends and 16 picks of coloring the 8-end twill (Weave 184, Glossary of Weaves), 1 white, 1 black, 1 green, and 1 red in both warp and filling. 5. Show the effect of a 3 and 3 coloring in both warp and filling with the 8-harness twilled basket (Weave 189, Glossary of Weaves). ANALYZING COLOR EFFECTS 27. It sometimes becomes necessary for the designer not only to make a color effect, but to analyze one in order to find the warp and filling patterns and the weave. If these items are to be obtained from a sample of cloth, no difficulty will be experienced, since in this case the fabric may be dis¬ sected and the warp and filling patterns indicated on the pick-out as the analysis proceeds. If, however, it is desired to find the weave and the warp and filling patterns of a color effect that is represented on design paper in a conventional manner, greater difficulty will be met with since in this case there is no method of directly ascertaining the weave or whether any given portion of the color effect is due to warp or filling yarns. There is no method of accurately analyzing a color effect other than that based on the judgment of the designer who, after becoming acquainted with the effects produced by certain orders of coloring and certain weaves, is often able to analyze the color effect off-hand, as it were. It is not meant by this that it is impossible to find a weave and orders of coloring that will give a certain color effect, but that there is no method of knowing whether this was the original scheme or not, since different weaves combined with different orders of coloring may give the same color effect. For instance, if the plain weave x t is arranged in the warp 1 black, 1 white, 1 black, 1 white, and in the filling, 1 white, 1 black, 1 white, 1 black, a color effect known as a hair-line stripe will be produced, and if the crow twill t~ is arranged 1 black, 1 white, 1 black, 1 white in both warp and filling, exactly the same color effect is produced. In analyzing a color effect, therefore, although neither the original scheme 20 COLOR IN TEXTILE DESIGNING 83 of warp and filling nor the original weave may be obtained, yet the results will be correct. Care should be taken in this connection, however, to obtain as simple warp and filling pat¬ terns and as regular a weave as possible, since this is always an advantage and in all probability will be more apt to be the original scheme. In order to explain the method employed in analyzing a color effect, an example will be taken, and it will be supposed that Fig. 6 represents a color effect that it is desired to know how to produce. The first operation in analyzing a color effect is to decide on the warp and filling pattern. As a general rule, the order of arranging the colors in the warp and filling may be recog¬ nized by certain ends and picks having a preponderance of a certain color on the surface. Thus, in Fig. 6, it will be noticed that the first, second, third, fourth, ninth, tenth, eleventh, and twelfth ends are mostly white, each having only 4 black risers, while the fifth, sixth, seventh, eighth, thirteenth, fourteenth, fifteenth, and sixteenth ends are nearly all black, only 4 risers being white. From this it would be judged that the warp in this color effect was arranged 4 white, 4 black, 4 white, 4 black. By the same method it would be judged that the filling pattern was also arranged in the same order, since the first 4 picks appear to be white and the next 4, black, etc. Having decided on the warp and filling patterns, they should be indicated along two sides of the design as shown in Fig. 7. 28. The next operation is to mark where the black warp ends cover the white picks; this is shown in Fig. 7 by the 83 COLOR IN TEXTILE DESIGNING 21 crosses. As the color effect is black at this point, it is evi¬ dent that the warp must be raised here, since if the filling were raised at this point, the effect would be white. The next operation is to mark all the places where the white warp is raised over the black picks; this is shown by the oblique marks on Fig. 7. Before going further with the analysis it is best for the beginner, in all cases, and for the more experienced designer, on complicated effects, to place distinguishing marks on those parts of the design where the warp must be depressed; that is, in this case where white fill¬ ing must cover black warp and where black filling must cover white warp. These distinguishing marks are not a part of the weave, since they represent filling up, but are here used simply to prevent confusion. They are represented in Fig. 7 by the small dots. It is evident that the weave as now obtained would produce the required color effect (not considering, of course, the dots as part of the weave), since, in those p&rts of the design that have not been marked, color covers color; that is, the warp and filling are of the same color. How¬ ever, the cloth would not be firmly nor regularly built with such a weave, and so it is necessary to make a more regular weave. Since, in all those parts of the design not marked, color covers color, it makes no difference whether warp or filling is on the surface so far as the color effect is concerned, and so the warp may be raised or lowered at these points in the manner best suited for producing a regular weave. By adding risers to this design, as shown by the small circles in Fig. 7, we produce the most regular weave possible in this case, being simply the 4-harness twill as shown in Fig. 8. This figure is obtained by copying all of the marks in Fig. 7 with the exception of the dots, which, as previously explained, mean that the filling is up, and of course have no place in the weave. 22 COLOR IN TEXTILE DESIGNING §83 In order to make the method of analyzing a color effect clearer, another example will be given, of a slightly more complicated nature, although the method employed in its analysis is the same. Suppose that it is desired to analyze 1 f, - ft*** mmm ■ ■ ■ 1 **** ^ •••: i m wmmrn mmtm ■ B/B 1 i wmm •m mm y jm mm Ti W\ i i i wm 1 1 1 Fig. 12 m n II II I \ \ \ .m ® i\ ii\ m\ 1 WM\ i» o>S * H° • ■o • 1 - \ \ \ * mo ii\ xfic ♦ . r \ B •Ho •Pb % • X*o • • XPO • • Fig.13 the effect shown in Fig. 9. Carefully studying this, as in the previous example, it will be seen that it is warped and picked □□□□ □□□□ □□□□ ■■■□ □■■■ □□□□ □□□□ □□■H ■■■□ □ ■■■ □□□□ □□□□ □□□□ □□□□ □□□□ □■■□□□□□ □■■■■■■■ □■■■■■□■ ■■■■■■□□ □■■■■■■■ □■■■■■□■ ■■■■■■□□ □□□□ ■□□□ □□□■ □□□□ □□□□ □bdd □BBB □□□□ BBBB ■■■■■□■■ ■■■■■□□■ □■■□□□□□ ■□■■■■■□ □□■■■■■□ □□■■■■■■ □■■■■■■■ ■■■■■■■□ □□□□ □□□□ □□□□ ■□□□ □□□■ □□□□□■□□ ■■■■□■■a ■■□■■■■a □■□□□□□a BBBBBB □□□□□BDD BBBBDBBB i □□□Bnnnn BBDBBBBB □BnnnnaB □BBBBBDB FrG. 15 fig. 16 1 and 1. Then proceeding with the analysis, the crosses in Fig. 10 show where the black warp is raised over the white 83 COLOR IN TEXTILE DESIGNING 23 filling; the oblique marks, where the white warp is raised over the black filling; the dots show where the filling must float over the warp and do not enter into the weave; and the small circles show the risers that have been added to make a regular weave. Fig. 11 shows the weave obtained by copy¬ ing all the marks except the dots. When a color effect contains more than two colors, the same method of analysis is followed out, except that three or more colors must be considered instead of two. For instance, suppose that it is desired to analyze the color effect shown at Fig. 12, which is composed of three colors—white, gray, and black. Carefully studying this color effect, it will be seen that the warp pattern is arranged 1 white, 1 gray, and 1 black and the filling pattern 2 white, 2 gray, and 2 black. Proceeding with the analysis, the oblique marks in Fig. 13 show where the white warp must be raised over the gray and black picks; the crosses show where the gray warp must be raised over the white and black filling; and the filled squares where the black warp must be raised. The dots show where the color effect calls for filling up, while the small circles are the risers added for the purpose of marking a regular weave. Fig. 14 is the weave used, and is obtained by copying all the marks placed on Fig. 13, except the dots. 24 COLOR IN TEXTILE DESIGNING §83 EXAMPLES FOR PRACTICE 1. Analyze the color effect shown in Fig. 15. 2. Give weave and order of coloring for producing the color effect in Fig. 16. 3. Analyze the effect in three colors shown in Fig. 17, giving the weave and the warp and filling patterns. 4. Analyze the effect in four colors shown in Fig. 18. COLOR IN TEXTILE DESIGNING (PART 2) SIMPLE AND COMPOUND COLORINGS INTRODUCTION 1. Definitions. —There are certain well-known orders of coloring that, when applied to simple weaves, produce what might be termed standard effects. These orders of coloring may be divided into two classes; namely, simple and compound colorings , each of which may in turn be divided into regular and irregular arrangements. Generally speaking, a simple order of coloring may be said to be one in which the colors are arranged on a regular and comparatively simple system, while a compound order may be considered as an arrangement obtained by uniting two or more simple arrangements. For instance, if the yarns in a certain piece of cloth are arranged 4 white, 4 blue, 4 red, 4 black, the order of coloring is said to be simple. If, how¬ ever, the yarns are arranged 4 white L or 24 threads 4 blue J ^ rec * }for 24 threads 4 black J the order of coloring is said to be compound, since it is really the result of combining two 4 and 4 simple colorings. Copyrighted, by Inter 7 iational Textbook Company. Entered at Stationers' Hall , London § 84 2 COLOR IN TEXTILE DESIGNING §84 2. Regular and Irregular Simple Colorings. —A regular simple coloring is one in which the amount of each color is the same and the order of their arrangement is regular. Thus, if a cloth is colored 2 red, 2 white, 2 black, the order of coloring is regular and simple. Irregular simple colorings are those in which the regular structure is somewhat broken up, but which are still simple colorings as opposed to compound colorings. There are three ways of forming irregular simple arrange¬ ments: (1) By rearranging the order of the colors in a regular simple pattern; (2) by varying the amount of each color; (3) by combining the first two methods. As an illustration of the first method, suppose that the regular simple coloring given above were arranged 2 red, 2 black, 2 white, 2 black, then it would be changed to an irregular simple coloring. If the pattern were arranged 6 red, 4 white, 2 black, it would be changed into an irregular coloring by the second method; while if arranged 8 red, 6 black, 4 white, 2 black, or in some similar manner, it would be made irregular by the third method. It will be under¬ stood that in the pattern obtained by the first method the amount of black yarn is doubled, although the amount of color in any one part of the pattern remains the same. REGULAR SIMPLE COLORINGS TWO-COLOR PATTERNS 3. The most elementary regular simple colorings are the two-color effects, which are generally arranged on the one and one , two and two , three and three , or four and four system. 4. One and One Colorings.—If the plain weave, with the first warp end raised over the first pick, is warped and picked 1 white and 1 black, a hair line running across the cloth is formed; if warped 1 white and 1 black and picked 1 black and 1 white, a hair-line stripe running in the direc¬ tion of the warp is formed. Reversing the weave will also have the effect of reversing the direction of the stripe. If §84 COLOR IN TEXTILE DESIGNING 3 the plain weave is warped 1 white and 1 black and picked with black filling, an effect is formed consisting of small white spots distributed on a black ground, and if woven with white filling, a black spot is formed on a white ground. 5. Figured Effects With tlie Plain Weave.—Use is sometimes made of the hair-line effects produced with the plain weave for forming figures. This is accomplished by reversing the plain weave in certain portions of the design where the figure is desired, and warping and picking the □■□■□■□a bdbdbdbd dbdbdbdb bdbdbdbd □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBE □BDBDBSD BDBDBSDSl □BDBSDSD BDBDBDBD □BHBDBDB BHDHBDBD HDHDHBDB □HDHDHBD HDHDHDHB □[x)DE)DI3n[xl HDHDHDHB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBSDE1DEI □BHDEDED BHD (DDE! DEI HDHDHDHD BHDHDHDH □BHDHDHD BDBHDHDH □BDBHDHB □HDHDHBD hdhdhbdb □HDHBDBD HDHBDBDB □HBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBSBD □ BDB0DEIB BDB0D0DIH1 □BSDIxlDlxlD BSlDSDIxlDlH! SDSDSDSID BHDSDEIDEl □BUI DSD SID BDBDBDBD □BDBDBDB BDBDBDBD [DBDBDBDB □S1BDBDBD SDSBDBDB □SDSBDBD SDKIDSBDB BDBDBHBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBIEIDIEIDE □BDBEDHD BDBDBSD® □BDBDBSD BDBDBDB0 □BDBDBDB BDBDBDBD □BDBDBDB □SD0DSBD SDSIDSDSB □HDHDSDB SDSDSDSB □SDSDSjBD E03DIE1BDB BSDSIBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB BDBDBDBD □BDBDBDB Fig. 1 cloth on the one and one system. The effect of this is to make a figure of fine lines of color running in one direction on a ground consisting of fine lines running at right angles. Fig. 1 shows a weave made on this principle, and Fig. 2 shows the effect produced by warping and picking 1 white and 1 black. 6. Two-Color Step Effects.—One and one colorings in both warp and filling produce with the cassimere twill what are known as step effects. Fig. 3 shows a two-color step 4 COLOR IN TEXTILE DESIGNING §84 effect obtained by warping and picking this twill 1 white and 1 black. This step effect can be made to twill in the opposite direction by reversing the twill of the weave so that it will run to the left. Fig. 4 shows another step effect of a slightly □□□□□□□□ ■BBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □BBBBBBB □annnnnn □BnBBBBB □anannnn □BDBDBBB □ananann □BCBDBBB □anannnn □BnBBBBB □annnnnn □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □BnBBBBB □annnnnn □BBBBBBB □□□□□□□□ □BBBBBBB □annnnnn □BnBBBBB □Bnannna BBBBBflnB □□□□□ana BBBananB □□□BDBDB Bananana □ananana □ananana □ananana □□□□□□□□ BBQBIBBB □anannnn □BQBnBBB □ananBnn □BQBQBQB □ BDBDBan □■□■□BBB □ananana □ananana □anBaana □BnBQBQB BBQBQBQB □nnanana BBBBQBQB □□□□□BOB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □BnBBBBB □anannnn □■□BQBBB □ananann □ananana □BQBQBQB □BnBQBQB □ananana □□annnnn BBnBBflB anananna BQBQBQBB BnananBn BQBQBQBB anananna □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ Fig. 2 different character, obtained by warping and picking the “-3 twill 1 white and 1 black. An upright step effect obtained with this same weave is shown in Fig. 5. This is produced by □■■■□■■a □□□■□□□a BBDBBBIJB □Baumann □BBBQBBB nnnannna BBnBBBna □annnann Fig. 3 □BBBBBn nnnnnann BBBBnai □nnannnn nnna BB!JB □ann ■aniBBB □annnnn nBBBBBn nnnnnann BBBBnBBB □nnannnn ■□flBBflB □annnnna □BBB □□□□ BBBB □□□B BflnB □ann □ BBB □□□□ Fig. 4 BBQB □□□B BBBB □□□□ □BBB □ann BBQB □□□B BBBB □□□□ □BBB □ann □ananana □BLIIBBBDB □ananana □BBBL1BDB □nnanann BBnanBBB □anannaa □BDBBBnB □ann □BBB □□□B BBfJB □ana □ana □ann □BBB Fig. 5 warping 1 white and 1 black and picking 1 black and 1 white. Two-color step effects twilling at an even steeper angle than Fig. 5, or a flatter angle than Fig. 4, may be obtained by using a one and one warping and picking with the twill. §84 COLOR IN TEXTILE DESIGNING 5 7. Figured Step Effects. —Quite novel effects may be obtained with the cassimere and other twills, together with a one and one warping and picking, by altering the positions of the weaves in the same manner as was done when making the figured design with the plain weave. Fig. 6 shows a weave arranged for a design on this principle, the shaded part indicating where the weave has been reversed according to a motive. Fig. 7 shows the effect produced by warping and picking 1 white and 1 black. In designs like Fig. 6, if the figure is made larger it will be more pro¬ nounced, but even small figures give a unique pattern of a somewhat all-over effect, as is shown in Fig. 7. In Fig. 8, another rather unique color effect is shown. This is ob¬ tained by warping and picking a cut check de¬ sign on 24 ends and 24 picks made with the -t twill, 1 white and 1 black. The effect shown in Fig. 8 is an especially good one for a cloth con¬ taining more ends than picks per inch, on account of the long floats of color running in the direction of the filling. An excellent effect can be produced by this method with the cassimere instead of the twill. If, □■□□□□□■ □■■■□■■a DBODDBDD BBDBBBDB dddbdddb DBBBDBBB DBBBBBDB DODBOODB BBDBDBBB DBDDDBOD DBBBBBDB DDDBODDB BBDBDBBB DBDDDBDD BBBDBBBD BDDDBDDD BDBBBDBB DDBDDDBD BBBDBBBD DDBDBDDD BDBBBDBB BDDDDDBD DBDDDDDB BBDBBBDB DDDBDBDD DBBBDBBB □BDDDDDB BBDBBBDB DDDBDBDD DBBBDBBB BBDBBBDB ODDBODDB DBBBDBBB DBDDDBDD BBDBBBDB DODBODDB DBBBDBBB DBDDDBDD DDDBDBDD BBDBBBDB DBODODDB DBBBDBBB DDDBDBDD BBDBBBDB DBODDDOB DBBBDBBB BBBDBBBD BDDDDDBD BDBBBDBB DDBDBDDD BBBDBBBD BDDDBDDD BDBBBDBB DDBDDDBD BBDBDBBB DDDBDDDB DBBBBBDB DBDDDBDD BBDBDBBB DDDBDDDB DBBBBBDB DBDDDBDD BBBDBBBD DDBDBDDD BDBBBDBB BDDDDDBD BBBDBBBD BDDDBDDD BDBBBDBB DDBDDDBD Fig. 7 Fig. 6 6 COLOR IN TEXTILE DESIGNING §84 instead of making a check design with the cassimere, a cut stripe weave is formed, a very unique stripe, or wave, effect is produced by warping and picking on the one and one sys¬ tem. Fig. 9 shows a stripe weave made with the cassimere twill, and Fig. 10 shows the effect of warping and picking 1 white and 1 black. By reversing and cutting the cassimere twill warp-way instead of filling-way the wave ef¬ fect will be produced lengthwise of the cloth in¬ stead of across the fabric. 8. Two and Two Colorings. —Many good effects may be obtained with two and two color¬ ings in connection with simple weaves and with weave combinations. In Fig. 11, the effect produced with the plain weave by warping and picking 2 white and 2 black is shown. This produces a small check effect used in worsted suitings and dress goods BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □DBBDDBB □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD BDDBBDDB □□BBDDBB □BBDDBBD BBDDBBDD BDDBBDDB □□BBDDBB □BBDDBBD BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD ■□□■■□□a □DBBDDBB □BBDDBBD BBDDBBDD BDDBBDDB □□BBDDBB □BBDDBBD BBDDBBDD BDDBBDDB □□BBDDBB □BBDDBBD BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD BDDBBDDB □□BBDDBB □BBDDBBD BBDDBBDD BDDBBDDB □□BBDDBB □BBDDBBD BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD Fig. 9 to some extent. A variety of effects may be obtained with any one weave by using a two and two warping together with solid filling or with two and two picking. For instance, Fig. 12 shows the effect produced by warping the cassimere □BDBDDDB □BDBBBDB □BDDDBDB □BBBDBDB □DDBDBDD BBDBDBBB □BDBDDDB □BDBBBDB □BDDDBDB □BBBDBDB □DDBDBDD BBDBDBBB □BDDDBDB □BDBBBDB □BDBDDDB BBDBDBBB DDDDDBDD BBBBDBBB □DDBDDDD BBDBBBBB DBDDDDDB □BBBBBDB DDDDDBDD □BBBBBDB □BDDDDDB BBDBBBBB □DDBDDDD □BBBBBDB □DDDDBDD BBBBDBBB □DDBDDDD BBBBBBDB □DDDDBDD □BBBDBBB □BDDDDDD BBBBBBDB □DDBDDDB BBDBBBBB □BDDDDDD BBBBDBBB DDOBDDDD BBDBBBBB DBDDDDDB BBBBDBBB DDDDDBDD □BBBBBDB DBDDDDDB BBDBBBBB □BDDDDDB □BBBBBDB □DDDDBDD BBBBDBBB □DDBDDDD BBDBBBBB □BDDDDDB □BBBDBBB □DDDDBDD BBBBBBDB □DDBDDDB BBDBBBBB □BDDDDDD DBBBDBBB DDDDDBDD BBDBBBBB DDDBDDDD BBBBDBBB DDDDDBDD DBBBBBDB DBDDDDDB BBDBBBBB □DDBDDDD Fig. 8 84 COLOR IN TEXTILE DESIGNING 7 twill 2 white and 2 black and using white filling; Fig. 13 shows the effect obtained by using black filling; and Fig. 14, the effect obtained by picking 2 black and 2 white. In Fig. 12, a broken black stripe is formed on a white ground; while in Fig. 13, a broken white stripe on a black ■■□■■■□a □bdddbdd □BBBDBBB □DDBDDDB BBDBBBDB □bdddbdd □BBBDBBB □DDBDDDB BBDBBBDB □BnnDBDD □BBBDBBB □DDBDDDB BBDBBBDB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD □BBBDBBB □DDBDDDB BBDBBBDB □BDDDBDD □BBBDBBB □DDBDDDB BBDBBBDB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD □BBBDBBB □□□Banna BBDBBBDB □bdddbdd □BBBDBBB dddbdddb BBDBBBDB □bdddbdd □BBBDBBB □DDBDDDB BBDBBBDB □BDDDBDD □BBBDBBB □DDBDDDB BBDBBBDB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD □BBBDBBB □DDBDDDB BBDBBBDB □BDDDBDD □BBBDBBB □DDBDDDB BBDBBBDB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD BBDBBBDB □DDBDDDB □BBBDBBB □BDDDBDD Pig. 10 ground is produced. In Fig. 14, continuous black and white stripes running lengthwise of the piece are formed, but if the cassimere weave were picked as warped, the effect would run crosswise of the goods. With the 4-end basket weave, a continuous stripe similar to the hair line, but containing two ends of each color, may BDBBBDBB □BBBDBBB □DDBDDDB □DBDDDBD BDBBBDBB □BBBDBBB □DDBDDDB □DBDDDBD BDBBBDBB □BBBDBBB □DDBDDDB □DBDDDBD BDBBBDBB □BBBDBBB □DDBDDDB □DBDDDBD BDBBBDBB □BBBDBBB □DDBDDDB □DBDDDBD BDBBBDBB □BBBDBBB □DDBDDDB □DBDDDBD BDBBBDBB □BBBDBBB □DDBDDDB □DBDDDBD BDBBBDBB □BBBDBBB □DDBDDDB □DBDDDBD □DDBDDDB □DBBDDBB □DBDDDBD □□□□□□□□ □DDBDDDB □DBBDDBB □DBDDDBD □□□□□□□□ BBDDBBDD □BBDDBBD □□□□□□□□ □□□□□□□□ BBDDBBDD □BBDDBBD □□□□□□□□ □□□□□□□□ BBDDBBDD □BBDDBBD □□□□□□□□ □□□□□□□□ BBDDBBDD □BBDDBBD □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □BBDDBBD □DBBDDBB □□□□□□□□ □□□□□□□□ □BBDDBBD □DBBDDBB Fig. 11 Fig. 12 be obtained by warping 2 white and 2 black, and arranging the filling on the two and two principle in such a manner that color will cover color; that is, so that black filling will cover black warp where the latter is depressed and white filling will cover white warp in the same manner. For instance, by warping 2 white and 2 black and picking 2 black 8 COLOR IN TEXTILE DESIGNING §84 and 2 white the stripes will run lengthwise, if the first two ends of the weave are raised over the first two picks. 9. Three and Three Colorings.—The three and three system of coloring yields with the 6-end twill ^ir, to which it is well adapted, effects somewhat analogous to those □■■■□■BB □□■■□□■I □BBBDBBB □□BBddBfl dBBfldBBB BdBBBdBB ddBBddBB □■■■□■■■ □□BBCDBB □BBBUBBB ■□■■■□■B □□■■□□■■ dBBBdBBB BdBBBdBB ddBBddBB □BBBDBBB BdBBBdBB ddBBddBB Fig. 13 □BdddBdd □□□□□□□□ BBBdBBBd □BdddBdd □□□□□□□□ BBBdBBBd □BBBDBBB □□□□□□□□ □□BdddBd □BBBDBBB □□□□□□□□ □□BdddBd □BBBDBBB □□□□□□□□ □□BdddBd □BBBDBBB □□□□□□□□ □□BdddBd □BflfldBBB □□□□□□□□ □□BdddBd □BBBDBBB □□□□□□□□ □□BdddBd Fig. 14 obtained with a two and two coloring and the cassimere twill. Fig. 15 shows the effect of a 3 white and 3 black warp arrangement and a black filling with the 6-end twill. In this case, a broken white stripe on a black ground is formed, but if white filling were used, the effect would be □□i □■i Idd IdB ICO IOI BBBBBBBB ■■□■■IBB ■□□■■■Id □□□■■■□□ □□■■■■□□ □■■■■■□■ ■■■■■■■■ ■■□■■■■■ ■■■■■■■■ □■■■■■□■ □■■■■□□■ □■■■□□□■ ■■■■□□■■ ■■■■□■■■ ■■■■■■■■ □■■■■■□■ ■□□■■■■□ □□□■■■□□ □□■■■■□□ □■■■■■□■ ■■■■■■■■ ■■□■■■■■ ■□□■■■■□ □□□■■■□□ □■■■■□□■ □■■■□□□■ ■■■■□□■■ ■■■■□■IB ■■■■■■IB □■■■■■□■ □■■■■□□■ □■■■□□□■ a* □□□□□■□□ □□□i Idddd Idddd ■□□□□■■□ ■□□□□□■□ □□□□□□□□ ■■□□■■■■ ■■■□■■■■ ■□□□□■■□ ■□□□□□■□ □□□□□□□□ ■■□□■■IB ■■■□■■■■ ■□□□□■■□ ■□□□□□■□ □□□□□□□□ ■■□□■■■■ □□□□□■□□ ■□□□□■■□ ■■□■■■IB ■■□□■■IB □□□□□□□□ □□□□□■□□ ■□□□□■■□ □□□□□□□□ ■■■■□□■■ ■■■■■□■■ □■■□□□□■ □□■□□□□□ □□□□□□□□ ■■■■□□■■ ■■ Fig. 15 Fig. 16 reversed. Fig. 16 shows the effect of warping the 6-end twill 3 white and 3 black and picking 3 black and 3 white. It will be noticed that the spots are connected, in this figure, to form stripes lengthwise of the piece, while if the weave were picked 3 white and 3 black, the same general effect would be obtained, but they would be connected in the §84 COLOR IN TEXTILE DESIGNING 9 direction of the width of the fabric. Quite an effective stripe is shown in Fig. 17, being obtained by coloring the warp prunelle twill 3 white and 3 bla warp and f ck in bot filing. h BB BB □BBdBBBB BBddflBBB BddBBBBB UdBBBBBB ddddBddB ddddddBB dddddBBd ddddBBdd dddddBBd ddddddBB ddddBddB ddddBBdd BddBBBBB BBddBBBB □BBdBBBB dddddBBd □□□□□□BB ddddBddB ddddBBdd BddBBBBB BBddBBBB □BBdBBBB □□□□□■□□ ■□□□□□■□ ■□■■■■■□ ■■□■■■■■ ■■■□■■■a □□□□■□□□ BB ■□ dfl BB BB BB BB Bd dddddBBd ddddddBB ddddBddB ddddBBdd BddBBBBB BBddBBBB □BBdBBBB dddddBBd □□□□□□BB ddddBddB ddddBBdd BddBBBBB BBddBBBB □BBdBBBB □BBdBBBB BBddBBBB BddBBBBB □□BBBBBB ddddBddB □□□□□□BB dddddBBd ddddBBdd ■■■■■□■■ ■□■■■■■□ □□■□□□□□ □■□■□□□■ □□■■□□□□ ■■■■□□■■ □■■■□■□■ □■■■■□□■ □■■□□□□■ □■□■□□□■ □□■■□□□□ !■■□■■■■■ BBBBdBBd BBBflddBB BBBBBddB □□BBdddd BddBdddd BBdddddd dBBddddd dddddBBd □□□□□□BB ddddBddB ddddBBdd BddBBBBB BBddBBBB □BBdBBBB □BBdBBBB BBddBBBB BddBBBBB □□BBBBBB ddddBddB □□□□□□BB dddddBBd ddddBBdd Fig. 17 Fig. 18 10. Four and Four Colorings. —Four and four color¬ ings produce good color effects both with the cassimere and with the 8-end a t twill. In Fig. 18, a very common effect in woolen suitings known as the shepherd's check is shown. This is made by warping and picking the cassimere twill 4 white and 4 black. Fig. 19 shows the effect obtained by warping the regular twill 4 white and 4 black and picking 4 black and 4 white. The effects in either Fig. 18 or Fig. 19 may be connected filling¬ way instead of warp-way by simply altering the picking plan. Broken stripes may be made with either the cassimere or the twill by warping on the four and four system and picking with solid color filling. □□BBBBBB □□□BBBBB □□□□□□□□ □□□□Bddd ddddBBdd □□□□BBBd □□□□□□□B □□□□□□BB □□□□□BBB ddddBBBB BBBdBBBB BBddBBBB BdddBBBB ddddBBBB □□□□□□□■ □□□□□□■■ □□□□□■■■ □□□□■■■■ ■■■□■■■■ ■■□□■■■■ ■□□□■■■■ □□□□■■■■ □□BBBBBB □□□BBBBB □□□□□□□□ □□□□Bddd ddddBBdd □□□□BBBd ■■BBBBBB □□■■■■■■ □□□■■■■■ □□□□□□□□ □□□□■□□□ □□□□■■□□ □□□□■■■□ □□□□□□□■ □□□□□□■■ □□□□□■■■ □□□□■■■■ ■■■□■■■■ ■■□□■■■■ ■□□□■■■■ □□□□■■■■ □BBBBBBB □□BBBBBB □□□BBBBB □□□□□□□□ □□□□Bddd ddddBBdd □□□□BBBd □□□□□□□■ □□□□□□■■ □□□□□■■■ □□□□■■■■ ■■■□■■■■ ■■□□■■■■ ■□□□■■■■ □□□□■■BB □□□□□□□a □□□□□□■■ □□□□□■■■ □□□□■■■■ ■■■□■■■■ ■■□□■■■a BdddBBBB □□□□■■■■ Fig.19 10 COLOR IN TEXTILE DESIGNING §84 A good effect for a dress-goods pattern is shown in Fig. 20. This is obtained by coloring the 10-end weave shown in Fig. 21, 4 black and 4 white in both warp and filling. As the □□□□□□□□ □□□□□□□□ ■■■■■□□□ ■■■■■■□□ ■■■■■■□□ bboooooo BBODOOOO BBDBDDDD BBBDDaDD BBBBDDBD BBBBDDDB BBBBBBBB BBBBBBBB DBBBDDDD BDBBDDDD DDBBDDDD DDBBDDDD BBBBBBDD BBBBBBDD BBBBDDBB BBBBDDBB BBDBDDDD BBBDDDDD DDDDDDDD DDDDDDDD BBBBBBBB BBBBBBBB BBBBBDDD BBBBDBDD DOODBBDB DDDDBBBD DDDDDDDD DDDDDDDD BBDDBBBB BBDDBBBB ■■■□□□□□ □□□□□□□□ □□□□□□□□ ■■■■■■■a ■aaiiiaa ■■■■■□□□ DDDDBBDB DDDDBBBD DDDDDDDD DDDDDDDD BBDDBBBB BBDDBBBB jDDODDODD DDDDDDDD DDDDDBBB DDDDBDBB DDBDBBBB BBDDDDDD BBDDDDDD BBDBDDDD BBBDDDDD BBBBDDBD BBBBDDDB BBBBBBBB BBBBBBBB BBBBDDBD BBBBDDDB DDBBDDDD 1 DDBBDDDD BBDDDDDD 1 BBDDDDDD ODOOBDBB □□□□□□BB □□□□□□BB □□BDBBBB □□□BBBBB DBBBDDDD BDBBDDDD DDBBODDO DDBBDDDO BBBBBBDD BBBBBBDD BBBBDDBB BBDBDDDD BBBDDDDD DDDDDDDD DDDDDDDD BBBBBBBB BBBBBBBB BBBBDBDD BBBBDDBB BBBBDDBB DDDDDDDD DDDDDDDD DBBBDDDD BDBBDDDD DDDDDDDD DDDDDDDD DBBBDDDD BDBBDDDD BBBBBDDD BBBBDBDD BBBBBBDD BBBBBBDD BBBBDDBB BBBBDDBB □□□□□□□□ □□□□□□□□ DBBBDOOO DDDDDDDD DDDDDDDD DDDDDBBB DDDDBDBB DDBDBBBB BBODDDDD BBDDDDDD BBDBDDDD BBBDDDDD BBBBDDBD BBBBDDDB BBBBBBBB BBBBBBBB BBBBDDBD BBBBDDDB DDBBDDDD DDBBDDDD BBDDDDDD BBDDDDDD BBDBDDDD BBBDDDDD DDDDDDDD DDDDDDDD BBBBBBBB BBBBBBBB BBBBBDDD BBBBDBDD BBBBDDBD BBBBDDDB □□BBDDDD □□BBDDDD BBDDDDDD BBOOOOOO BBDBDDDD BBBDDDDD DDDDDDDD DDDDDDDD BBBBBBBB BBBBBBBB BBBBBDDD BBBBDBDD BBBBDDBB BBBBDDBB DDDDDDDD DDDDDDDD DBBBDDDD BDBBDDDD DDDDDDDD DDDDDDDD DDDDDBBB DDDDBDBB DDBBBBBB DDBDBBBB BBDDDDDD BBDDDDDD BBDBDDDD BBBDDDDD BBBBDDBD BBBBDDDB BBBBBBBB BBBBBBBB Fig. 20 coloring is complete on 8 ends and 8 picks, and the weave requires 10 ends and 10 picks, it is evident that 40 ends and 40 picks will be required to show one repeat of the color effect, since 40 is the least common multiple of 8 and 10. 11. Extensions of Reg¬ ular Two-Color Patterns. The principle of coloring dis¬ cussed is often extended to six and six, and eight and eight, and as high as, or even higher than, sixteen and sixteen colorings. These may be employed to advantage with jddbbd IBODO _IBODO Fig. 21 Fig. 22 84 COLOR IN TEXTILE DESIGNING 11 simple weaves and also with check weaves made by com¬ bining twills, twill and basket, or twill and plain weaves, etc. It will be understood that the ef¬ fects given are only a few of the desirable patterns that may be obtained, since small fancy weaves ■■■□□□■a □□□■■■■■ □□□■■■■■ ■□□■■□■a □□□□□□■□ □□□□□□□□ BBBBDBBD BBBBBBBD BBBBBBBD BBBBDDDB BBBBDDDB BBBBBDDB □BBDDDDD DBBBDDDD □BBBBBBB DDBBBBBB DDBBBBBB BBIBIBBI BBBBBBBB ■DBBBBBB DDBDDBBD ODDDDBBB □□□□□□□□ □□□□□□■a □□□□□□■a □□□□□□□a dbbddbbb BBBDDDBfl bbbdodbb DBBBDDDD BDDDDDDD BDDDDDDD BDDBDDDD BBBBDBBD BBBBBBBD BBBBBBBD DDDDDBBB DDBBBDDD DDBBBDDD DDDBBDDB DBBBBBBB DDBBBBBB DDBBBBBB □□□BflBBB BDDBBDBB □□□□□□an □□□□□□□□ □□□□□□□□ □□□□□□BB □□□□□□BB BBBBDDDB BBBBBDDB DBBDDDDD DBBBDDDD DBBBDDDD BOODODDD BODDDDDD BDDBODDD BBBBBBBB BDBBBBBB DDBDDBBD DDDDDBBB DDDDDBBB DDBBBDDD DDBBBDDD DDDBBDDB □□□□■■I Fig. 23 Fig. 24 and ingenious groupings of weaves and colorings will often produce excellent effects. The limit of patterns that may BBBDBDDD BBDDBBDD ■DDDBBBD DDDDBBBB BBBBDDDD DBBBDDDB DDBBDDBB DDDBDBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB DDDBDBBB DDBBDDBB DBBBDDDB BBBBDDDD DDDDBBBB BDDDBBBD BBDDBBDD BBBDBDDD BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD BBBDBDDD BBDDBBDD BDDDBBBD DDDDBBBB BBBBDDDD DBBBDDDB DDBBDDBB DDDBDBBB DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDBDBBB DDBBDDBB DBBBDDDB BBBBDDDD DDDDBBBB BDDDBBBD BBDDBBDD BBBDBDDD BBBDBDDD BBDDBBDD BDDDBBBD DDDDBBBB BBBBDDDD DBBBDDDB DDBBDDBB DDDBDBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBDBDDD BBDDBBDD BDDDBBBD DDDDBBBB BBBBDDDD DBBBDDDB DDBBDDBB DDDBDBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB BBBBBBBB DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDBDBBB DDBBDDBB DBBBDDDB BBBBDDDD DDDDBBBB BDDDBBBD BBDDBBDD BBBDBDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDDDDDD DDDBDBBB DDBBDDBB DBBBDDDB BBBBDDDD DDDDBBBB BDDDBBBD BBDDBBDD BBBDBDDD Fig. 25 ]be obtained may be said to exist only in the limit of the 12 COLOR IN TEXTILE DESIGNING 84 designer’s ingenuity. A few examples will suffice to illus¬ trate the patterns that may be obtained by the extension of the principle of two-shade regular colorings. In Fig. 22, a small basket weave is illustrated, while Fig. 23 shows the effect of warping and picking this weave 6 white and 6 black. This is a very neat effect, suitable for worsted or woolen dress goods or suitings. An effect obtained in a somewhat similar manner with the weave shown in Fig. 24 and an eight and eight coloring in both warp and filling is shown in Fig. 25. EXAMPLES FOR PRACTICE 1. Make an original one and one two-color figured effect with the plain weave. 2. (a) Make a two-color step effect with the 10-harness regular twill ^ 5 . (b) Change the picking plan so as to alter the angle at which the effect is twilled. 3. Make a cut check weave on 32 ends and 32 picks with the cassimere twill and show the effect by warping and picking- on the one and one two-color system. 4. Show the effect of a two and two coloring with the 4-end regular basket weave. 5. Show the effect of a three and three two-color warping and picking with the cassimere twill. 6. Make an original color effect on the principle of Fig. 23. THREE-COLOR PATTERNS 12. In three-color regular colorings, the same methods are followed as with two-color patterns except that three colors are used. For instance, a one and one coloring con¬ sists of 3 ends or 3 picks, each of a different color and arranged in regular order in the cloth. A two and two coloring is the same thing, only there are 2 ends of each color together, etc. 13. One and One Colorings. —In one and one colorings on this system, there are several desirable effects that may be produced. With the warp prunelle weave, a three-color COLOR IN TEXTILE DESIGNING 84. 13 hair-line stripe may be produced by arranging the warp 1 white, 1 gray, 1 black, or any other suitable colors, and so arranging the filling with the same colors that each pick of ummmmmum uuuummuu mmmummmm mmmummmm mmmm uumm mumm mumm omnnomnm ummmmmum mmmommmm uumumuuu □□□■ mmmm mumm mumu ummmmmum ummmmmum uuuummuu mmmummmm mmmm uumm mumm ummuuuum ■□□□ mmmummmm mumm mmmummmm ummmmmum ■■■■ ummmmmum ■■■■ ummuuuum ■□□□ ummmmmum HHHB umuuumum □□□■ ummmmmum mmmm □□□□!!■□□ uumm ummmmmum MMMM mmmm mumammmm mumm mumm uuuummuu uumm mmmummmm mumm uumumuu □ mumu mmmummmm mumm ummuuuum ■□□□ mmmummmm mumm mmmummmm ommmmmom ■■■■ ummmmmum ■■■■ ummuuuum ■□□□ Fig. 26 Fig. 27 Fig. 28 filling will cover its own color of warp when the latter is depressed. In Fig. 26, a three-color step effect is shown. This is made by warping the 6-end twill 1 white, 1 gray, 1 black umuuumum ummmmmum uumumuu □ □□□■ mmmm mumm mumu mummmmmu ummmmmum mummmmmu ummmmmum mmmm mmmm mmmm mmmm mmmmmmuu mummmmum uummmmmm mmmm ■■■■ mmmm mmmm mmmummmm uuumumuu umuu uuummuuu muum mmmm uumumuu □ mumu uummuuuu □□BB umuuumum □□□■ mummmmmu mmmm mummmmum mmmm r_mmmum"\m mmmm ummmmmum mmmm □□■■■■■a mmmm mmmummmm mumm mummmmmu mmmm umwmmmwu MMMM uumumuuu mumu ummmmmum mmmm niiiiii^iion mmmm mmmummmm uuumumuu umum uumuumuu ummu ummmmmum ■HHH uumumuu □ mumu ll^DD Fig. 29 Fig. 30 Fig. 31 and arranging the filling 1 black, 1 white, 1 gray. Figs. 27 to 29, inclusive, show three useful modifications of the step effect obtained with the same weave and warp arrangement □□BBBBDD IBBBB □□□□□bqd □□□B □□□□BBDD □□BB mmmmmmmm mmmm mmmmmmmm mmmm mmmmmmmm mmmm mmmmmmmm mmmm uummuuuu mmuu mummmmmu mmmm uumuuuu □ wuuu □□1BBBDD mmmm □□BBBBDD BBBB □□□□□ana □□□B □BBBBBB BBBB □□□□BBDD □□BB mmmmmmmm mmmm mmmmmmmm mmmm mmmmmmmm mmmm mmmmmmmm mmmm uummuuuu mmuu mummmmmu mmmm uumuuuuu wuuu □nBBBaa mmmm Pig. 32 Pig. 33 by altering the arrangement of the filling. In Fig. 27, the white effect is broken up and the black and gray colors only form continuous step effects. This is obtained by 14 COLOR IN TEXTILE DESIGNING §84 picking 1 black, 1 gray, 1 white. In Fig. 28, the black effect is broken and the gray and white are continuous; this is obtained by picking 1 white, 1 black, 1 gray. By picking 1 gray, 1 black, 1 white, as in Fig. 29, the step effect is entirely destroyed, each of the three colors being broken up. 14. Two and Two Color¬ ings. —Many desirable patterns are produced by this method of coloring. In Fig. 30, the effect is shown of warping and pick¬ ing the plain weave 2 white, 2 gray, 2 black. In Fig. 31, a very neat effect is shown, obtained by warping and picking nmmmm ■■■ mmmoommm mmmoommm mama moommmmm mmommmmm mmmmmomm ■■■■ □□HHHHHII mommmmmm mmmmammm mmmmoomm ilii □nnnn wma mmmommmm mmmoommm ■HinnaiB mmmm mmom i mmm mmoommmm mmoommmm mmmommmm mmmm □□□□(= i mm 1 ooooommo omooommo ommooomo □□□□i m\ ii i mooommo □ mmooomao ■■□□□□□□ mmoo ooomm mm moaamoom moooooom moooooom moom ■■■ mmoommmm mmoommmm mmmommmm ■■■■ OWWWWWmm mmmommmm mmmoommm mmmoommm mmmm WMOWW ■■nnHHBi mmoommmm mmmommmm mmmm innii mmm moommmmm mmommmmm mmmmmomm mmmm MOO mooammao mmooomao ■■□□□□□□ mmoo ooammmom ■□□□»□□■ moooooom moooooom moom ooomoomm nununnmm oooooomm oomooomm mmm munmmmmm mmommmmm mmmmmomm ■■■■ mmm mmnummmm mmoommmm mmmommmm mmmm moomm mmm munmmmmm mmommmmm mmmmmomm mmmm MMM mmmmammm mmmmoomm MMMM mnnnmunm moooooom moooooom moom ooomoomm onoonomm oooooomm oomooomm □□□□c man □□□□□■□ omooommo ommooomo aomam mmm mommmmmm mmmmommm mmomm ■■■ mmoommmm mmoommmm ■■■■ moomm mmm moommmmm mmommmmm mmmmmomm mmmm oowmwwwm mommmmmm mmmmommm mmmmoomm mmmm owmmwmwm mmmommmm mmmoommm mmmoommm mmmm ooomoomm oooooomm oooooomm oomooomm ooooommo ooooommo omooommo ommooomo oooommao mooowwo □ mmooomao ■■□□□□□□ Fig. 35 the cassimere twill 2 white, 2 gray, 2 black. Fig. 32 shows the effect obtained by using the same arrangement of colors mmmommmm ■■ mmoommmm ■■ mmmmmmmm ■■ mmommmmm moommmmm mm moommmmm mommmmmm wm ooommmmm mmmmmmmm mm ooooommm oooommao n« oooommao aaoamooa ■■ ooommmoo □□□□□□□■ ■■ mmommmmm moommmmm ■■ moommmmm mommmmmm ■■ ■■ oommmmmm mmmommmm mm ommmmmmm mmoommmm ■■ mmmmmmmm mooommmm ■■ ooommooo maoaaamm ooomooom mooaommm i ii i □□□□□□■■ maaammmo □□ Fig. 34 §84 COLOR IN TEXTILE DESIGNING 15 and the 6-harness regular twill. Fig. 33 shows another very useful effect obtained with the same weave and arrangement of colors in the warp as shown in Fig. 32. The color in the filling of this effect is arranged, however, 2 black, 2 gray, 2 white. 15. Three and Three Colorings. Like other simple color¬ ings, this arrangement is one that, if used with suit¬ able colors, is capable of producing very neat and useful effects. Fig. 34 shows a neat check effect obtained by warping and picking the 6-end regular twill ^3 3 white, 3 gray, 3 black broken check effect nnmmmmmm nmmmmmmm mmmmmmmm mmmnmmmm mmnnmmmm mnnnmmmm nnnnmmmm ■■■■■■□□ ■■■■■□□□ ■■■■□□□□ mmmmnnnm mmmmnnmm mmmmnmmm mmmmmmmm □□■■■■■■ mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm □□□□□□CM □□□□□□nn nnnnnmmm nnnnmmmm ■■■□□□□■ mmnnmmmm ■□□□□■■■ □□□□■■■a □□□□□■■■ □□□□□□■■ □□□□□□□■ □□□□■■■■ ■□□□■■■■ ■■□□■■■■ ■■■□■■■■ mmmnunnm mmnnnomm mnonnmmm □□□□■■■■ mmmmmmmm mmmmmmmm □□□^HHIM nOWWWMWM nmmmmmmm mmmmmmmm onoomwmn oonommnn nnnnmnnn □□□□□□□□ mmmmmmmn mmmmmmnn mmmmmnnn mmmmnnnn □□□■□□□□ □□■■□□□□ □■■■□□□□ ■■■■□□□□ mmmmmmmm mmmmmmmm nnnmmmmn nnmwmmn □ nmmmmnnn Fig.36 Fig. 35 shows a somewhat obtained with the same warping and picking as Fig. 34, but made with the cassimere twill. Since, in this effect, the weave requires 4 ends and 4 picks, while the warp and filling patterns require 9 ends and 9 picks, 36 ends and 36 picks are required for one repeat of the color effect, as this number is the least common multiple of 4 and 9. This is a very suitable effect for fine worsted suitings if the colors used harmonize well. nnmmmmmm nmmmmmmm mmnnmmmm mnnnmmmm nnnmmmmm nmmmmmmm ■■■■□□■■ ■■■■□■■■ ■■■■■■■□ ■■■■■■□□ mmmmmnnn mmmmnnnm mmmmnnmm mmmmnmmm ■□□□■■■■ mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm nnnnmmnn nnnnmnnn nnnnnnnm nnnnnnmm nnmmmmmm nmmmmmmm mmmnmmmm mmnnmmmm □□□□■■□a □□□□■■■□ □□□□□■■■ □□□□□□■■ ■□□□■■■■ ■■□□■■■■ ■■■□■■■■ mmnnnmmm mnnnmmmn nnnmmmnn nnmmmnnn mmmmmmmm mmmmmmmm □■■■■■■□ mnnnmmmm nnmmmmmm nmmmmmmm nnnnmmnn nnnnmnnn nnnnnnnm nnnnnnmm mmmmmnnn mmmmnnnm mmmmnnmm mmmmnmmm □■■■□□□a ■■■□□□□a ■■□□□□□□ ■□□□□□□□ mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmnnnmmm mnnnmmmn nnnmmmnn] nnmmmnnn \ 16. Four and Four Colorings.—Effects obtained on this principle are somewhat bolder, since the color is applied in larger amounts, but the effects produced may be adapted 16 COLOR IN TEXTILE DESIGNING 84 to almost any fabric by using suitable colors. Three effects of this method of coloring are shown in Figs. 36, 37, and 38, in all of which the order nmmnmmmm mmnnmmmm mnnmmmmm □□■■«■■ ■■■■□■■□ ■■■■■■□□ ■■■■■□□■ ■■■■□□■■ ■■■■■■□□ mmmmmnnm □■■□■■■■ ■■□□■■■■ ■□□■■■■■ □□■■■■■■ nnnnmnnm □□□□□□■■ □□□□□■■□ □□□□!!□□ mmoummmm ■□□■■□□■ □□■■□□KB ■□□■□□□□ □□■■□□□□ □■■□□□□□ ■■□□□□□□ ■■■■□■■□ ■■■■■■□□ ■■■■■□□■ ■■■■□□■■ mnnmmnnm nnmmnnmm nmmnnmmn mmnommnn mmmmmmmm ■■□□■■■■ ■□□■■■■■ □□■■■■■■ nmmnmmmm mmnnmmmm mnnmmmmm nnmmmmmm nnnnmnnm nnnnnnmm nnnnnmmn nnnnmmnn mmmmnmmn ■■■■■■□□ mmmmmnnm mmmmnnmm ■□□■□□□□ □□■■□□□□ □■■□□□□□ ■■□□□□□□ mnnmmnnm nnmmnnmm Fig. 38 of coloring in both warp and filling is 4 white, 4 gray, 4 black. Fig. 36 is based on the 8-end reg¬ ular twill Fig. 37, on the 6-end twill and Fig. 38, on the cassimere twill. Many other effects may be made with this order of coloring by using different weaves or weave combinations. As in two-color patterns, the four and four order of coloring is often extended to six and six, eight and eight, etc. FOUR-COLOR PATTERNS 17. A greater variety of patterns may be obtained with four colors than with either two or three, and, generally speaking, the effects obtained are more broken and the Fig. 39 Fig. 40 patterns more diversified in form and grouping. The same methods of grouping the colors are employed with four-color regular simple colorings as with the two- and three-color patterns. §84 COLOR IN TEXTILE DESIGNING 17 18. One and One Colorings. —In one and one color¬ ings in this system, there are several desirable effects that may be obtained. With the warp-flush crow twill, a four-color hair-line stripe may be produced by arranging the warp, 1 white, 1 light gray, 1 dark gray, 1 black, (or any other suitable colors), and so arranging the filling that each color will cover its own color warp when the latter is depressed. Step effects may also be made on this principle after the style of Figs. 26, 27, 28, and 29, by using the regular twill. 19. Two and Two Colorings.— The effect obtained by coloring the plain weave 2 white, 2 light gray, 2 dark gray, 2 black, in both warp and filling, is shown in Fig. 39, while in Fig. 40 the effect is shown of the same color¬ ing on the cassimere twill. Good effects may also be obtained on this system by the use of other weaves and by using any four harmonious colors. 20. Three and Three Colorings. Colors arranged on this system are adapted to the cassimere and 6-harness twills, and to small, neat, fancy weaves with which they give good results. Fig. 41 shows the effect of warping and picking the 6-harness twill 3 white, 3 light gray, 3 dark gray, 3 black. 21. Four and Four Colorings. —Like those previously described, this system of applying color may be employed with a variety of weaves or weave combinations and with any colors suitable for the fabric being made. In Fig. 42, the effect is shown of warping and picking the cassimere twill 4 white, 4 light gray, 4 dark gray, 4 black. In most cases, the size and diversity of the patterns produced by Fig. 41 18 COLOR IN TEXTILE DESIGNING §84 regular simple colorings are greatly increased by using weaves that are not exactly divisible into, or by, the pattern used. Fig. 42 EXAMPLES FOR PRACTICE 1. Make a broken three-color step effect similar to Figs. 27 and 28, but having only the gray effect broken, the black and white forming continuous steps. 2. Show an original color effect on the two and two three-color system. 3. Show the effect produced by a three and three three-color arrangement with the 4-end basket weave. 4. Make an original two and two four-color effect. 5. Show the effect produced by a three and three four-color arrangement with the 8-harness twilled basket weave. §84 COLOR IN TEXTILE DESIGNING 19 IRREGULAR SIMPLE COLORINGS 22. There is a large variety of irregular simple color¬ ings, and, in general, it may be said that they are usually adopted in connection with specific weaves to form certain effects. The number of standard irregular simple colorings, however, is small; in fact, this system of coloring is less sharply defined than that of regular simple colorings, and in some cases the arrangement of color may almost be mis¬ taken for a compound coloring. IRREGULAR TWO-COLOR SIMPLE PATTERNS 23. There are a large number of effects that may be obtained with two ■■nHriH m ■■□■■■■ ■■■■■□■I ■□■■■■■ □■□■□□□a ■■□■■■■a ■■■■□■■ ■□■■■■■ □■■■ ■■■□ ■■■□ □■■■ □■■■ ■■■□ ■■■□ □■■■ colors and irregular simple arrangements. For instance, Fig. 43 shows a stripe design obtained with the warp prunelle twill by warping 2 black and 1 white and picking 1 white and 2 black. By using the filling-flush prunelle and arranging the filling the same as the warp, the effect may be made to run across instead of lengthwise of the cloth. Fig. 43 Fig.44 ■■■■ □□□□ ■■■■ □□□□ ■■■■ ■□■□ ■□■□ ■□■□ ■■■■ □□□□ ■■■■ □□□□ ■■■■ □□□□ ■■■■ □□□□ ■■■■ ■■■■□■□I ■□■■■■■■ ■□■□□□□□ ■□■■■■■I ■□■□□□□□ ■□■■■■■■ ■□■□□□□□ ■□■■■■■I ■■■■□■□I □□□■□■□■ ■■■■□■□■ ■□■□ ■□■□ ■□■□ ■□■□ ■■■■ □□□□ ■■■■ ■■□■□■■I ■■□■□■■■ ■■□■□■■■ ■□□□□□■□ □□□■□■□■ ■■■■□■□I ■□■■■■■■ ■□■□□□□□ ■□■■■■■I ■□■□□□□□ ■□■■■■■■ ■■■■□■□■ □□□□ ■■■■ ■□■□ ■□■□ ■□■□ ■■■■ Similar stripe effects may be obtained with crow weaves or with the 5-harness or twill with 3 and 1 or 4 and 1 arrange¬ ments of the colors. The ef¬ fect is shown in Fig. 44 of a 2 black and 1 white warping and picking with the plain weave. The effect may be re¬ versed, of course, by warping and picking 2 white and 1 black instead of 2 black and 1 white. Fig. 45 shows another effect Fig. 45 20 COLOR IN TEXTILE DESIGNING §84 obtained with the plain weave by warping and picking 2 black, 1 white, 1 black, 1 white. A very unique effect may be obtained with the plain weave by combining the warping ■□■■■■□a □□■■■■■■ ddbddbdd ddbbdddd DBBBBBBD BDDDBDDB DDDDDDBB BBDBBBBB BBBBBBBB BBDDBBBB DBDDDBBD BBODBBDD DDBBODDD ODDBBDDD DDBBBBBB BDBBBBDB DBBBBBBD ODODBBOD ODBDDBDD BBBBDBBB bbdddddd □■■□□□ID BBBBDBBB BBBBDDBB BBBBBDBB BBBDBBBB BBBBBBBB BDDDBDDB DDDDDDBB BBDBBBBB BBBBBBBB DBDDDBBD DDDDDDBB BBBDBBBB BBDBBBBB BBDDBBBB BDDDBDDB BBDDBBDD BBBBDBBB BBBBBBBB DBBDDDBD BBDDDDDD BBBBDBBB BBBBDDBB BBDDBBBB BBBDBBBB BBDBBBBB DDDDDDBB BDDDBDDB BBDBBBBB DBBDDDBD DDBBDDBB BBBBDBBB BBBBDDBB BBBBBDBB BDDBDDDB BBDDDDDD Fig. 46 of Fig. 44 with the picking of Fig. 45. A neat effect is shown in Fig. 46, which is obtained by arranging the yarns 4 black and 2 white in both warp and filling, the weave being DDBBDDDB DDBBBDDD DDBBBBBB DDBBBBBB BDBBBBBB DDDBBBDD DDBBBDDD BBBBBBBD BBBBBBD! ] BBBBBBDD BBBBBBDB BBBBBBBB DBBBDDDD BBBDDDDD BBBBBBDD BBBBBBDB BBBBBBBB BBBBBBBB BBBBBBBD DDDBBBOD DBBBDDDD BBDDDBDD nn BBODD BBBDDDDD BDDDBBDD BB BBBBD BBBBBBDD BBBBBBBB Bfl flflBDD BBBBBBDB BBBBBBBB BBBDD BBBBBBBB BBBBBBBD BB BBBBB BBBBBBDD BBBBBBDD na BDDDD BBDDDBDD DDDBBBDD BB DDDOD BDDDBBDD DDBBBDDD BB BBBDD BBBBBBBB BBBBBBBD BB BBBBB BBBBBBDD BBBBBBDB BB BBBBD BBBBBBDD BBBBBBBB BB BBBDD BBBBBBDB BBBBBBBB Fig. 47 the cassimere twill. An effect suitable for a suiting pattern is shown in Fig. 47, and is produced by warping and picking the 6-end regular twill 6 black and 2 white. 84 COLOR IN TEXTILE DESIGNING 21 IRREGULAR THREE-COLOR SIMPLE PATTERNS 24. An effect produced on this plan is shown in Fig. 48, being obtained by warping and picking the 5-end regular twill 2 black, 2 gray, 1 white'. Another neat mgmmmmm ammmmmmm "SSISSSS ammaamma aamaamma amManama pattern made on this BBQDDmn principle and suitable for bbiibIS □giMagEiB niinii a suiting or dress-goods ■■■■■■■■ □□■■■■■■ HBBBJQBB mmmmmmmm ammmmmmm mmmmammm mmmmmmmm mmmmmmmm mmmmmmmm mmwmumWM mammmma mmmmmmmm mummmmmm mmmmmumm ililllilDllilil mnmmmmn ■■■■■■■■ □□■■■■■a BBBBljrjBB mmmmmmm MMMMMmmm □IIIBIIB mmmmnmmm mmmM mmmm MMMmmmMM mmmmmmmm ommonmmo uumuummu ammaauma ■mifinBiiii HQBIMiO □□□□BBDD BBnmaDD mmmmnmmm mnmmmmn MWMMMMMM nwmmmwmm mwMwnwMM mummmmmm mmmmmmm mmmmmmmm MMMMMMMM mmmmmmmm mmmmmmmm acnaBBBB BB^BBUB ■■■■■■■a □□BBBBBB BBBBDQBB mammmma mmmmmmmm □BB1BBBB mmmmnmmm mmmmnmmm mnmmmmn mmmmmmmm ■■OiBBflB mmmmmmmm mmmmmmmm mmmmmmm ■■■■■■■■ □□BBBBBB BBBBQQBB Fig. 48 Fig. 49 pattern is shown in Fig. 49. This is obtained with the com¬ mon 4-harness cassimere twill, the warping and picking being 6 black, 2 gray, 2 white, 2 gray. IRREGULAR FOUR-COLOR SIMPLE PATTERNS 25. As is the case in all the other simple colorings, a great variety of patterns may be produced with four-color irregular arrangements, one or two of which will be sufficient to demonstrate the style of patterns that may be obtained. Fig. 50 shows an effect obtained by warping and picking 4 black, 2 dark gray, 4 light gray, 2 white. The weave used is the 6-harness regular twill. In Fig. 51, a very neat irregular four-color pattern of a somewhat shaded character is shown, the yarns being arranged 4 black, 2 dark gray, 2 light gray, 4 white, 2 light gray, 2 dark gray in both warp and filling. The weave employed in this effect is an 8-harness twill, shown in Fig. 52. §84 COLOR IN TEXTILE DESIGNING 23 SUMMARY 26. It will be understood that the regular and irregular colorings given illustrate but a few of the unlimited number of possible and actual patterns obtained with simple colorings. With any of the arrangements given, the colors and yarns may be selected according to the coloring and fabric desired. The weaves, too, may be varied, and in many cases new and original weaves will be found to produce excel¬ lent effects. The effects may also be varied by using double-and-twist yarns composed of two single yarns of different colors or by using mixture or fancy yarns instead of solid-colored threads. As far as possible, the colorings given have been what might be termed standard, and many of the effects obtained will be found on the market woven with yarns of various materials and colors. Many of the effects are shown com¬ paratively small on account of the difficulty of illustrating large patterns, but patterns of any extent can be produced by applying the same principles and increasing the number of ends and picks of each color, etc. EXAMPLES FOR PRACTICE 1. Make a color effect arranged 2 black and 1 white in both warp and filling, the effect to be complete on 12 ends and 12 picks. Show weave used. 2. Make an irregular two-color simple effect with the 5-harness V regular twill. 3. How many ends and picks are required to show one repeat of a color effect with the yarns arranged 2 black, 2 gray, 2 black, 1 gray in both warp and filling if the weave used is complete on 8 ends and 8 picks? 4. Show an original three-color irregular simple color effect. 5. Make a color effect with the 16-end regular twill - VS‘ ' A , the colors to be arranged in both warp and filling 4 white, 2 light gray, 2 dark gray, 4 black, 2 dark gray, 2 light gray. 24 COLOR IN TEXTILE DESIGNING 84 COMPOUND COLORINGS 27. A compound coloring is an arrangement of colors, obtained by combining two or more simple colorings. The effects thus produced are usually quite diversified in com¬ position, the degree of complication varying with the num¬ ber of simple colorings amalgamated and the number of colors employed. There are regular' and irregular compound colorings similarly as with simple colorings. A regular compound coloring is one composed of two or more regular simple colorings, while an irregular compound coloring is composed of two or more irregular simple arrangements, or of regular and irregular simple colorings. Compound colorings are also sometimes classified as those composed of two simple arrangements, those composed of three simple arrangements, etc. They are also classified as two-color, three-color, etc. patterns, as was the case with simple colorings. It is not necessary to give examples of all the different types and styles of compound patterns, and, in fact, from the outline of the numerous types given above, it will be seen that this is hardly possible. Some of the most common patterns and the methods of obtaining them will be explained, however, so that no difficulty will be experienced in making original patterns of any type of compound coloring. REGULAR COMPOUND COLORINGS 28. In Fig. 53, a compound check is shown made with the cassimere twill by combining 2 and 2 and 1 and 1 simple colorings in both warp and filling. In this pattern, the warp is arranged The filling is arranged §84 COLOR IN TEXTILE DESIGNING 25 1 picks 1 black) It will be noticed that there are four distinct effects formed by this compound order of coloring, since there are two simple colorings combined in both warp and filling. In the upper left-hand corner, the effect is produced by a 2 and 2 warping crossed by a 1 and 1 picking; in the lower left-hand corner, the effect is produced by a 2 and 2 warping and □□□□□□□□ ■■□■■■□a ■■■□■■ID □□□□□□□□ BBDBBBDB BBrJDBBDD BBBDBBBD DDDDDDDD BBDBBBDB BBDDBBDD BBBDBBBD DDDDDDDD BBDBBBDB BBDDBBDD BBBDBBBD DDBDDDBD BDBBBDBB BDDDBDDD BBBDBBBD DDBDDDBD BDBBBDBB BDDDBDDD BBBDBBBD DDBDDDBD BDBBBDBB BDDDBDDD BBBDBBBD DDBDDDBD BDBBBDBB BDDDBDDD BBBDBBBD □□□□□□□□ BBdBBBDB BBDDBBDD BBBDBBBD □□□□□□□□ BBdBBBDB BflddBBdd BBBDBBBD DDDDDDDD BBDBBBDB BBDDBBDD BBBDBBBD DDDDDDDD BBDBBBDB BBDDBBDD BBBDBBBD DDBDDDBD BDBBBDBB BDDDBDDD BBBDBBBD DDBDDDBD BDBBBDBB BDDDBDDD BBBDBBBD DDBDDDBD BDBBBDBB BDDDBDDD BBBDBBBD DDBDDDBD BDBBBDBB BDDDBDDD □□□□□□□□ BdddBddd BfldBBBdB DddDDdDD BdddBddd BBDBBBDB DDDDDDDD bdddbdddI BBDBBBDB DDDDDDDD BDDDBDDD BBDBBBDB BDBBBDBB DDBBDDBB DBBBDBBB DDDDDDDD BDBBBDBB DDBBDDBB DBBBDBBB DDDDDDDD DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDd BddDBDDd BBDBBBDB dDDDdDDD BddDBDDD BBDBBBDB DDDDDDDD BDDDBDDD BBDBBBDB DDDDDDDD BDDDBDDD iidBBBDB BDBBBDBB DDBBDDBB DBBBDBBB DDDDDDDD BDBBBDBB DDBBDDBB DBBBDBBB DDDDDDDD BDBBBDBB DDBBDDBB DBBBDBBB DDDDDDDD BDBBBDBB DDBBDDBB DBBBDBBB DDDDDDDD Fig. 53 picking; in the upper right-hand corner, the effect is due to a 1 and 1 warping and picking; while in the lower right-hand corner, the effect is produced by a 1 and 1 warping crossed by a 2 and 2 order of picking. This pattern is suitable for suiting, overcoat, or dress-goods fabrics. In the effect given, each order of coloring is repeated for only 16 ends and 16 picks, but it will be readily understood that the check may be made larger or smaller by simply repeating each coloring for the requisite number of ends and picks. The checks also may be made of unequal sizes, and it is unnec¬ essary for them to be exactly square unless it is so desired. 26 COLOR IN TEXTILE DESIGNING §84 In Fig. 54, another check effect is shown, which combines three simple colorings in both warp and filling. In this pattern the yarns in both warp and filling are arranged 1 black] .. 12 breads 1 white J ■BBDBBDD DDBDDBDD BDDDBBDD BBDDBBDD DBDDDBDD BBDDBBDD BBBBBBDD DBBDDDDD BBDDDDDD BBDDBBDD DBDDDBDD BBDDBBDD DDDD BDDD BBBB BBE □□□□□□□□ ■■□■■■□a □□□□□□□□ BBBDBBBD BBBDBBDD DDBDDBDD BDDDBBDD BBBDBBBD BBBDBBDD DDBDDBDD BDDDBBDD BBBDBBBD BBDDBBDD DBDDDBDD BBDDBBDD BBBDBBBD BBDDBBDD DBDDDBDD BBDDBBDD BBBBDBBD BBBBBBDD DBBDDDDD BBDDDDDD BBBBDBBD BBBBBBDD DBBDDDDD BBDDDDDD BBBDBBBD BBDDBBDD DBDDDBDD BBDDBBDD BBBDBBBD BBDDBBDD DBDDDBDD BBDDBBDD BBflD BflDD DBDD BflDD BflflD BflDD □ADD BflDD □□□□□□■■ ■□□■■■■a □□□□□□■a DflflDBflflfl □□□□BBDD DDBBDDDD BODBODDD ■BBBDDBB BBBBBDDB DDBBDDDD BBBBDBBD BBDDDDDD BBDDBBBB DDDDBDDB DDDDBBDD BDDBBBBB BBDDBBBB DDDDBDDB DDDDBBDD BBDDBBBB DBBDBBBB □DBBBBBB DDDDDBBD ODODDDBB DDDDBDDB DDDDBBDD BBBDBBBD BBDDBBDD BBDBBBDB BBBBBBBB BDDDBDDD DDDDDDDD DBDDDBDD BBDDBBDD BflflD ■ BDD BBDfl flflflfl BDDD DDDD DflOD BflDD BDBBBDBB □□BBDDBB □BBBDBBB □□□□□□□□ BDBBBDBB DDBBDDBB DBBBDBBB DDDDDDDD BDBBBDBB □□BBDDBB DBBBDBBB DDDDDDDD BDBBBDBB DDDBDDDB DDDDDDDD BBBDBBBD BBDDBBDD DBDDDBDD BBDDBBDD BBBDBBBD BBDDBBDD DBDDDBDD BBDDBBDD BBBBDBBD BBBBBBDD DBBDDDDD BBDDDDDD BBBBDBBD BBBBBBDD DBBDDDDD BBDDDDDD BBBDBBBD BBDDBBDD DBDDDBDD BBDDBBDD BBBDBBBD BBDDBBDD DBDDDBDD BBDDBBDD BflflD BBDD DflDD BflDD BflflD BflDD □BDD BBDD DDDBDDBB DBBBDBBB DBDDDDDD BBDBBDBB DaDBDDBB DBBBDBBB DBDDDDDD □□□■□□BB DBBBDBBB DBDDDDDD BBDBBDBB BBDBBBBB DDDBDDDB Idbdddddd BBBDBBBD BBDDBBDD DBDDDBDD BBDDBBDD BBBDBBBD DDDDDDDD BBDBBBDB BBDDBBDD DDDODDBD BDDDBDDD BBDDBDDD □BDDDDBO BBDDBBBD BBBDBBBD BBBBBDBB BBDBBBBB DDDBDDDB OBDODODO BBDBBDBB BBDBBBBB DDDBDDDB DBDDDDDD BflflD BflDD DBDD BflDD BBBD DDDD BflDB ■ ADD BBBDBBBD DDBDDDBD BDBBBDBB BDDDBDDD BBBDBBBD DDBDDDBD BDBBBDBB BDDDBDDD BBBDBBBD DDBDDDDD BDBBBBDB BDDDBBDD BBBDBBBD DDBDDDDD BDBBBBDB □DDDBBDD BBBDBBBD DDDDDDDD BBDBBBDB BBDDBBDD BBBDBBBD DDDDDDDD BBDBBBDB BBDDBBDD BBBBDBBD DaBHDDDD BBBBBDDB BBDDDDDD BBBBDBBD DDBBDDDD BBBBBDDB BBDDDDDD BBBDBBBD DDDDDDDD BBDBBBDB BBDDBBDD BBBDBBBD DDDDDDDD BBDBBBDB BBDDBBDD ■ BBD DDDD BflDfl ■ BDD BBBD DDDD BBDB BBDD Fig. 54 2 blackly 12 threads 2 white J 4 b^ackli or g threads 4 white J 2 blackK 12 threads 2 white J The weave employed in Fig. 54 is the 4-harness cassimere twill, and the effect produced makes a very neat check. The §84 COLOR IN TEXTILE DESIGNING 27 size of the pattern is, of course, dependent on the number of times that each order of coloring is repeated. The com- □DBHDDBB ■■■■■■■■ BBBBBBBB □□BBDGBB BDDBBDDB BBDGBBDD BBDDBBDD BBDBBBUB BBBBBBBB BBBDBBBD BBDDBBDD BBDBBBDB BBBBBBBB BBBBBBDD BBBBBDDB BBBBDDBB BBBBDBBD BBBBBBDD BBBBBDDB BBBBDDBB BBDDBBDD BBDBBBDB BBBBBBBB BBBDBBBD BBDDBBDD BBDBBBDB BBBBBBBB BBDD BBDB BBBB BBBLJ BBDD BBDB BBBB BBBDBBBD ■□■■■□■a BDBBBDBB BBBDBBBD BBBDBBBD BDBBBDBB BBBDBBBD ■BBDBBDD BDBBBBDB BDBBBBBB BBBDBBBD BBBDBBDD BDBBBBDB BBBDBBBD BBDDBBDD BBDBBBDB BBBBBBBB BBBDBBBD BBDDBBDD BBDBBBDB BBBBDBBD BBBBBBDD BBBBBDDB BBBBDDBB BBBBDBBD BBBBBBDD BBBBBDDB BBBDBBBD BBDDBBDD BBDBBBDB BBBBBBBB BBBDBBBD BBDDBBDD BBDBBBDB BBBD BBDD BBDB BBBB BBBD BBDD BBDB Fig. 55 pound stripe shown in Fig. 55 is made with the same warp coloring and weave as shown in Fig. 54, but with black filling yarn. This produces quite an effective and strong stripe. DDDBBDOD BBBBBBDD DDBDDBDD DDBBBBBB DDDBBDDD BBBBBBDD DDBDDBDD DDDBBDDD BBBBBBDD DDBDDBDD DDBBBBBB DDDBBDDD BBBBBBDD DDBDDBDD' □□□□BBDD DDDBBDDD □BBBBBBD BDBBBBDB DDBBBBBB □DBBDDDD DDBDDBDD DDBDDBDD □□□□BBDD BBBBBBDD BDBBBBDB □BBBBBBD DDDBBDDD □DBBDDDD DBODDBDD DBDODBOD BBDBBBDB □BBBDBBB DBBBDBBB BBDBBBDB DDDBDDDB DODBDDDB □BDDDBDD □BDDDBDD BBDBBBDB □BBBDBBB □BBBDBBB BBDBBBDB DDDBDDDB DDDBDDDB DDDBBDDD □□□□BBDD BBBBBBDD □BBBBBBD DDBBBBBB BDBBBBDB DDBDDBDD □DBBDDDD □□□□BBDD DDDBBDDD □BBBBBBD BDBBBBDB DDBBBBBB □DBBDDDD DDBDDBDD DBBBDBBB □BBDDBBD BBBDBBBD DDDDDDDD DBBBDBBB DBBDDBBD BBBDBBBD DDDDDDDD □□□□□□□□ □BBBDBBB □BBDDBBD BBBDBBBD □□□□□□□□ □BBBDBBB □BBDDBBD BBBDBBBD □□□□□□□□ □BDDDBDD BBBDBBBD □BBBDBBB □BBDDBBD □BBDDBBD □DBDDDBD □BDDDBDD □BBDDBBD □BBDDBBD BBBDBBBD □BBBDBBB □DBDDDBD □□□□□□□□ DBBBDBBB □BBDDBBD BBBDBBBD □□□□□□□□ DBBBDBBB □BBDDBBD BBBDBBBD DDDDDDDD □BBBDBBB □BBDDBBD BBBDBBBD □□□□□□□□ □BBBDBBB □BBDDBBD BBBDBBBD □□□□□□□□ □BDDDBDD □BBDDBBD □BBDDBBD BBBDBBBD □BBBDBBB □DBDDDBD □□□□□□□□ DDDBBDDD DDBBBBBB □BBBBBBD □DBBDDDD DDDBBDDD DDBBBBBB □BBBBBBD □DBBDDDD Fig. 56 29. Fig. 56 shows the effect of a compound coloring on a special weave combination. The weave used is shown in Fig. 57, and the colors are arranged in the warp 28 COLOR IN TEXTILE DESIGNING §84 □□■■□□■a □BBDDBBD BBDDBBDD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD BDDBBDDB □□BBDDBB □BDBBDBD BBDDBBDD □□BBDDBB BDBDDBDB BBDDBBDD □BDBBDBD BDBDDBDB □□BBDDBB □□BBDDBB BDBDDBDB □BDBBDBD BBDDBBDD BDBDDBDB □□BBDDBB BBDDBBDD □BDBBDBD □BBDDBBD BBDDBBDD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD BDDBBDDB □□BBDDBB □BDBBDBD BBDDBBDD □□BBDDBB BDBDDBDB BBDDBBDD □BDBBDBD BDBDDBDB DDBBDDBB □□BBDDBB BDBDDBDB □BDBBDBD BBDDBBDD BDBDDBDB □□BBDDBB BBDDBBDD □BDBBDBD ■□□■■□□a □□■■□□■■ □BBDDBBD ■■□□■■□□ ■□□■■□□■ □□BBDDBB □BBDDBBD BBDDBBDD BDDBBDDB □□BBDDBB □BBDDBBD BBDDBBDD BDDBBDDB □□BBDDBB □BDBBDBD BBDDBBDD BDBDDBDB □□BBDDBB □BDBBDBD BBDDBBDD BDBDDBDB □□BBDDBB □BDBBDBD BBDDBBDD BDBDDBDB □□BBDDBB □BDBBDBD BBDDBBDD BDBDDBDB □□BBDDBB □BBDDBBD BBQDBBDD BQDBBDQB □□BBDDBB □BBDDBBD BBDDBBDD BDDBBDDB □□BBDDBB □BBDDBBD BBDDBBDD BDDBBDDB □□BBDDBB □BBDDBBD BBDDBBDD BDDBBDDB □□BBDDBB □BDBBDBD BBDDBBDD BDBDDBDB □□BBDDBB □BDBBDBD BBDDBBDD BDBDDBDB □□BBDDBB □BDBBDBD BBDDBBDD BDBDDBDB □□BBDDBB □BDBBDBD BBDDBBDD BDBDDBDB □□BBDDBB Fig.57 ■dbbbdbb ■dbbbdbb BBBB1DBB BBDBiiBBB □BDBDDDB BHDDDDB1! BBBDBBBB bbbdbbbb BBBDBBBB □BiBBBDB □BDDDBDB □DDDBBDD mnmmmmmn mnmmmmnn BDBBBBDD bbbbbbdb □DDBBBDD □□■BBDDD mmmmmn mmmmnn ■BBDDD mmmmnm □BBDDD ■BBDDD ■DBBBDBB ■dbbbdbb ■■BBDDBB ■■□■□■■■ □BDBDDDB mmnnnnmm ■dbbbdbb ■■BBDDBB BBBDBBBB bbbdbbbb BBBDBBBB □BSBBBDB □BDDDBDB □DDDBBDD bbbdbbbb ■BIDBBBB mnmmmmmn mnmmmmnn □□■■■HDD mmmmmmnm nnnmmmnn □□■BBDDD mnmmmmmn BDBBBBDD ■BBDDD ■BBDDD ■BBDDD ■BBDDB □BBDDD ■BBDDD ■BBDDD ■■■■□□ □□□BBDDD bbdbbbbb BBDBBBBi BIDDDDB! ■bbbbdbb BBBBDDBB □□□BBDDD bbdbbbbb □BBDDDDB nmmmmmnm □BBBBBDB □DDDBBDD mmmnmmmm ■■□□■■■■ □BBDDDDB nmmmmmnm mnnnnmnn mmmmmmnm ■■BBDDBB □□■BBDDD mnmmmmmn BDBBBBDD mnnnnmnn □DDDDD Ibbdbb ■BBDDD mmmmmn ■■■■□□ □DDDDD mmmmnm BljDBBBBij ■DDDDDBi ■dbbbdbb BBBBDDBB □DDBiDDD bbdbbbbb BiDBBBB! ■BDDDDBB □BBBBBDB □DDDBBDD BBBDBBBB □BBDDDDB □BBBBBDB □BBBBBDB □DDDBBDD ■■BBDDBB □□■BBDDD mnmmmmmn BDBBBBDD mnnnnmnn ■■BBDDBB □DBBDDDD BBDDBB ■BBDDD ■BDDBD ■■■■□□ □DDDDD mmmmnm BBDDBB ■BBDDD Fig. 58 §84 COLOR IN TEXTILE DESIGNING 29 J " W *}for 16 ends 1 black J 2 white 4 black -for 16 ends 2 white The filling pattern is as follows: 1 white ] 2 black | for 16 picks 1 white J 2 white 1 4 black [for 16 picks 2 white j In Fig. 58, an example of a compound coloring with three colors is shown. The warp is arranged 1 black ] 1 gray [for 18 ends 1 white J 2 black 1 2 gray [for 12 ends 2 white j The filling of this pattern is arranged 1 white 1 black Tor 18 picks 1 gray 2 white 2 black Tor 12 picks 2 gray The weave is the 6-harness twill 3 tf, and the size of the check is, of course, regulated according to the number of ends and picks on which the colorings are repeated. In Fig. 58, there are three colors used, while only two orders of coloring are compounded; but in Fig. 59, an effect is shown composed of three colors and three simple orders of coloring and with the same weave. The warp is arranged 1 black 1 1 gray [for 24 ends 1 white! 30 COLOR IN TEXTILE DESIGNING 84 mWWWMUmW mmmmmumm mmmmmumm mmmummmm mmmummmm mmmummmm ummmmmum mummmmmu mummmmmu mummmmmu mmmmmumm mmmmuumm mmmmuumm mmmmummm mmmummmm mmuummmm mmummmum mummmmmm mummmmmm mummmmmm mmmmmmmm uuumwmwM ummmmmmm mummmmmm ■■□■■■■■ mmuu mmuu muuu muum mmummmmm ■□□■■■■ m mmuuuumm muuumum □ uuummuu □ mmummmmm mwummmmm mmummmmm ummmmmum ummmmmum uuuummuu uumumuuu ummmmmum ummmmmum ummmmmum uumwuuuu mumuuumu muuuummu mmmmmmmm mmummmmm ■□□□□□■□ uuumuuuu mmmmummm mmmmmmmm mmmmmmmm mmmmmmum □□□□■HDD umuuuuum ggyragDi mmmmmmmm ■■■■■■■■ uummuuum mmmmmmmm muummmmm uuummmmm uuDuummm uuunmmmn muummmmm wuu mmmmm momm mmmm □□no □□□□ □□□□ muum pDp| mmmmmumm mmmmmumm uuummuuu umumuuum mmuuuumm mmmmmumm mmmmmumm mmmummmm mmmummmm ummuuuum umuuumum uuuummuu mmmummmm mmmummmm mummmmmu mummmmmu mummmmmu muuuummu uuumumuu uummuuuu mummmmmu ■■■■■□■■ mmmmuumm uummuuuu ummmuuum mmmuuumm mmmmmumm mmuummmm mmuuuuum mmuuumum muuummuu mummmmmm mummmmmm mummmmmm wuuummmu mummmmmm mummmmmm uummmmmm ummmmmmm ■■■■■■■a uuumuuum uuuuuumm uummmmmm ummmmmmm ■ ■HO ■ □□□ muuu □□□□ §□□□ ■■□□ uuummuuu mmummmmm mmummmmm mmuuuumm mmmmmumm ummuuuum ummmmmum ummmmmum uuuummuu muuuummu mmmmummm uummuuuu uuumuuuu mmmmmmmm mmmuuumm mmmmmumm umuuuuum mmmmmmum muuummuu mmmummmm mmmmmmmm mummmmmm mmummmmm muummmmm uuuuuumm □□□□ muum □□■■ □□□□ mmmmmumm mmmmmumm mmummmmm mmmummmm ummmmmum mummmmmu mummmmmu mmmmummm mmmmuumm mmmmummm mmuummmm mmuummmm mmummmum mummmmmm mummmmmm mmmmmmmm ummmZWm ■ ■□■■■■!■ mmuu ■□□□ □□[ ■ umumuuum mmuuuumm mmmmmumm mmmmmumm mmummmmm umumuuum mmuuuumm umuuumum uuuummuu mmmummmm mmmummmm ummmmmum umuuumum uuuummuu uuumumuu uummuuuu mummmmmu mummmmmu mmmmummm uuumumuu uummuuuu ummmuuum mmmuuumm mmmmuumm mmmmuumm mmmmuumm ummmuuum mmmuuumm mmuuumum muuummuu mmmummmm mmuummmm mmuummmm mmummmum mmuuumum muuummuu uuummuuu mummmmmm mummmmmm mummmmmm mmmmmumm uuummuuu uuumuuum uuuuuumm uummmmmm ■■■■■■«■ ■■□■■■»■ uuumuuum uuuuuumm □□□□ muuu □ .o mmuu ■□□□ □[ ]□■ muuu □□□□ mmmmmumm uuummuuu mmummmmm mmummmmm mmuuuumm mmmmmumm mmmmmumm mmmummmm ummuuuum ummmmmum ummmmmum uuuummuu mmmummmm mmmummmm mummmmmu muuuummu mmmmummm mmmmummm uummuuuu mummmmmu mummmmmu mmuuuumm uuumuuuu mmmuuumm mmmmmumm mmmummmm umuuuuum mmummmum mmmmmmum muuummuu ■■□□■in! mummmmmm mummmmmm muuuummm mmmmmumm ■■■■■□■■ mummmmmm mummmmmm ummmmmmm iUlill muummmmm uuuuuumm ■■□□ □□□□ muum □□■■ □□□□ i! V] uuummuuu mmummmmm mmummmmm mmuuuumm mmmmmumm mmmmmumm uuummuuu mmummmmm ummuuuum ummmmmum ummmmmum uuuummuu mmmummmm mmmummmm ummuuuum ummmmmum muuuummu uummuuuu mummmmmu mummmmmu muuuummu mmmmummm uuumuuuu mmmmmmmm mmmuuumm mmmmmumm uuumuuuu mmmmummm umuuuuum mmummmum mmmmmmum muuummuu mmmummmm umuuuuum mmummmum I.SUB ■■■■■□■■ mummmmmm mummmmmm mmmmmumm mmummmmm muummmmm uuuuuumm ummmmmmm □□□■■■on mmummmmm □ □□□ muum ■■ □ ■■□□ □ l uuum :■■■■□ mmuuuumm mmmmmumm mmmmmumm uuummuuu mmummmmm mmummmmm mmuuuumm ummmmmum uuuummuu mmmummmm mmmummmm ummuuuum ummmmmum ummmmmum uuuummuu mmmmummm uummuuuu mummmmmu mummmmmu muuuummu mmmmummm uummuuuu mmmuuumm mmmmmumm uuumuuuu mmmmummm mmmmmmmm mmmuuumm mmmmmmum muuummuu mmmummmm umuuuuum mmummmum mmmmmmum muuummuu ■■■■■□■■ mummmmmm mummmmmm muuuummm mmmmmmmm ■■■■■□■■ muummmmm uuuuuumm uummmmmm ummmmmmm mmummmmm muummmmm uuuuuumm ■■ muuu ] as □ □□□□ muum ■■ 3DCO Fig. 59 §84 COLOR IN TEXTILE DESIGNING 31 2 black 2 gray [for 12 ends 2 whitej 1 black | 1 gray [for 6 ends 1 whitej 3 black] 3 gray [for 18 ends 3 whitej The filling is arranged as follows: 1 white 1 black for 24 picks 1 gray 2 white 2 black [for 12 picks 2 gray 1 white 1 black [for 6 picks 1 gray 3 black [for 18 picks IRREGULAR COMPOUND COLORINGS 30. The compound colorings given have been made by compounding regular simple colorings, but some of the best compound patterns are made by compounding irregular sim¬ ple colorings and also by compounding regular simple with irregular simple colorings. In the latter case, it may be said that the patterns produced are generally more decided and pronounced than when two or more regular or irregular colorings are combined. Fig. 60 shows an irregular com¬ pound composed of regular and irregular compound color¬ ings. The weave used is the cassitnere twill, and the warp is arranged 2 black 2 white [for 24 ends J 32 COLOR IN TEXTILE DESIGNING 84 4 blaek 1 £ 12 ends 2 white | The filling is arranged on the same system; thus: 2 whitel, . „ .. . Ifor 24 picks 2 black J * "; hit , e for 12 picks 4 black J □□■■: ■■■■ ■■■■ ■■■■ ■■■■ ■■■■ ■■■■ ■■■■ ■■■■ □DBB BDDB BBBB BBBB □DBB BDDB BBBB BBBB BBBB BBBB BBBB BBBB □BBD □DBB BBBB BBBB □DBB BDDB BBBB BBBB □□□□□□□□ ■■■■■■■■ □□□□□□□□ ■■■■■■■a ■■■□■BBD □■□□□■□□ Bamaam BDDDBDDD □□□□□□□□ BBDBBBDB BBBBBBBB BBBDBBBD BBDDBBDD DBDDDBDD BBDDBBDD BODBDDDB DDBBDDBB BBBBBDBB BBBBDDBB BBBBDBBB BBBBBBBB □BBDDDBD BBDDDDDD BDDD □□□□ ■tar id BBBB ■ BBD BDDD □ BDD BBDD □□□□□□□□ □□□□□□□□ ■■□■■ini □ □□□□□□□: BannanDDi BBDBBBdB □□□□□□□□ BnnnBnnn □□□□□□□□ BDDDBDDD BBDBBBDB □□□□□□□□ BDDDBDDD BBDBBBDB BBBBDBBB BBBBBBBB DBBDDDBD BBDDDDDD BBBBDBBB BBBBBBBB □BBDDDBD BBDDDDDD BDBBBDBB □DDBDDDB □□□□□□□□ □□□□□□□□ ■■□■■■□a □□□□□□□□ ■■□»■□■ □ □□□□□□□: ■□□□■□□□! BBDBBBDB □□□□□□□□ BDDDBnDn BBDBBBDB BDBBBDBB □DDBDDDB □□□□□□□□ BDBBBDBB □DDBDDDB □□□□□□□□ BBBBDBBB BBBBBBBB □BBDDDBD BBDDDDDD BBBBDBBB BBBBBBBB □BBDDDBD BBDDDDDD □DDBDDDB □□□□□□□□ □□□□□□□□ □□□□□□□□ DDDDDDDD BDDDBDDD BBDBBBDB DDDDDDDD BDDDBDDD iiDBBlDB BDBBBDBB □DDBDDDB □□□□□□□□ BDBBBDBB OODBDDDB DDDDDDDD BDBBBDBB □iBBDBBi DDBBDDBB □DBDDDBD DDBBDDBB □BBBDBBB DDBBDDBB □□□□□□□□ ■□□□■□□□ BBBBBBBB ■■□■■■□■ Fig. 60 Fig. 61 shows a very neat and quiet stripe effect produced with the cassimere twill by warping as follows: 2 black 1 , „ . . Ifor 16 ends 2 white J 3 black ] . 0 1 , . Ifor 8 ends 1 white J 1 bl ^ C . k }for 8 ends 2 white J 3 black !, n . . . 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An irregular compound arrangement of colors is used to produce the pattern shown in Fig. 62, consisting of an amal- mmnonmmm ■□□□■■■□ ■■■■■■■■ ■■■■■■■□ ■■■■■■□□ mmnonmmm mnnnmmmn □□□■■■■■ mmmmmmmm mmmmmmmm nmmmnnon mmmnnnn □ mmooomoo ■■■■□□□■ ■■■□□□■■ ■■□□□■■■ ommmoona mmmnoonn mmnnnmmm mnnnmmmn □□□■■■□□ ■■■■■■■■ ■■■■■■■□ ■■■■■■□□ mmnonmmm mnnnmmmn □□HHlinnn □□■■■■□□ □□■■■□□□ ■■■■■□■■ □■■■■□□■ □□■■■□□□ □□■□□□□□ □□■□□□□□ □□□□□□□□ □■■■■□□■ ■■■■■□■■ ■■■■■■■■ □□■□□□□□ ■■■■■■■■ ■■■■■■■□ ■■■■■■□□ mmnonmmm mmmmmmmm mmmmmmmm □■■■□□OBI □■■■■□SO □HHiinn^^l ■■□□□■□□ ■■■■□□□■ ■■■□□□■■ ■■□□□■■■ ommmoDao ■■■□□□□□ ■■□□□□□□ mmmmmmnm □□□■■■□□ ■■■■■■■■ ■■■■■■■□ ■■■■■■□□ mmnonmmm mnnnmmmn mmmmmmmm mmmmmmmm omoooonn mmnmmmmn mmmmmmmo HBBBBBBB □□□□■■□□ □□□□■□□□ mmnnmmmn mmnmmmmn «□■■■■□ ■□□□■■■□ □□□□■□□□ ■■■■■■□ ■■■■■■■ ■■■■■■■ ■■■■■□■ ■■■■■□□ ■■■■■□□ OiBHIil mmmmmmmm mmmmmmmm ■ ■■□■BIBB ■■□□■■■■ ■□□□■■■■ □□□BBBBB OOBBBBBB □BBBBBBB mmmmmmmm mmmmmmmm ■■□□■■■□ ■■■■■□□□ ■■■■□□□■ ■■□□□■■■ mmmmmmmm mmmmmmmm ■■■■■■□□ ■■■■■■□■ ■■■■■■■■ ■■■■■■■■ ■■■■■■■□ ■■■■■■□□ mmmmmmmo mmmmmmmm ■■■□■■■■ ■■□□■■■■ mmnnmmmn mmnmmmmn mmmmmmmo mmmmmmmm mmmmmomm mmmmmmmm ■□■■■■■□ □□■■■□□□ □■■■■□□■ ■■■■■□■■ ■■■■■■■■ mmnonmmm mnnnmmmn mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm □□□□■■□□ □□□□■□□□ mmnnmmmm mmmmmmmm mmmmmmmm mmmmmmmm ■■■□■■■■ ■■□□■■■■ ommmooo □ mmmnnnn □ mmmmwmu □ mmmmmmnm mmmmmmmm mmmmmmmm ■■□□■■■□ mmnonmmm mooommmo mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm □□□□■■□□ □□□□■□□□ mmnnmmmn mmnmmmmn mmmmmmmo mmmmmmmm ■■■□■■■■ ■■□□■■■■ □□■□□□□□ onmmmooo nmmmmnnm mmmmmnmm mmmmmmmm ■□■■■■■□ ■■■■■■■■ ■■■■■■■■ ■■■■■■■□ ■■■■■■□□ mannmmmn mmmmmmmm mmmmmmmm ■□□□■■■■ □□□BBBBB □□■BBBBB mmmmmmmm □□□□■■□□ □□□□■□□□ mmnnmmmm mmumwmmm ■■■■■□□□ ■■■■□□□■ ■■■□□□■■ ■■□□□■■■ nmmmnnn □ mmmnnnnn mmmmmmnn ■mmmmmnm ■■■■■■■■ ■■■■■■■■ ■■■■■■■□ ■■■■■■□□ mmnonmmm mnnnmmmn mmmmmmmm mmmmmmmm mmnnmmmn mmnmmmmn mmmmmmmo HBBBBBBB □□□□■■□□ □□□□■□□□ mmnnmmmn mmnmmmmn □□■■■□□□ □■■■■□□■ ■■■■■□■■ ■■■■■■■■ □□■□□□□□ onmmmooo nmmmmnnm ■■■■BIBB BBHEiBI ■■■■■■□□ □□■■■□□□ mmmmmmmm mmmmmmmm ■■■□■■■■ ■■□□■■■■ mmn □■■■■ mmnmmmmm □□■■■■■■ □■■■■■■■ mmmmmmmm mmmmmmmm ■■□□■■■□ mmmmmmoo ■■■■■□□□ ■■■■□□□■ ■■□□□■■■ mmmmmmmm mmmmmmmm mmmmmmmm mmmmmmmm ■■■■■■■■ ■■■■■■■■ ■■■■■■■□ mmmmmmmm mmmmmmmo mmmmmmmm ■■■□■■■a ■■□□■■■■ mmnnmmmn mmnmmmmn mmmmmmmo □■■■■■■■ mmmmmomm mmmmmmmm ■□■■■■■□ □□■■■□□□ □■■■■□□■ ■■■■■□■■ ■■■■■■■■ FiG. 63 gamation of three simple colorings. The weave used is the -x 1 ‘2 regular twill, and the yarns are arranged in the warp 2 blackly en( j s 1 white J ®“ a ? k ]for 12 ends 3 white J 2 black \ 4 white j for 12 ends 84 COLOR IN TEXTILE DESIGNING 35 The filling is arranged as follows: Fig. 63 shows a compound pattern of irregular nature obtained by the use of three colors. The yarns are arranged in the warp as follows: The filling is placed in the cloth in the same order as the warp, -and the weave employed is the 6 -harness regular twill -- 3 . EXAMPLES FOR PRACTICE 1. Make an original compound check effect by combining two sim¬ ple orders of coloring. Give warp and filling patterns. 2. Make a compound stripe effect with the warp prunelle twill, the warp to be arranged 2 black 1 white 4 black 4 white | for 48 ends [for 24 ends The filling is to be arranged 1 white, 2 black. 3. Make an original compound stripe effect combining two simple colorings. Give warp and filling patterns. 4. Show the effect obtained with the 3 4 t 2 2 regular twill by warping and picking as follows: Warp Pattern 2 2 4 4 36 COLOR IN TEXTILE DESIGNING §84 Filling Pattern 2 white 2 black 4 white 4 black | for 32 picks >for 16 picks 5. Make an original compound stripe effect employing two regular and one irregular simple coloring in the warp. Give warping and picking plans. COLOR IN TEXTILE DESIGNING (PART 3) STRIPES, CHECKS, AND SPOTS STRIPES 1. Introduction. —The term stripe is used in textile designing to indicate the effect produced in a fabric by sev¬ eral bands, or lines (usually, but not necessarily, of differ¬ ent colors) running in the direction of the warp, or from end to end, of the piece of cloth. When the effect runs across the cloth, from selvage to selvage, it is known as a bar effect and is not designated by the term stripe unless definitely indicated as a stripe across the cloth. As a general rule, bar effects, or (as they are sometimes called) barry cloths, are not satisfactory patterns and are rarely manufactured. Stripes are especially adapted to trouserings and fancy shirtings, and to a less extent to certain classes of dress goods. In suit¬ ings, they are not very much in demand, although certain styles have been found to take well. Generally speaking, the style of a stripe is governed by the character of the fabric to which it is applied; thus, for a trousering pattern, small, neat, irregular stripes are in vogue, while for shirtings more prominent effects with stronger colorings are in demand. The very broad stripes of pronounced coloring are limited to tickings and awning ducks, while broad stripes of not very Copyrighted, by International Textbook Company. Entered at Stationers' Hall , London 2 COLOR IN TEXTILE DESIGNING §85 pronounced coloring are met with in some styles of dress goods. The majority of stripe patterns are due to warp coloring alone, the weave bringing the colored warp ends to the surface in suitable proportions, while the filling is gener¬ ally of some solid color chosen with a view of either toning down or accentuating the colors of the warp pattern. The number of patterns that can be made, even if only two colors are used, is without limit, since the width of the stripe may be varied from the width of a single thread to stripes several inches in breadth if it is desired, and again, broad and narrow stripes may be grouped in various ways, each new arrange¬ ment of the warp yarns forming a new pattern. The scope and range of stripe patterns, together with the methods of their production, are so varied that great difficulty is experienced in grouping the different effects under appro¬ priate heads. Still it is possible to make two general divi¬ sions of the various stripe patterns due to warp coloring alone; namely, regular and irregular stripes. In the former class may be included those patterns in which the bands of color, without regard to the number of colors used, are of equal widths. In irregular stripes, the size and arrangement of the stripes vary to a great extent. Both regular- and irregular-stripe patterns are very useful in textile designing and very appropriate for certain classes of goods. REGULAR STRIPES DUE TO WARP COLORING ONLY 2. Two-Color Stripes. —As in regular stripe patterns the lines of color must be of the same width, the scope of designs is somewhat limited in two-color patterns, the only leeway the designer has being in the choice of har¬ monious colors and in obtaining a suitable width of stripe for the class of goods desired. These are the most elementary stripe patterns and, in fact, the simplest color effects possible to make. Regular two-color stripes are employed in cotton shirtings, ginghams, and tickings to a large extent, but they find only a limited use in the woolen and worsted branches of the textile industry. In order to make iiiiiiiliiiiil m i limn Iiiiiiii lifiii if (idf if ii I n II I Iiiiiiii 11 1 1 % 1 1 1 85 COLOR IN TEXTILE DESIGNING 3 good-selling patterns on this system, great care must be taken to have the effect suitable for the character of the goods and uses to which they are put. For instance, a neat gingham stripe can be made by arranging the warp 16 ends of white and 16 ends of green and using white filling. This will make each stripe, in a texture suitable for ginghams, about A inch in width. The appearance of this pattern in the cloth is shown in Fig. 1, the weave used being plain. On the other hand, a stripe for awning cloth might be arranged 80 ends of orange and 80 ends of white in the warp, and the filling all white. This will make each stripe, in a texture suitable for this kind ofcloth, about 2 inches in width. It is always necessary to consider the adaptability of the fabric to the purpose for which it is designed. Regular two-color stripes, being of such simple construction, are generally woven with simple weaves, as the plain weave and 3- and 4-harness regular twills. The color of the filling always alters the color of one of the stripes when using weaves of this description, since the filling floats on the face of the goods in both stripes and, as in this class of goods the filling is generally of the same color as one of the stripes, that stripe will be of a solid color, while-the other will be of a color resulting from the mingling of its own color with that of the filling. 3. Three-, or More, Color Stripes. —Regular stripes in three or more colors, while requiring somewhat more skill in arranging the colors harmoniously, are very similar to two-color stripes. Since the weaves used are of the simplest types, as with two-color stripes, no great amount of technical skill is required in the production of patterns of this class. Yet, as more colors are used in the construction of three-, or more, color stripes, it is evident that the patterns produced are somewhat more complicated, and the designer, while not varying the width of the stripes, may use considerable ingenuity in selecting and grouping colors. For instance, suppose that it is desired to get the effect of a red and a green stripe on a white ground and yet have a regular stripe 4 COLOR IN TEXTILE DESIGNING 85 pattern. If the stripe is arranged so that there will be a white stripe on each side of both the red and the green stripes there will be twice as much white in the pattern as either red or green; this will give the effect of a white ground and yet the pattern will be a regular stripe. This pattern is shown in Fig. 2 as it would appear in the cloth, being woven with the 4-harness twill. Many groupings of colors can be made with regular stripes, yet, in general, it may be said that the patterns produced are apt to be stiff and bold and the effect rather set. In certain fabrics, however, regular stripes are useful. 4. Regular Shaded Stripes. —Shaded stripes may be produced in regular stripes by using different shades and tints of a color or colors. The pattern may be arranged to vary from a light tint to a dark shade and back again, if desired, simply by employing varying tones of color and arranging them properly in the warp. For instance, the following arrangement of colors will produce a stripe shading from light to dark, and back again to light: Warp, 4 white, 4 light gray, 4 medium gray, 4 dark gray, 4 black, 4 dark gray, 4 medium gray, 4 light gray; filling, either white, black, or medium gray. The color of the filling will, of course, alter the tone of the stripe somewhat, since white filling will lighten all the portions of the stripe except the white ones, while black filling will darken all but the black portions of the stripe. Medium-gray filling will both darken the lighter stripes and lighten the darker stripes. IRREGULAR STRIPES DUE TO WARP COLORING ONLY 5. Two-Color Stripes. —In irregular stripes, the widest scope is allowed in the choice of patterns and even with only two colors at his command a skilful designer will be able to produce an almost unlimited number of patterns. Irregular stripes due to warp coloring only are produced with simple weaves, as in the case of regular stripes. In Fig. 3, an irregular stripe in two colors is shown. This is a pattern suitable for suitings or trouserings, the warp 85 COLOR IN TEXTILE DESIGNING 5 pattern being 21 dark blue, 1 white, 1 dark blue, 1 white, and the filling all blue. If a less pronounced stripe effect were desired in this pattern, only one white thread might be used instead of two, or blue-and-white twist yarns used instead of pure white. The weave in this pattern is the cassimere twill. One example is sufficient to represent this type of stripe design, since it will be understood that the choice of two colors and their arrangement and quantity offer such chances for variation that many styles are obtained. 6. Shaded Irregular Stripes.— Shaded effects are usually produced in irregular stripes by means of two colors only, the shading being obtained by altering the quantities of color used instead of changing the tone of the color, as is necessary in shaded stripes made on the regular system. In Fig. 4, a shaded blue and white irregular stripe is shown, which will serve to illustrate one method of obtaining a shaded stripe on this principle. The filling is all white and the weave is the warp prunelle. The yarns are arranged in the warp as follows: 7. Three-, or More, Color Stripes. —Irregular stripes in three or more colors are made in all classes of textiles in a great variety of forms and colorings. Stripes of this type are found in trouserings, ginghams, tickings, and, in fact, in practi¬ cally all cloths where a stripe pattern is requisite or desirable. Care must be taken in designing stripes of this type to have the character of the stripe and the coloring suitable for the use to which the fabric is to be put; thus, stripes for trouser¬ ings should be small and neat and the colors soft, mellow, and perfectly harmonized, while bed ticking can be made with larger and bolder stripes and with the coloring stronger and more pronounced. In order to tone down the effect of e COLOR IN TEXTILE DESIGNING §85 stripe patterns in trouserings, dark fillings are generally used, black, various shades of slate and blue, and occasionally brown shades being preferred in the majority of cases. In Fig. 5, a trousering pattern is shown that illustrates this class of stripes. This pattern is made with the cassimere twill, the filling being black and the warp arranged as follows: Black .... 3 3 Red-and-black twist .... 1 1 Dark slate . . 2 2 2 2 2 2 2 2 16 Light slate . . 2 2 2 2 2 2 2 14 Total number of ends in pattern.34 One more illustration is given of a stripe pattern designed on this system in Fig. 6. This is a pattern suitable for ladies’ dress goods or other cloths of like nature and furnishes another example of the wide diversity of patterns possible with stripes of this type. The filling in this pattern is white and the warp is arranged as follows: Drab. 8 8 2 8 8 2 36 Scarlet. 2 2 Brown. 2 2 2 2 8 Yellow. 2 2 Total number of ends in pattern.. 48 STRIPES DUE TO WARP AND FILLING COLORING 8 . It may be said that stripes due to warp and filling colorings may depend, in practically every case, on a suitable weave and a correct arrangement of the colors in the filling mmmm iiiiiwiii a $$&ssa & g$ mM'i?% ?ililli^llliw^li 15409 8 COLOR IN TEXTILE DESIGNING §85 The warp and filling patterns may be arranged one and one with any suitable colors, but, as in two-color hair lines, care should be taken to have filling color cover warp color when the warp is down. Fig. 7 shows a four-color hair line made with the warp-flush broken-crow weave; the colors are arranged in the warp one of white, one of light gray, one of dark gray, one of black; and in the filling, one of white, one of light gray, one of black, one of dark gray. 11. Many stripe effects other than the hair lines may be obtained by the combination of simple warping and picking plans, together with a simple weave. One of these, shown in Fig. 8, is made with the cassi- mere twill, the warp being arranged 2 black and 2 white and the filling 2 white and 2 black. By altering either the warp or the filling pattern in this stripe, the effect can be made to run in the opposite direction, or from selvage to selvage. □□□□□□□□ ■□■■■□■a □□□□□□□□ ■■■■■■■a □□□BDDDB □□□□□□□□ ■□■■■□■a ■aaaaBBM □□□Banna □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ aaaaaaaa flflaaaaaB □□□□□□□□ aaaaaaaa aaaaaaaa Fig. 8 BBaaaaaa aanBaann aaaaaaaa aaaaaaaa BBaaaaaa BBaaaaaa aaaaaaaa aaaaaaaa BBBBBaBfl BBBB BBB □□□□□□□B □□□□□□aa B flBBBBB □BBBBBBB aaaaaaaa aaaaaaaa BBaaaaaa aaaaaaaa aaaaaaaa aaaaaaaa BBaaaaaa BBaaaaaa aaaaaaaa aaaaaaaa BBaaaaaa aaaBBaaa aaaaaaaa aaaaaaaa aaaaBBBa BBaaaaaa aaaaaaaa aaaaaaaa Fig. 9 A similar stripe to that shown in Fig. 8 is shown in Fig. 9. This is obtained with the 8-harness twilled basket weave by arranging the warp 2 black and 2 white and the filling 2 white and 2 black. Many stripe effects can be made on the same principle as Figs. 8 and 9 by using a little ingenuity in color arrangement. 12. Compound Stripes. —Fig. 10 shows a fancy stripe pattern made on the simple hair-line principle with the plain weave. As shown, the stripe consists of bands in which the §85 COLOR IN TEXTILE DESIGNING 9 hair-line effect runs warp way alternating with bands in which the stripe runs filling way, thus forming a broad stripe effect. The effect is produced by simply varying the warp¬ ing plan, which, in Fig. 10, is as follows: 1 whitel 1 black J 1 black 1 1 white j for 16 ends for 8 ends The filling is arranged 1 black, 1 white. The width of the stripes may, of course, be varied at will by altering the warp pattern at the point where it is desired to change the effect. □□□□□□□□ ■■■■■■■a □□□□□□□□ ■■■■■■■a □□□□□□□□ BBBBBBBa □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB □□□□□□□□ BBBBBBBB Fig. 10 Another stripe of this class is shown in Fig. 11, being made with the cassimere twill instead of the plain weave. The warp pattern is as follows: 2 black 1 2 white J 2 white 1 2 black j 4 white for 16 ends for 8 ends The filling is arranged 2 white, 2 black. Another stripe pattern is shown in Fig. 12; this also is based on the cassimere weave. It will be seen that in the pattern the warp is arranged on a combination of the two and two and the one and one system, while the filling is 10 COLOR IN TEXTILE DESIGNING §85 □□□□□□□□ DDDDDDDD DDDDDBDD DDBBBBBB DBBDBBBD DDDDDDDD DDDDDBDD DDBBBBBB DBBDBBBD □□□□□□■■ ■■■■□□■a □□□□□□BB DBDDDDBD BBBBDDBB BBBDDBBB BBDDBBDD BBBDBBBD BBDDBBDD DBDODBDD DDDDDDDD BDDDBDDD BBDBBBDB □□□□□□□□ bdddbddd BBBBBBBB ■ BjBBBl'B □□□□□□□□ BDDDBDDD BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBDBBBDB □□□□□□□□ BDDDBDDD BBBBBBBB BBDBBBDB □□□□□□□□ BDDDBDDD BBDDBBDD □BDDDBDD DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBDDBBDD □BDDDBDD □□□□□□□□ □BDDDBDD BBiDBBBD DDDDDDDD □BDDDBDD BBBDBBBD BBDDBBDD BBBDBBBD BBDDBBDD □BDDDBDD BBDDBBDD BBBDBBBD BBDDBBDD DBOODBOD □□□□□□□□ BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BBBDBBBD BBDDBBDD BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDODBDDD BBBBBBBB BBDBBBDB DDDDDDDD BDDDBDDD BBBBBBBB BBDBBBDB Fig. §85 COLOR IN TEXTILE DESIGNING 11 arranged on the two and two system only. arranged as follows: The warp is DdDBBDDd BBDDdBBd DDBBDDDB BDdDBBDD ■■■□□■a ■■□■■■a ■■■■□■■ □BBDDDBB □DBBBddB BBddBBBd □BBBddBB BddBBBdd BBBddBBB □BBBBDBB ■BdBBBBd ■□■■■■□ ■■■□■■■ □■■■■□■ ■■□□■■■ □■■■□□■ ■□□■■■□ □□■■■□□ ■■■■□■■■ ■□■■■■□■ ■■■□■■■■ □□■■■□□■ ■■□□■■■□ □■■■□□■■ ■□□■■■□□ ■■■□□■■a ■□□■□■□□ ■□■□□□□■ □□■□■□□□ □■□□■□■□ □■□■□□□□ BddBdBdd BdBddddB □□□■■□□□ ■■□□□■■□ □□■■□□□■ ■□□□■■□□ □■■□□□■■ □□□□■□□□ □■□□□□■□ □□□■□□□□ ddBddBdB ddBdBddB dBddBdBB dddBddBd BddBdBdd ddBddBdB □□BDflddB ■□□□□■□□ □□■□□□□■ □□□■■□□□ ■■□□□■■□ □□■■□□□■ ■□□□■■□□ □■■□□□■■ □□■■■□□■ dBBBddB BddBBBd BBBddBB □dBBBdd BldBBBB BIBBdBB BdBBBBd BBBDBBB ■■□□■■■□ □■■■□□■■ ■□□■■■□□ ■■■□□■■■ □■■■■□■■ ■■□■■■■□ ■■■■□■■a ■□■■■■□■ □RBBBdB BBddBBB □BBBddfl BddBBBd BBBddBB DdBBBdd BBdddBB □□■■□□□ ■■■□■■■■ □□■■■□□■ ■■□□■■■□ □■■■□□■■ ■□□■■■□□ ■■■□□■■■ □□□■■□□□ ■■□□□■■□ BdddBBd □BBDDDB DdDBBDD □BDDdDB DdDBdDD BddddBD □DBDDDD □DDDBdd □□■■□□□■ ■□□□■■□□ □■■□□□■■ □□□□■□□□ □■□□□□■□ □□□■□□□□ ■□□□□■□□ □□■□□□□■ 2 bl * ck ]for 12 ends 2 white J 1 black 1 12 ends 1 white J The filling is arranged 2 white, 2 black. The examples given of stripe pat¬ terns, due to warp and filling color¬ ing combined with a simple weave, are sufficient to explain the method of forming this class of stripes, and it will readily be seen that with some ingenuity on the part of the designer an unlimited number of stripes may be produced in this manner. STRIPES DUE TO THE WEAVE ALONE 13. Many stripe patterns are due to the weave alone without the use of colored yarns for warp or filling patterns and without using differently colored warp and filling. A good example of this method of producing stripes is found in the satin stripes so common in the cot¬ ton trade. These stripes are made by simply combining warp- and fill¬ ing-flush satin weaves or warp-flush satins with the plain weave. Warp- flush and filling-flush twills and warp-flush twills and plain weaves are also combined in this manner. Although a great number of stripe weaves are woven all one color, there are many patterns that, in addition to the weave design, use col¬ ored yarns in the warp either on the regular or on the irregular 12 COLOR IN TEXTILE DESIGNING §85 system. Often these weaves are woven with a warp of one solid color and a filling of another, thus accentuating the weave effect. 14. Shaded Stripes.—Shaded stripes due to the weave effect alone are made with a shaded-stripe weave and woven with a warp of one solid color and a filling of a different color. Fig. 13 shows two repeats in the ends of a shaded-stripe weave made on a 5-end satin basis and shaded from light to dark and back again to light. For the first 5 ends, the weave is the 5-end filling-flush satin; the next 5 ends, the 5-end satin with one riser added to each of the satin risers; the next 5 ends have two risers added; and the next, three; whereupon the weave grades back to light again. If this weave were woven with a black warp and a white filling, the color effect in the cloth would be exactly the same as the weave in Fig. 13. EXAMPLES FOR PRACTICE 1 . Give a warp and filling arrangement for a regular three-color stripe. 2 . Show the effect on 16 ends and 16 picks obtained by warping the cassimere twill 2 white, 2 black and using solid black filling. 3 . Give a warp pattern for an irregular stripe in four colors and state for what kind of a fabric it would be suitable. 4 . Give warp patterns for two shaded stripes, one made on the regular and one on the irregular system. 5 . Make a weave that, if woven with a black warp and a white filling, will produce a shaded stripe. CHECKS 15. Introduction. — A clieck may be said to be the effect produced in a fabric by several bands or lines, usually, but not necessarily, of different colors, running in the direction of the warp and crossed at right angles by similar bands running in the direction of the filling. In the great majority of cases, checks are produced by crossing a colored warp pattern with a colored filling pattern and generally, §85 COLOR IN TEXTILE DESIGNING 13 although not always, the filling pattern is the same as the warp pattern. The pattern may be of the very simplest con¬ struction, being complete on a few ends and picks and with only two colors, or it may be very complicated and require many ends and picks and many colors. Checking may be applied to almost any class of fabric and in silks, cottons, linens, woolens, and worsteds it is a standard method of applying color. Check designs that are in any way compli¬ cated in composition are most generally known as plaids when woven in woolen, worsted, or silk. In the cotton trade, the term gingham generally implies a check effect unless a striped gingham is especially designated. 16. Although there are many systems of forming check patterns and the number of patterns that may be produced is without limit, there are certain elements that govern all check patterns: 1. In order to produce a perfect and regular check, the filling pattern should be the same as the warp pattern, pro¬ vided that the fabric is squarely built, that is, with approxi¬ mately as many picks as ends per inch. If there are less picks than ends per inch in the fabric, the number of picks of each color in the filling pattern should be correspondingly reduced so as to keep the bands of color in the filling of approxi¬ mately the same width as those in the warp, thus making the checks square. In this connection it may be noted, however, that many patterns having a slightly greater length than width make a better appearance than when exactly square, since a check that is actually square often appears broader than it really is. This applies more to large check patterns than to small ones. The difference in the length and width of a check pattern should never be excessive, but when a difference does exist, the pattern should have a greater length than width. 2. If the check is to be a perfect one, the weave used should be such that the warp and filling will be equally flushed at regular distances on the face of the fabric. The reason for this is that if a warp-flush weave is used, the warp pattern 14 COLOR IN TEXTILE DESIGNING 85 will show much more prominently on the face of the goods in proportion to the amount of the warp on the face and, vice versa, if the weave is a filling-flush, the filling pattern will show more prominently than the warp. It is because of this that the plain weave and cassimere and 6-harness twills are largely used for developing the best check and plaid effects. The check effects generally met with may be roughly divided into two classes; namely, those into the composi¬ tion of which only two colors enter and those composed of three or more colors. The former class is by far the larger, considering the quantity of the patterns on the market, but the latter class includes some of the best and most popular plaid and check patterns. TWO-COLOR CHECKS 17. Common Checks. —The simplest possible check effect is produced with a simple weave and equal quantities of two colors in both warp and filling. An example of what is known as the simple, or common, check is shown in Fig. 14. This is a common, or staple , gingham pattern made with the plain weave and arranged twelve threads of blue and twelve threads of white in both warp and filling. Checks of this nature are made not only in cotton, but in all kinds of textile fabrics. The weaves generally employed are the plain, cassimere twill, 6-harness regular twill, and various basket weaves. 18. Common-Check Modifications. —Common checks may be easily varied so that the entire effect will be changed by simply altering the arrangement of the colors to a very slight extent. For instance, if the simple check in Fig. 14 is altered by running a narrow band of blue through the center of each white stripe and a band of white of the same width through the center of each blue stripe in both warp and filling, the effect of the pattern is totally changed, as shown in Fig. 15. The pattern of both warp and filling for this sample is as follows: §85 COLOR IN TEXTILE DESIGNING 15 Blue. 6 6 2 14 White. 2 6 6 14 Total number of ends or picks in pattern.28 Another and even more simple modification of the com¬ mon check is made by altering the number of ends and picks of each color. Thus, if the warp and filling patterns of the common check in Fig. 14 were changed to 6 blue and 18 white, the appearance of the pattern would be totally dif¬ ferent, as shown in Fig. 16. 19. Overcliecks.—A common, or simple, check may be easily modified by means of overchecking. An over- clieck may be defined as a large square marked off by a few threads in the warp and filling patterns and enclosing smaller squares of the check effect. If the common check shown in Fig. 14 is modified by a white overcheck, the effect is as shown in Fig. 17. The warp and filling patterns for this check are as follows: Blue. 6 6 12 24 White. 2 12 12 26 Total number of ends or picks in pattern The size of the overcheck may, of course, be varied at will and the pattern may also be overchecked with blue by dividing white stripes. The reason for modifying the common check in so many ways is that a common check presents a stiff appearance and lacks diversity, especially if the size of the check is at all large. Therefore, the more the colors are broken up, the softer will be the effect, even if only two colors are used. 20. Countercliange Checks.—In a counterchange check, the colors are reversed in different parts of both the 16 COLOR IN TEXTILE DESIGNING §85 warp and filling patterns; that is, the number of threads is the same, but one color is inserted in the place of the other. The effect of this is to make certain por¬ tions of the pattern the exact reverse of other portions. For instance, if the first half of the pattern is arranged 6 white, 6 black, 12 white, the last half of the pat¬ tern will be arranged 6 black, 6 white, 12 black; that is, with the arrangement the same but with the colors counter- changed. Fig. 18 shows a counterchange check made with the above pattern in both warp and filling. It will be seen that the portion of the check marked a is the exact reverse of that portion marked b and, simi¬ larly, c is the reverse of d\ that is, where the pattern is white in one portion, it is black in the other and vice versa. Counterchange checks, like common checks, may be modi¬ fied in many ways. In Fig. 19, a modifica¬ tion of the pattern in Fig. 18 is shown. This is obtained by dividing each broad black band of color in both warp and filling with a few white threads and each broad white band with a few black threads. The warp and filling patterns for Fig. 19 are as follows: a d c f> Fig. 18 White. 6 6 6 6 2 26 Black . 6 2 6 6 6 26 Total number of ends or picks in pattern.52 It will be noticed that, while Fig. 19 is a modification of Fig. 18, the counterchange character of the check is still retained. Fig. 18 could also have been modified by dividing the narrow black and white bands, or both systems could have been united and an even more complicated check obtained, although still retaining the counterchange feature. §85 COLOR IN TEXTILE DESIGNING 17 21. Compound Checks.—The compound system of Checking is commonly met with in all classes of designs. These checks are made by combining two or more systems of warping and picking. For in¬ stance, Fig. 20 shows a compound check made with three systems of warping and picking. The pattern is as follows: 16 black 16 white 8 black 8 white 4 black 4 white for 32 threads for 32 threads Fig. 20 Compound checks may be modified in many ways, which the ingenuity of the designer will readily suggest. The fol¬ lowing pattern is a modification of the pattern in Fig. 20 and, as shown in Fig. 21, produces a far bet¬ ter check: 16 black 16 white 8 black 1 for 8 white J 32 threads 8 white 4 black 1 for 4 white]32 threads 12 white 8 black 1 for 8 white J 32 threads 8 white Many styles of compound checks are obtained with the cassimere and 6-harness twills by group¬ ing four and four and two and two colorings in the former case and six and six and three and three colorings in the latter case. 18 COLOR IN TEXTILE DESIGNING §85 22. Shaded Checks. —Shaded-check effects may be produced in two colors by two methods: (1) By graduating the warp and filling patterns so that they will shade from dark to light and back again to dark if desired; (2) by Fig. 22 using a shaded check weave. The following warp and filling pattern produces a neat shaded check effect accord¬ ing to the first method. This pattern is shown in Fig. 22. It [may be subjected to modifications as, for instance, by grading the colors in larger stripes, say by fours, 85 COLOR IN TEXTILE DESIGNING 19 or it may be arranged with only half the number of threads of one color in each instance; that is, 2 black, 8 white, 4 black, Total number of ends or picks in pattern. 284 7 white, etc.; but in this latter case a pick-and-pick loom will be required. Shaded checks may be produced by using a shaded weave with a warp of one color and a filling of another. In Fig. 23, □■■■■□■a ■■□■■□ID ■■■■□■■□ ■□■■■■□■ ■■■□■■□■ □■■■■□■■ ■■□■■□■□ ■■■■□■■□ □BDBBDBD BBDBDBBD BDBBDBDB BDBDBBDB DBBDBDBB DBDDBDBD BBDBDDBD BDDBDBDD BBDBDBBD BDBBDBDB BDBDBBDB DBBDBDBB DBDBBDBD DBDBDDBD BDDBDBDD BDBDDBDB BBBDDDBB DDBBBDDD BBDDBBBD DBBBDDDB BDDBBBDD BBBDDDBB DDBBBDDD BBDDBBBD BBDDBBBD □BBBDDBB BDDBBBDD BBBDDBBB DDBBBDDB BBDDBBBD DBBBDDDB BDDBBBDD ■□■■■■□■ ■■■□■■□■ □■■■■□■■ ■■□■■□■□ ■■■■□■■□ ■□■■■■□■ ■■■□■■□■ □■■■■□■■ BDBDDBDB DBBDBDDB DBDDBDBD BBDBDDBD BDDBDBDD bdbddbdd DBBDBDDB DBDDBDBD DDBDBDDB DBDDBDBD DBDDDDBD DDDBDDDD BDDDDBDD ODBDDDDB DDDDBDDD DBDDDDBD DBDDBDBD DBDBDDBD DDDBDDDD BDDDDBDB DDBDDDDB DDDDBDBD DBDDDDBD DDDBDDDD DBDBDBBD BDDBDBDB BDBDBBDB DDBDBDBB DBDBBDBD DBDBDBBD BDDBDBDB BDBDBBDB ■■□■■□■□ ■■■■□■■□ ■□■■■■□■ ■■■□■■□■ □■■■■□■■ ■■□■■□■□ ■■■■□■■□ ■□■■■■□■ BBDBDDBD BDDBDBDD BDBDDBDD DBBDBDDB DBDDBDBD BBDBDDBD BDDBDBDD BDBDDBDD DDDBDDDD BDDDDBDD DDBDDDDB DDDDBDDD DBDDDDBD DDDBDDDD BDDDDBDD DDBDDDDB BDDDDBDB DDBDDDDB DDDDBDBD DBDDDDBD DDDBDDDD BDDDDBDB DDBDDDDB DDDDBDBD DDBDBDBB DBDBBDBD DBDBDBBD BDDBDBDB BDBDBBDB DDBDBDBB DBDBBDBD DBDBDBBD ■■■□■■□■ □■■■■□■■ ■■□■■□■□ ■■■■□■■□ ■□■■■■□■ ■■■□■■□■ □■■■■□■■ ■■□■■□■□ DBBDBDDB DBDDBDBD BBDBDDBD BDDBDBDD BDBDDBDB DBBDBDDB DBDBBDBD BBDBDBBD DDDDBDDD DBDBDDBD BDDBDBDD BDBDDBDB DDBDBDDB DBDDBDBD BBDBDBBD BDBBDBDB DBDDDDBD BDDBDBDD BDBDDBDB DDBDBDDB DBDDBDBD DBDBDDBD BDBBDBDB BDBDBBDB BDDBDBDB BDBDBBDB DDBDBDBB DBDBBDBD DBDBDBBD BDDBDBDB BDBDBBDB DBBDBDBB ■■■■□■■□ ■□■■■■□■ ■■■□■■□■ □■■■■□■a BBDBBBBD BBBBQiBBB BDBBBBDB BBBDBBBB BDBBDBDB BDBDBBDB DBBDBDBB BBDBBBBD BBBBDBBB BDBBBBDB BBBDBBBB DBBBBDBB BDBDBBDB DBBDBDBB DBDBBDBD BBBBDBBB BDBBBBDB BBBDBBBB DBBBBDBB BBDBBBBD DBBDBDBB DBDBBDBD BBDBDBBD BDBBBBDB BBBDBBBB DBBBBDBB BBDBBBBD BBBBDBBB DBDBBDBD BBDBDBBD BDBBDDDB BBBDBBBB DBBBBDBB BBDBBBBD BBBBDBBB BDBBBBDB Fig. 23 a shaded weave suitable for producing checks by this method is given. The weave is made by adding risers to a 20 COLOR IN TEXTILE DESIGNING. §85 5-end satin base. A novel check effect may be obtained by combining into a check design shaded squares made on the aforesaid principle, but so constructed that the center of one square will be light and that of the next one dark. THREE-COLOR CHECKS 23. When three or more colors are employed for check¬ ing, an almost endless variety of patterns can be easily made and, in general, it may be said that the patterns, produced are more complicated, ingenious, and diversified than those obtained with only two colors. Check effects made on this principle are found in almost every class of textile fabrics where checks are of value, and may vary in size, arrange¬ ment, and coloring according to the character of the fabric to which they are applied. 24. Common Three-Color Checks. —The check shown in Fig. 24 and known as the common three-eolox* check is the simplest form of a three-color check and, although not so stiff as the two-color common check, it is a stiff pattern Fig. 24 Fig. 25 and is liable to lack the neatness of the two-color common check. The pattern of Fig. 24 is arranged 8 black, 8 gray, 8 white in both warp and filling. Generally, better results are produced with this class of checks if small effects rather than large ones are made. 25. Modifications of Three-Color Common Checks. This style of checking may be modified in a similar manner to that explained in connection with the two-color common §85 COLOR IN TEXTILE DESIGNING 21 check. In Fig. 25, a modification of Fig. 24 is shown; it is obtained by dividing each black band in both warp and filling with a narrow band of white, each white band with a narrow band of black, and every alternate band of gray with narrow bands of black and white. The pattern for this modification is as follows: Black . . 4 4 2 2 4 4 2 22 Gray . . 4 4 4 4 l6 White . . 2 4 4 2 2 4 4 22 Total number of ends or picks in pattern.6o Many other modifications may be devised; for instance, each black stripe might be altered by dividing with white and each white stripe with black, leaving the gray stripe intact. 26. Set Checks. —Another modification of the common check is known as the set check; this is obtained by increasing the num¬ ber of ends and picks of one of the colors. The effect of this is to produce predominating spots of that color at regular intervals, thus obtaining the set effect. Fig. 26 is a set check produced from Fig. 24 by doubling the width of the black bands of color in warp and filling and arranging the warp and filling patterns as follows: 16 black, 8 gray, 16 black, 8 white. Set checks are not very useful in the ordinary run of textile designing, on account of the stiff appearance of the pattern; they may, however, be used for a base and modified so as to produce effects more diver¬ sified in character. 27. Compound Checks. —Compound checking with three or more colors yields the largest diversity of patterns 22 COLOR IN TEXTILE DESIGNING §85 of any principle employed. These checks result from crossing a compound warping pattern (composed usually of several orders of coloring) with a similar filling pattern. The effects produced are often of a large and showy nature, as, for instance, in the Scotch plaids, or tartans; and again they may be small and neat, as in some cotton gingham patterns. A good three-color compound check is shown in Fig. 27. The arrangement of the colors is'as follows: s b lf-*k}for threads 8 white J \ S ™ Y ifor 24 threads 4 white J 4 white Fig. 27 Fig. 28 Another neat check pattern on this system is shown in Fig. 28, the arrangement of warp and filling being as follows: 12 gray 12 white 8 black | ^ threads 8 white J \ ^ jfor 24 threads ' 4 white J 4 white o b !!-f}f° r 32 threads 8 white J 4 white 85 COLOR IN TEXTILE DESIGNING 23 Checks of this description may be varied in many ways, as, for instance, by substituting- one color for another, by overchecking, by dividing certain broad bands of color with a narrow band of color, etc. In Fig. 29, another com¬ pound check in three colors is shown, which illustrates a pattern very frequently met with in a wide range of fabrics. The warp and filling arrangement for this effect is as follows: 16 white 6 black 6 white 6 gray 6 white 6 gray 6 white 6 gray 6 white 6 black Fig. 30 Fig. 29 28. Three-Color Counterchange Checks. —Counter¬ change checks may be made in three colors in a manner similar to that employed with two colors. The effect of the counterchange, however, is less perfect, on account of the more complicated nature of the pattern due to the use of three colors. Fig. 30 shows a counterchange check in three colors. The yarns are arranged as follows: 12 gray 12 white 12 gray 12 black 12 white 12 black 24 COLOR IN TEXTILE DESIGNING §85 29. Shaded Checks. —Effects of a shaded character are produced in patterns employing three or more colors by using yarns of different shades, the quantity of each color being the same or, in many instances, being varied. The following warp and filling pattern will produce a shaded check design according to this method and serves to illustrate the principle employed: 56 white 8 light gray 8 medium gray 8 dark gray 8 black 8 dark gray 8 medium gray 8 light gray 30. Scotch Plaids. —The Scotch plaids, or tartans, are renowned for the beauty of their coloring and the ingenious arrangement of the different colors. Strictly speaking, the word tartan implies a woolen or worsted plaid cloth, but the same colorings are woven in silk and fine cottons as well as in worsted. The weave most generally employed is the cassi- mere twill, although the plain and other simple weaves are sometimes used. Each Scottish clan has its own particular tartan and the arrangement of the colors is distinctive of that clan. Some clans have two plaids, one for ordinary occasions and another for dress. The following are the warp and filling patterns of the tartans of a few of the more important clans, and which are frequently used in fabrics manufactured for the trade: Campbell of Argyle 2 6 dark green 2 black 4 yellow 2 black 2 6 dark green 2 6 black 2 4 dark blue 4 white 2 4 dark blue 2 6 black 16 4 §85 COLOR IN TEXTILE DESIGNING 25 Royal Stuart Gordon 1 2 red 2 8 black 4 black 6 Scotch blue 6 red 6 black 6 white 6 Scotch blue 6 red 6 black 4 black 2 4 Scotch blue 1 2 red 8 black 1 6 blue green 8 Scotch blue 6 black 8 black 4 white 8 Scotch blue 6 black 2 8 black 4 yellow 3 4 Scotch green 1 2 black 8 yellow 1 0 blue 3 4 Scotch green 1 8 red 2 8 black 1 0 blue 2 8 Scotch blue 1 2 black 6 black 4 yellow 6 Scotch blue 6 black 6 black 4 white 2 8 Scotch blue 6 black 2 8 black 1 6 blue green 3 4 Scotch green 18 4 8 yellow 3 4 Scotch green 4 1 8 Note.— Scotch blue is a blue with a greenish hue composed of 75 per cent, of normal blue mixed with 25 per cent, of green. In the same manner the Scotch green is composed of 75 per cent, of green mixed with 25 per cent, of blue. MacGowan MacPherson (Dress) 2 2 black 3 6 dark gray mix 1 0 red 6 red 4 6 green 6 dark gray mix 4 4 red 6 red 4 6 green 3 6 dark gray mix 1 0 red 2 6 black 4 6 black 8 dark gray mix 4 4 red 1 0 black 2 4 black 4 yellow 2 9 2 1 0 black 8 dark gray mix 2 6 black 18 2 Note. -The dark gray mixture yarn in the MacPherson tartan is composed o£ 90 per cen;. black and 10 per cent, white. 26 COLOR IN TEXTILE DESIGNING 85 Campbell of Breadalbane 2 6 black 4 2 Scotch green Black Watch, or 42d High¬ landers 2 black 6 red 2 6 black 2 8 Scotch green 6 black 2 black 4 2 Scotch green 2 6 black 4 4 Scotch blue 2 black 8 yellow 2 black 2 8 Scotch green 2 6 black 2 6 Scotch blue 6 black 6 Scotch blue 6 black 2 6 Scotch blue 4 4 Scotch blue 2 4~4 1 8 4 These patterns are those of only a few of the many Scotch clans, but as the patterns given are the more common ones they are sufficient for illustrating the general character of these plaids. Fig. 31 shows the appearance of the Campbell of Argyle plaid. It is customary by the trade to call all patterns resembling the Scotch plaids by that name whether they are true plaids or not. EXAMPLES FOR PRACTICE 1. Make an original check effect and state to what class of checks it belongs. 2. State a suitable warp and filling pattern for a shaded check in two colors. 3. Make a common check and show the effects of at least two modifications of it. 4. Make a compound check effect. SPOTS 31 . Spots are almost invariably developed by means of special weaves, such as have been described. The coloring of each fabric, therefore, varies with the character of the weave. In the case of spot weaves in single cloths, the fabric is generally woven a solid color or else piece dyed after being woven white. Sometimes, however, the warp is 8525Swg ‘■SSt’.' {gsSSffiS ;ggr« ■!&&& WtgkiRM sk«j 2 ;s8«$ iftsiisa Mi i §| m.mSM ® sgafig! gnisjss® «si«i Yjjyw :' : ;.-■ ! [.ji.i IwM i « ! SiSii A\\\\1 16409 Fig. 31 85 COLOR IN TEXTILE DESIGNING 27 of one color and the filling of another, in which case the color of the spots depends on whether it is made by a warp or a filling flush in the weave. In extra warp spot effects the ground cloth is generally of a solid color, although it may be ornamented with a separate pattern of its own, and the extra warp ends are colored according to the color of the spot desired. Thus, an extra warp spot design might be arranged with the warp and filling of the ground cloth white and the extra warp ends blue, in which case the weave would be such as to form a blue spot on a white ground. In the same way extra filling designs are arranged usually with the warp and ground picks of one color and the extra, or figuring, picks of another color with which it is desired to produce a spot on the ground color. Spotted effects are sometimes produced in the cloth by the use of spotted fancy yarns, but the patterns and effects so produced are not true spots, but rather give the fabric the appearance of a mixture or an all-over effect. DESIGNING IN GENERAL DUTIES OF A DESIGNER 1. Picking out and reproducing a sample of cloth and originating new weaves should not be considered as all the requirements of a good designer, as there are many other things that must be understood before one can become com¬ petent in this branch of textile work. In fact, the more a person learns of all the branches of textile manufacturing, the better designer he will become, since if he understands the processes through which the fibers pass before becoming cloth, and the results of these processes, he will be better able to judge what combinations are best to form a fabric. By this it is not meant that to become a designer one must know the best methods of setting the different parts of all the machines in a mill, but that one should be able to judge whether or not the product of any machine is suitable for the purpose for which it is intended, and have some knowledge of the theory and principles on which the machine is operated. In addition to this, a designer should be a constant student of the market, in order to know what effects and designs are especially salable, for although it is not usually the case that the designer has complete authority to manufacture any grade or quality of cloth that he may desire, his opinions in regard to these points are often sought. It is a good plan for a student of designing to have a large sample book in which samples of cloth and their pick-outs may be kept. These will be a great aid when obtaining new weaves and new combinations of colors, for although the fashions of the previous season may not prevail For notice of copyright , see page immediately following the title page 2 DESIGNING IN GENERAL §86 the next year, many good points may be obtained from cloths kept in this manner. Designers of long experience are well aware that there is a cycle of fashions in textile fabrics; that is, after a period of years, certain styles of goods come into favor again. The fabrics of today may have been in vogue 8, 10, or 15 years ago and, in most cases, will be worn again in a similar period. Thus, the history of previous seasons’ styles, as found in the old pattern books of the mills or in books or periodicals for¬ merly published containing reproductions of fabrics then in fashion, are well worth the attention of a designer. In addition to being conversant with the different kinds of yarn manufactured in his own mill, the designer will find it an advantage to understand yarns generally, as, for instance, those in which different materials are combined, since in many cases such yarns will be found in a fabric. Samples of cloth are often sent to the mill by the selling agent with directions to reproduce them in certain lines; that is, it may be desired to produce a fabric that will be similar to the sample in appearance and yet can be sold at a lower price; in other cases it may be desired to use a sample simply for its combination of colors, or for its weave; while in still other cases orders may be given to the designer to repro¬ duce the sample exactly. In short, it may be said that the primary duties of a designer are to reproduce samples of cloth and originate new weaves, while, in order to do this correctly, it is advisable that he should understand all the processes involved in the making of perfect cloth. DESIGNING DEPARTMENT 2. Different mills adopt different arrangements for their designing departments, since those that would be best for a mill arranged to make certain kinds of cloth would not be suitable for a mill that manufactured an entirely different class of fabric. However, if the processes explained are understood, one should be able to adapt oneself to any methods that may have to be dealt with. 86 DESIGNING IN GENERAL 3 The designing department of a mill usually consists of at least two rooms—one for the designer and his assistant, if an assistant is employed, and one termed the weave room , in which the samples are woven. In many mills, however, the designer has but one room, while the samples are woven in the regular weave room of the mill, although it is better to have a separate room for weaving these samples; the best plan is to have adjoining rooms with glass windows between, in order that the designer may have direct supervision over the weave room even while per¬ forming his other work. This department should be in a part of the mill where good light may be obtained, and it is also an advantage to have the walls painted white. 3 . Equipment of Design¬ er’s Room. —To aid in meas¬ uring and folding the cloth samples, the designer should be supplied with a long, flat table, while he should have another table, known as an examin¬ ing table, for use when inspect¬ ing the samples after they are woven. The top of the exam¬ ining table should be inclined at an angle of from 30° to 40°; FlG -i one-half should be painted black and the other half white, in order to provide a dark surface for inspecting light-colored cloth and a light surface for inspecting dark cloth. This table should be situated in such a position that the person examin¬ ing the cloth will have a good light on his work. The designer should also be provided with a yarn, or wrap, reel with which to obtain accurate lengths of yarn, as well as 4 DESIGNING IN GENERAL § 86 yarn and cloth scales for weighing yarn and cloth when determining the counts of yarn or the weight of cloth. 4. A yarn-testing machine similar to that shown in Fig. 1 is necessary, in order to ascertain whether the strength of the yarn being used is up to the standard. To operate this machine, a skein of yarn—usually containing 120 yards Pig. 2 when testing cotton and 80 yards when testing worsted—is first wound on the wrap reel, and then placed on the two hooks a , b of the yarn-testing machine; by turning the handle until the yarn breaks, its breaking weight is shown by means of the finger on the dial. Another type of yarn-testing machine, which may better be termed a yarn-examining machine , is shown in Fig. 2. In this §86 DESIGNING IN GENERAL 5 machine, the yarn is wound from a bobbin or cop on to a card a in such a manner that there will be only one layer of the yarn. When thus placed on the card, any imperfections, such as thin places, specks, etc., will be readily noticed, since white yarn may be wound on a black card and black or dark- colored yarn on a white or gray card. Various types of cloth-testing machines are employed for the purpose of determining the strength and elasticity of the fabric. In the manufacture of a large variety of cloths these items are an important matter, while in many cases orders placed with the mill stipulate the strength and elasticity that the cloth shall have; this is especially the case with the manufacture of army goods. Breaking tests afford a fairly accurate proof of whether the bleaching processes through which cotton and linen goods have passed have been rational ones; that is, whether the goods have been weakened or not. Although there are a number of makes of these machines, almost all are operated on the same principle. The cloth is held between two clamps and by turning a handle is distended until it tears, its strength being registered by a pointer on a dial, much the same as in the case of the yarn¬ testing machine. 5. A designer should be supplied with record books in which to keep samples of all the weaves produced, in order to have an accurate record. These record books, which may be considered another style of sample book, if carefully num¬ bered and indexed, so that any style or pattern may be readily referred to, will be a good guide when making new samples. Sample cards of yarns should be kept; these are simply strips of cardboard around which are wound samples of each color or counts of yarn that the mill is using. These cards are so arranged that they will enable the designer to see at a glance what colors are at his disposal; they are also of some aid when desiring to learn how the colors will look when arranged in the cloth. Yarns are frequently arranged in books, which, in this case, serve the same purpose as the cards. 6 DESIGNING IN GENERAL §86 In addition to the articles mentioned, there should be a supply of layout sheets on which to make out directions for warping the yarn for the cloth samples; also, pick glasses, pick-out needles, and design paper. 6. Equipment of Weave Room. —The designer’s weave room should contain all the articles and machines necessary for making samples of cloth from the yarn. In many cases, the different counts and colors of yarn made in the mill are placed on bobbins, cops, or small spools that are kept in boxes or drawers in the designer’s weave room. These boxes should be labeled on the outside, to show the colors and counts of yarn that they contain. They should be kept systematically and should be readily accessible, so that when it is desired to make a warp there will be no difficulty in finding the proper yarn. Almost every designer’s weave room contains a warping arrangement by means of which the designer may have his own warps made. As these warps are not generally over 9 yards in length, the saving in expense and trouble when made in this manner will be apparent. The weave room should also contain looms on which the sample warps may be woven. These looms should be capa¬ ble of reproducing any kind of cloth made in the mill; that is, if the mill is running dobby work, it is necessary to have one or more dobby looms, and if running box work, it is neces¬ sary to have box looms. Each loom should be located near a separate window, in order to supply good light to the weaver. Each loom in the weave room should be attended by at least one man, known as a pattern weaver. If the sample warps are made in this room, there should also be a man for this purpose. Although there should usually be a fixer for the purpose of putting in the warps, building the harness and box chains, and keeping the looms in good running order, in many cases, where only one or two looms are employed, a fixer may be dispensed with, as the weaver himself may be competent to look after this part of the work with the aid of the designer. §86 DESIGNING IN GENERAL 7 METHODS OF PRODUCING SAMPLES ORIGIN OF NEW STYLES 7 . It is very seldom that the designer has complete con¬ trol over the class of goods that the mill makes, as in the majority of cases the selection of a new line of goods is dependent on the opinions of either the agent or the com¬ mission house. In America today, the styles of cloth manufactured are to a large extent derived from the styles of Europe, and con¬ sequently it is an advantage to a person in this country to know, as soon as possible, what styles and fashions are selling in Europe. There are several French firms with headquarters in Paris and branch offices in the United States that make a business of selling foreign samples to the mills. In other cases, samples are sent direct from Europe; some of the larger mills keep agents there permanently for this purpose, while others send men there occasionally to obtain ideas. As many lines of goods that are fashionable in Europe one season are in vogue in America the next, the advantage of obtaining these samples is obvious. In the cotton trade, rough sketches of desirable fabrics, accompanied by directions for producing samples, are fre¬ quently sent to the mill by the commission house. This is usually done where small striped effects are desired, such as satin stripes combined with other weaves. In such cases, the width of the different stripes is designated and the other details left to the designer. TRIAL SAMPLES 8. When a line of samples is sent to the mill, the designer first looks them over and selects those that in his opinion it will be possible for the mill to make, each of which he then considers separately with a view to reproducing it as accu¬ rately as possible. The first step is to dissect the sample in order to ascertain the weave and the arrangement of the 8 DESIGNING IN GENERAL 86 yarns in both the warp and filling-. Then, if it is found that the cost of manufacturing such cloth is satisfactory and that it is possible to obtain the necessary yarns for it—of the style A-A. -A- S Warp. _ AAt.. Filling... A ?.. Picks.—'?? e -Ends-^£^.Reed.....-f...Harness... ^.„Yds.Slashed. Path /. WA /Ye 36 5 5 .5 s .5" B/ue •if y * 4 * a B/acA z 2 2 Be B Z z Patt_<2._ fVA/Ye 36 s i 5 s s s B/acA ¥ ¥ * * H /A/ae z Z z BeB z 2 Path-?, W/?//e s £\ s 3 A BeB a 4 * y * if 2 2 2 A?/&cA' 2 z Path* WA/Ye if 3 s s s s ■f BYacA it ■is t * ?i BeB Z z z &/i*e 2 z Patt_cT WA/Ye it 5 s s S 5 S 3/ue if * * y &\ BeB z 2 2 B/acA z z Path jf. WA/Ye 36 s s 5 3 s s BeB ■if * y * * St B/acA z z 2 A?/ is e 2 z Fig. 3 correct color, counts, and quality—the necessary specifica¬ tions are made out. The samples to be made from these, specifications are known as trial samples and are comparatively small, §86 DESIGNING IN GENERAL 9 sometimes not more than 6 inches wide. When this is the case, it is generally the custom to make up a number of samples in one warp, known as a blanket warp. For example, suppose that a number of patterns, each 6 inches wide, are to be made with the same warp. The first 6 inches in the width of the warp will consist of one sample, the next 6 inches will consist of another, and so on until the whole width of the warp is occupied. In Fig. 3, which gives the specifications for a blanket warp, there are six warp patterns of the same style that differ only in the arrangement of the colors. When all the samples in a trial warp are of the same style, all the ends have the same drawing-in draft and also the same chain draft. There are cases, however, in which different styles are placed in the same warp, and it then often becomes necessary to have more than one drawing-in draft, and often the chain draft is changed so that certain samples may be woven with a different weave. 9. Warping tlie Yarn. —After the specifications have been made out by the designer, they are given to the person who makes the warps. The spools, bobbins, or cops con¬ taining the yarn of the required colors and counts are then selected from the boxes and placed on a creel, similar to that shown in Fig. 4, in their proper order; that is, in such a manner that the ends may be taken from them in the order in which they are to be arranged in the warp. For example, suppose that a warp is arranged 4 white and 4 black. Then four spools containing white yarn will be so placed in the creel that they can be taken first by the person making the warp, and the four spools containing black yarn will follow. Fig. 4 shows sufficient bobbins for a single repeat of a warp pattern arranged 4 ends black, 2 ends gray, 2 black, and 2 white. The first bobbin is placed on the back row of pegs, the second on the front row of pegs, the third on the back row, the fourth on the front row, and so on. The ends are then taken from each row in successive order; that is, the first end comes from the first bobbin on the back row, the second end from the first on the front row, etc. The 10 DESIGNING IN GENERAL 86 ends from the bobbins on the back row are passed behind a wire b, while those placed on the front row are passed behind a wire a. The ends are then passed to the top of the creel and threaded through eyes c. By arranging the ends in this manner, the person making the warp can easily form a lease so that the drawing-in hand may find the separate ends readily. 10 . Fig. 5 shows a warping arrangement that is in gen¬ eral use. In many cases this consists simply of pegs inserted in the wall of the room, around which the yarn from the bobbins can be passed, but in other cases it consists of a rectangular frame attached to the wall as shown. The per¬ son making the warp first ties the ends together and slips them over the peg a; he then selects the ends from the creel in their proper order, and makes a lease by passing the first end over the thumb and under the forefinger of the right hand, the next end under the thumb and over the forefinger, etc., in this manner separating the even-numbered from the odd-numbered ends. After the lease is made, it is passed over pegs b, c in the same manner that it was passed around Fig. 12 DESIGNING IN GENERAL 86 the thumb and forefinger; as these pegs serve to hold the lease of the warp, they are termed lease pegs. All the yarn is then passed around the pegs g until it comes to the pegs d, e ; here it passes under the peg e, over the peg d, then around /, back under the peg d, and over the peg e. By this means another lease is formed of sections containing a greater number of threads than in the case of the pegs b, c, which separated the yarn thread by thread. This last lease is formed simply for the purpose of spreading the warp more evenly on the beam. From the peg e, the yarn passes back around the pegs g in reverse order until it reaches the pegs b , c , where a lease is again formed and the ends then knotted around a and cut. The manner in which the warp yarn is wound around the pegs places twice as many ends on the warper as are taken from the creel each time that the yarn is passed back and forth, since it commences and ends at the same point. The length of the warp is governed by the number of pegs g that are used. The number of bobbins shown in Fig. 4 is by no means the limit of the number that can be used at once, as several repeats of the warp pattern may be placed on the creel at one time. Suppose, for illustration, that the warp for one sample is to contain 480 ends and that one pattern is arranged as shown in this figure, containing 10 ends; also, that four of these patterns are taken from the creel at one time. 40 ends are therefore first passed around the pegs together and then brought back, which gives 80 ends of the warp. The person making the warp then selects the ends for the four patterns the second time and passes them around the pegs and back again, which gives 80 more ends, or 160 altogether. This is repeated a sufficient number of times to give all the ends in the warp. As in this case there are to be 480, the ends from the cops must be passed around the pegs five times in order to give the required number. If another sample consisting of different colors, or a dif¬ ferent arrangement of the same colors, is to be warped on the same beam, it will be necessary to rearrange the spools or cops for this sample. This operation is repeated until the § 86 DESIGNING IN GENERAL 13 different samples are warped. In some cases a special thread, such as a double and twist, is inserted between each two samples in the same warp in order to designate the point where two samples join. 11. Beaming the Yarn. —When taking the yarn from the warper, the regular lease rods used in drawing-in should be inserted in place of the pegs b, c. The warp is then taken from the pegs and wound on the loom beam. In case the warp is not to be beamed as soon as it is taken from the warper, a string, or lease band, may be inserted in place of the lease rods, thus allowing the warp to be wound in the shape of a ball. The loom beam generally rests on stands in such a manner that it can be turned by hand; the end of the warp is spread out, and the ends of yarn thoroughly straightened, after which it is wound on the loom beam. Sometimes as an aid to straightening the ends, a coarse heckling comb is used, the ends being spread evenly in the comb and drawn through the dents as they are wound on the beam. 12. Drawing In and Weaving.— After the warp has been beamed, it is taken to the drawing-in room, where it is drawn through the harnesses and reed, according to the speci¬ fications. In some cases, the warp may be drawn in the designer’s weave room, although no expense is saved by adopting this method, as the drawing-in of the sample warp is as much a regular process as the drawing-in of any regular warp for the weave room. After being drawn in, it is sent back to the designer’s weave room ready to be woven. The beam is then placed in the loom and the harnesses tied up ready for weaving, after which the necessary chains are built and placed on the loom and the first sample woven. In case several samples with different fillings are combined in a warp, it is necessary to weave one sample at a time. Suppose that one sample contains a filling pattern of 4 black and 4 white, and another a filling pattern of 8 white and 8 black; it is not possible, of course, to weave both of these 14 DESIGNING IN GENERAL §86 patterns at the same time, since each has a different arrange¬ ment of filling. Therefore, when one pattern is being woven, the rest of the patterns in the w’arp will be of no use. These are termed hybrids and are generally thrown away; in some cases good samples are obtained from them, but this is the exception rather than the rule. After the first sample has been woven with the necessary filling, the second is woven. This necessitates at least the changing of the filling and, in some cases, the building of a new box chain, while in very rare instances, where the sample warp contains differ¬ ent styles, a new harness chain is also necessary. 13. Tying Over. —Suppose that there are six patterns in a sample warp and that each is woven with its own filling pattern; then six regular samples will be obtained. In many cases, however, it is an advantage to change even the warp yarn in the sample warp; that is, after the six regular samples have been woven, it may be left to the discretion of the designer to arrange different combinations of colors, using the same weave. When this is the case, it is much cheaper to simply tie over the warp ends that it is desired should be changed rather than make and draw in an entirely new warp. To illustrate this point more fully, suppose that a certain pattern in the warp is arranged 4 black, 2 gray, 2 black, and 2 white and it is desired to change the 2 ends of gray to a different color. The manner in which this is accom¬ plished is as follows: The harnesses through which the ends of gray are drawn are raised, while all the others are lowered, thus allowing the ends of the gray to be readily accessible. A spool of the yarn to be substituted for the gray is placed on a wire rod over the loom. Two ends of gray are then broken out and the end of one of them that is connected to the woven cloth is attached to the end from the spool. This new end is carried some distance from the back of the loom around any suitable object and then back again to the other end of gray, to which it is attached after being broken from the spool. When all the gray ends have 86 DESIGNING IN GENERAL 15 been tied in this manner, the loose ends of gray that were broken out are drawn down under the beam and a weight attached to them, in order to prevent their passing up over the whip roll into the lease rods. The operator, after detach¬ ing the new ends from the object around which they were passed at the back of the loom, picks up the ends of gray in front of the reed with a wire rod, and draws them through the harnesses and reed until the new ends that have been tied to them reach the fell of the cloth. These new ends are then fastened at the front of the loom by means of 2 or 3 picks of filling, while at the back of the loom a weight is attached to the ends to keep them tight during weaving. In some cases the ends of the warp are tied over at the front of the loom instead of at the back. When this method is adopted, the ends to be tied over are broken out in front of the reed and the new ends attached to the ends coming from the beam, after which they are drawn through the reed and harnesses to the back of the loom, leaving a sufficient length of yarn in front of the reed, however, to allow the new ends to be attached to the cloth by a few picks of filling. After the ends have been tied over, the desired pattern of filling is placed in the loom and another sample of cloth woven. Other samples may be readily produced in the same manner, and thus a large number of trial samples obtained from one warp. For example, suppose that a sample warp contains six original patterns and that each pattern is tied over three times; then twenty-four regular samples will be obtained from the one warp. 14 . After the entire warp has been woven in this man¬ ner, the cloth is taken from the loom and carried to the designer’s room, where it is measured and weighed. It is then taken to the finishing room and after passing through the necessary processes is brought back again to the designer’s room and again measured and weighed. All the items obtained should be inserted in a book where they can be readily referred to, in order that information regarding the effects of the different processes may be readily accessible. 16 DESIGNING IN GENERAL §86 The cloth is then cut up into samples and the best of them selected to be sent to the commission house. Several sam¬ ples from this lot may be selected by the commission house as being suitable to put on the market. SELLING SAMPLES 15 . After a certain number of trial samples have been selected, it is necessary to make what are termed selling samples. These selling samples are generally woven the same width as the regular cloth, and should pass through the same processes, since only by this means can there be obtained the necessary information in regard to the appear¬ ance of the finished cloth and the cost of manufacture. From these selling samples the agents’ sample books are made, and it then remains with the selling house to place orders for the different samples of cloth. 16 . After an order has been obtained for the mill it is the designer’s duty to make out all specifications that may be necessary for the reproduction of the desired cloth. Those relating to the warping, beaming, and drawing-in departments of the mill should be sent to their respective overseers, while all the specifications regarding harness drafts and chain drafts should be sent to the overseer of the weave room. When the cloth is first started in the weave room, the designer should see that the first pieces taken off are correct in every particular, after which it may be safe to assume that his duties regarding that special line of goods are completed. _ CONCLUSION 17 . Designing is by no means a modern art. The tex¬ tile museums of world-wide renown, such as those in Florence (Italy), Crefeld (Germany), or the Museum of Fine Arts in Boston, contain fabrics manufactured centuries ago that exhibit skill in designing, taste in coloring, and knowledge of cloth structure equal to most modern fabrics. It is not possible for every designer to visit such museums, §86 DESIGNING IN GENERAL 17 but in many of the public libraries in the larger cities there aie books on decorative art or historic ornament in which many of these fabrics are reproduced; an examination of these often leads to the formation of new ideas and is cer¬ tainly a part of the education of a designer. Textile designing is an art that has been developed to a high degree in Europe, and the products of English, French, and German designers are justly esteemed. It is therefore advantageous to designers in American mills to keep in touch with what is being done in Europe; a knowledge of the French or German language often aids a designer in this, by enabling him to study French or German textile¬ designing publications. This, however, is secondary to securing a thorough knowledge of the manufacturing con¬ ditions. A designer should never cease to study these— from the raw material to the finished fabric—so that he may have a knowledge of all the processes that lead up to the production of the fabric, and thus learn how to obtain the most artistic effects in the most economical manner. INDEX Note.—A ll items in this index refer first to the section and then to the page of the section. Thus, “Checks 85 12” means that checks will be found on page 12 of section 85. A Sec. Page Accidental color.83 5 Analysis of cotton fabrics.72 1 woolen and worsted fabrics.73 1 “ Points to be determined by.73 17 Analyzing color effects.83 19 Angled drafts.71 20 Angles of twills.75 6 Applying color to textiles, Methods of.83 14 Arrangement of harnesses.81 20 “ “ and ends 81 7 Ascertaining percentage of mate¬ rials in union fabrics. 73 26 Attributes of color.83 8 B Back of fabric, Determination of . 73 18 Backed cloths. 80 2 “ cotton fabrics, Weaves for 79 1 “ fabrics..80 3 “ weaves, Drafting of ... 80 19 Bar effect.85 1 “ The easing ....'. .81 5 Barry cloths.85 1 Base for satin weaves.76 2 Basket weaves.76 13 Beaming the yarn.86 13 Beams required, Number of. ... 72 22 “ “ “ “ . . . . 73 23 Bedford cords. 79 20 “ and piques .... 79 15 Black watch or Highlander’s plaid 85 26 Blue color.83 10 Bodies, Luminous.83 1 “ Non-luminous.83 1 Bottom doups.81 3 Broken color.83 4 Brussels carpets. 82 29 Build of the fabric.83 13 C Sec. Page Campbell of breadalbane plaid . . 85 26 Carpets. 82 28 “ 82 33 Chain and harness drafts.78 19 . “ .79 11 “ draft.71 11 “ “.72 17 “ “.73 16 “ “.81 40 “ “ for top doups.81 25 “ “ Representing.81 19 ** drafts. Harness and .... 81 30 “ Effects of the harness and.71 23 Check, Simple.85 14 “ weaves.77 12 Checks.85 12 “ and stripes.77 4 “ Common.85 14 “ three-color ... 85 20 “ Compound.85 17 “ “ . 85 21 “ Counterchange.85 15 “ formed by reversing ... 77 16 “ Modifications of three- color common. 85 20 “ Set. 85 21 “ Shaded.&5 18 “ “ . 85 24 “ stripes, and spots.85 1 “ Three-color. 85 20 “ “ counterchange 85 23 *“ Two-color.85 14 Citrine color. 83 11 Classification of colors.83 3 “ ply fabrics ... 80 1 Close-shed looms, Plain gauze on . 81 3 Cloth analysis.72 1 “ “ 73 1 “ Dissecting.72 5 “ Shrinkage of. 73 22 Vll vm INDEX Sec. Cloth-testing: machines.86 Cloths, Backed.80 “ Barry.85 “ Cut double.80 “ Double.80 “ Filling-backed.79 “ Triple. 80 “ Warp-backed.79 “ with a wadding: filling: ... 80 Color, Accidental.83 “ Attributes of.83 “ Blue .83 “ Broken.83 “ Citrine.83 “ Complement of a.83 “ effect.83 “ Effect of finishing: process on.83 “ Effect of structure of yarn on.83 “ Effect of the build of the fabric on.83 “ effects. 83 “ Analyzing:.83 “ Method of making: . 83 “ Standard.84 “ Full.83 “ Green.83 “ Harmony of.83 “ Hue of a.83 “ in textile designing:.83 . “ .84 “ “ “ “ .85 “ Methods of applying, to tex¬ tiles .83 “ Olive.83 “ Orange.83 “ Pigment theory of.83 “ Pure .83 “ Purple.83 “ Red.83 “ Russet.83 “ schemes, Records of ... . 83 “ sensation.83 “ stripes.85 “ “ . i.85 “ Theory of.83 “ Tone of a.83 “ Yellow.8S Coloring cotton.83 “ flax.83 “ Irregular compound ... 84 “ Irregular stripes due to warp.85 “ of textile fabrics.83 “ Principles of.83 Sec. Page Coloring raw material.83 12 Regular compound ... 84 24 “ Regular stripes due to warp.85 2 “ silk.83 12 Stripes due to warp and filling.85 6 wool.83 12 Colorings, Compound. 84 24 Four and four.84 9 “ . .84 15 Irregular compound . . 84 31 “ simple .... 84 19 “ One and one.84 2 “ ..84 12 " ...84 17 Regular.84 2 Simple .84 1 Three and three ... 84 8 “ . ... 84 15 “ . ... 84 17 Two and two.84 6 “ ..84 14 “ ..84 17 Colors, Classification of.83 S “ Compound.83 3 Contrast of.83 8 “ Cool.83 5 “ Definitions of.83 3 “ Modification of..83 7 “ Primary.83 3 Combination leno effects.81 52 of doups.81 34 weaves.77 1 Combinations of equally flush weaves.77 8 of equally flush weaves.77 12 of plain and gauze weaves.81 53 of warp- and filling- flush weaves . . 77 4 of weaves of differ¬ ent structure . . 77 18 Weaves resulting from. 77 20 Combining twills, Derivatives formed by.75 12 Common-check modifications . . 85 14 “ checks.85 14 “ three-color checks ... 85 20 Comparison of twills and satin . . 76 1 Complement of a color.83 5 Compound and simple colorings . 84 1 “ checks.85 17 “ “ . 85 21 Page 5 2 1 29 22 1 36 8 18 5 8 10 4 11 5 15 13 12 13 14 19 15 1 4 10 7 4 1 1 1 14 11 9 3 4 11 8 11 18 5 3 5 1 4 9 12 12 24 4 12 1 INDEX IX Sec. Compound coloring's.84 “ Irregular . . 84 colors.83 stripes.85 Constructing harness drafts ... 71 new weaves.77 Construction of harnesses .... 81 fabrics.71 “ pile fabrics .... 82 “ satin weaves ... 76 “ spot weaves ... 78 “ twills.75 Contrast of colors.83 Cool colors .83 Cord or rib weaves.76 Cords, Bedford.79 Corduroys.82 “ Cutting.82 Corkscrew weaves.76 Cotton, Coloring.83 “ fabrics. Analysis of ... . 72 “ Weaves for backed 79 “ from linen, Distinguishing 73 warp, Tying with a .... 80 Counter, Twist.72 " “ 73 Counterchange checks.85 “ Three-color 85 Cross-weaving.81 Crossing end.81 Curved twills.75 Cut double cloths.80 “ filling-backed fabrics .... 80 Cutting corduroys.82 D Definition of color effects.83 Definitions of colors.83 Department, Designing.86 Derivative weaves.76 Derivatives and twill weaves ... 75 formed by combining twills.75 formed by rearran¬ ging ends or picks . 75 of twill weaves .... 75 Satin.76 Design paper.71 Indicating a weave on 71 Designer, Duties of a.86 Designer’s room, Equipment of . . 86 Designing, Color in textile .... 83 “ . .... 84 “ “ “ • “ .... 85 “ department ...... 86 “ Elementary textile . . 71 Sec. Page Designing in general.86 1 Principles of textile . . 71 1 Determination of face and back of fabric.73 18 face of fabric . . 72 18 “ raw material . . 72 24 “ “ “ . . 73 24 “ “ twist. 72 20 “ .. 73 20 “ warp.72 19 “ “ 73 18 Diagonal weaves. 75 31 Diamond weaves. 75 30 Diaper weaves.77 15 Dissecting a pique .79 19 “ Bedford cord. 79 21 cloth.72 5 leno weaves.81 64 needle.73 8 or picking out.73 5 Distinguishing linen from cotton 73 26 silk from other yarns. 73 26 woolen from wors¬ ted yarn .... 73 25 Double and triple cloths. 80 22 cloth weaves, Drafting . . 80 35 cloth weaves with wadding yarns. 80 28 “ cloths. 80 22 “ Cut. 80 29 plain weaves. 80 31 “ plushes. 82 23 “ satins.76 8 “ warp-faced fabrics .... 80 16 Doup and ground ends working plain.81 38 “ end . . . . :.81 2 “ ends .81 46 “ Weaves produced by 81 39 “ harness . .81 4 Douping end.81 7 Doups, Bottom.81 3 “ Drafts for top.81 25 Right-hand and left-hand 81 34 “ Top.81 19 Draft, Chain.71 11 “ “ 72 17 “ 73 16 " 81 40 “ Drawing-in.71 9 Harness.71 9 .81 16 .81 39 Constructing a . . 71 27 Drafting back weaves.80 19 Page 24 31 3 8 27 22 20 2 1 4 1 1 8 5 15 20 4 8 18 12 1 1 26 27 21 21 15 23 1 7 24 29 9 8 14 3 2 11 1 12 10 10 11 3 5 1 3 1 1 1 2 1 X INDEX Sec. Drafting double-cloth weaves ... 80 “ triple-cloth weaves ... 80 Drafts, Angled .71 “ Effects of the harness and chain ..71 “ Harness and chain .... 78 “ “ ““.... 79 “ or drawing-in . . 72 “ “ “ “ . . 73 “ Point .71 Satin .71 “ Section.71 “ Skip.71 “ Straight.71 “ Types of.71 Drawing-in draft .71 “ “ drafts, Harness ... 73 “ “ or harness drafts ... 72 “ “ and weaving.86 Duties of a designer.86 E Easer, The.81 Easing bar, The.81 Effect, Bar.85 “ Color.83 “ of build of fabric on color 83 “ of structure of yarn on color 83 “ of the finishing process on color.83 “ of the weave ......... 71 “ Weave.83 Effects, Analyzing color.83 “ Color.83 “ Combination leno.81 “ Figured step.84 “ formed by inserting picks before douping . . . . 81 “ Method of making color . 83 “ obtained without addi¬ tional mechanisms ... 81 “ of the harness and chain drafts.71 “ produced independently of the weave.81 “ requiring doup ends . . . 81 “ Standard color.84 “ Stripe spot.78 “ Two-color step.84 “ with extra warp, Spot... 78 “ “ the plain weave. Fig¬ ured .84 Elementary textile designing ... 71 End, Crossing.81 “ Doup.81 “ Douping.81 End, Ground. Sec. Pagt 81 2 “ Whip. 81 7 Ends and harnesses. 81 7 “ Effects requiring doup . . . 81 46 “ or picks, Derivatives formed by. 75 10 “ Weaves produced by doup . . 81 39 “ “ ground 81 39 Entwining twills. 75 20 Equally flush weave. 75 2 “ flush weaves, Combina¬ tions of. 77 8 “ flush weaves, Combina¬ tions of. 77 12 Equipment of designer’s room . . 86 3 weave room .... 86 6 Extensions of regular two-color patterns. 84 10 E Fabric, Determination of face of . 73 18 “ “ “ “ “ 72 18 “ Effect of build of, on color 83 13 “ Filling-backed. 79 1 “ Gauze. 81 1 “ Ply. 80 1 Fabrics, Analysis of cotton .... 72 1 “ Analysis of woolen and worsted. 73 1 “ Ascertaining percentage of materials in union . 73 26 “ Backed. 79 1