', p^ r^ r\ Class T^\^:l^5 Book.. ' n O^ ■■ Copyright]^? , COPYRIGHT DEPOSnV U. -^ .\/l> Kyr^' ^M^- Q ( ^ V. KNOWLES JACQUARD SILK LOOM Crompton & Knowles Loom Works Textile Design A Working Manual of APPROVED PRACTICE IN ALL DETAILS OF THE ART OF DESIGNING THE VARIOUS KINDS OF TEXTILE FABRICS, TOGETHER WITH PRACTICAL APPLICATIONS OF THE PRINCIPLES OF TEXTILE COLORING AND SYSTEMATIC METHODS OF COST FINDING By FENWICK UMPLEBY Head of Department of Textile Design Lowell Textile School, Lowell, Mass. ILLUSTRATED CHICAGO AMERICAN SCHOOL OF CORRESPONDENCE 1909 iii«i'''"a ■lutiiwa ■miiiiiiv ■iiii,aiiiiiB rm. m 'mm. m mm. m ^^ i rm ^g>'"« ^n""'| gj.>n"<'f Mb -, or 1 up and 2 down. Tliird Example. The three-harness twill, warp flush, or 2 , or 2 up and 1 down. The word up, or figure above the line, indicates the number of tlireads to be raised on each pick, while the word down, or figure below the line, signifies that such threads must be depressed for the filling to pass over. The 45-degree twills are divided into two classes, those which are even-sided and those which are uneven-sided. The even-sided twills are those in which the warps and fillings are evenly bal- anced. By an examination of Figs. 14 and 15, it will be noticed that the number of threads raised is equal to the number of threads depressed. Also notice that it is a four-harness twill, and that each succeeding four threads and picks are a repetition of the first four. The line of twill is continuous ahd unbroken. 2 "■ ■iii.fl'i'V m mum, m mim m mm. m mm m I m wm. m mm ^ m Fig. 13. The written formula is 2 up and 2 down, or Thi.' IS weave is 17 10 TEXTILE DESIGN. called the four-harness common twill, cassimere twill and shalloon twill. The uneven-sided twills are of two kinds, — those that are on an even number of harnesses and those that are on an uneven number of harnesses. Fig. 16 represents an uneven-sided twill on an even, number of harnesses. This weave is called the 4-harness swansdown ; it has three-fourths of the filling on the surface. Formula . Fig. 14. 3 The reverse of this weave would be the , and would, indicate the warp surface weave, commonly called the crow weave. Fig. IT represents an uneven-sided twill on an uneven number of harnesses. On this weave, it will be noticed that there are only two threads raised, while there are three threads 2 depressed; formula - 3 This weave can be reversed so that 3 the conditions would be opposite ; formula Attention is again called to the angle of the twill. It is continuous and unbroken and at an angle of 45 degrees. In designing twills always begin at the lower left-hand corner of the design and make out angle of twill for full number of threads, both warp and filling. Thus, a full weave for an eight-harness twill would require eight threads and eight picks, requiring eight small squares each way of the design paper. The student 18 TEXTILE DESIGN. 11 should run out each design to fully twice the original number of threads and picks. Study each side, top and bottom, also study the termination when a design is complete. The number of — ■"" D ^ C '/// '//, R i^ Y/, V/, A ^ D ^/a e •j^ "//, V/, ^ y^, A b 1 c 1 V/, R 1 1 ^ ''/a A ■'A 1 2 3 4 1 2 5 4 1 2 3 4 -J ■ T — L i ^^ j^ D ^1^ ^ ^ C ^W^ ^^ B ^ii A P L 1 /,^ D J^^ C ^^ a V/M A ^ 12 34 5 1 2 3 4 5 Fiff. 17. Fig. 16. threads and picks to complete the design should be seen at a glance and to bo sure that in repetition it will be continuous and unbroken. EXERCISES FOR PRACTICE. Copy Figs. 11, 12, 14, 16 and 17 and extend them over at least double the number of threads in each direction, taking care to work upon squares which represent the number of threads occupied by the original design, filling each in succession, and paying no attention to the thick lines upon the paper. At first, do not be in a hurry to carry the design iu a straight line over the whole space, but work strictly in the squares as shown in the above examples. 1. Make all the 45° twills possible upon four threads, and repeat them after the manner shown ia Figs. 11 and 12, to be certain that the pattern will be complete and continuous for an indefinite length. 2. Make all the 45° twills possible upon 5, 6 and 7 threads respectively, after the manner suggested in No. 1. Note. In working out these Exercises the chief objects are jirst^ to determine when a pattern is complete, and, to be certain that this is the case, the student might cut a portion from one side and place it on the opposite side, to see if the design 19 12 TEXTILE DESIGN. really fits togetlier. A little practice in comparing one side with the other will soon enable him to discern this without cutting. The second object is to ascertain the number of threads in the design when complete, to prepare for the lessons in drafting, and drawing the warp threads through the heddles, in order to weave ■■ ■I Fig. 18. Fig. 19. with the fewest number possible. The comparison of designs is of great importance, as a knowledge of their relations will be re- quired in subsequent work. FANCY 45 DEGREE TWILLS, The student must not confine himself to what are commonly known as simple twills, but should find out how many designs ■I ■i Fig. 20. Fig. 21. and what variety he can produce upon a given number of threads. The best plan in going about this work — and this holds good in every branch of the work — is to proceed in the most systematic manner. For instance, take five threads as a base and work out as 20 TEXTILE DESIGN. 13 many regular twills as possible. These are given in Figs. 18, 19, 20, 21, 22 and 23, which show the full limit in producing what are commonly known as "regular twills" on five harnesses. This expression " regular twills " must be understood, as it is in the trade, to apply to twills running at an angle of 45 degree, and with no fancy figul'e accompanying it. It should be noticed that all 45-degree twills, move or ad- vance 1 thread to the right until the full repeat of the weave has ■■ ■ Fig. 22. Fig. 23. been obtained and can be worked out from a written formula, thus, Fig. 18, 99 2 1 Fig. 19, ; Fig. 23, 2 ; Fig. 20, ; Fig. 21, ; Fig. 1 1' ° ' 1 2 pick of each design which is a 45-degree twill, but when the twill is irregular there must be another method of indicating the weave. For instance. Fig. 18 is on 5 harnesses and could be indicated ^ or 1 + 1 + 1 + 1 + 1 or 1, the 2' "^ ' 1 These examples refer to the first 4 move number, or f/i- ,1 Fig. 24. Fig. 25. The weave on 4 harnesses as shown at Fig. 24 is known as the 70-degree steep twill, the written formula is 1 -|- -f- 0- The terms 1 -j- -|- 0, etc., refer to the position of the points in a base with reference to one another, counted horizontally in 31 14 TEXTILE DESIGN. the example given. Thus, in Fig. 24 the mark on the first pick is placed in the first point or small square, that on the second pick moved in position 0, i. e., in the same position ; that on the third pick moved 0, that on the fourth moved 1 and so on throughout. Fig. 25. weave commencing on 1st pick. 2nd pick moves 1 forward. 3rd pick moves 1 in opp. direction. 4th pick moves 1 forward. 5th pick moves 1 forward. Gtli pick moves 1 in opposite direction, and so on Similarly 3" -[- 3 — 5 may be 1+1 1+1-1 1 1 + 1. 1 + 1-1 until the weave begins to repeat. commenced at any point as shown at Fig. 26 ; weave on 9 harnesses -f- 3 1st thread and 1st pick. — 5 moves 5 in opposite direction. -|- 3 moves 3 forward. Take Fig. 26 as an example. The weave is on 9 threads, therefore the counting or moving must be worked from 1 to 9. Commencing at the first thread a point is placed on the 1st square, the 2nd pick ■ IT I ~ 1 1 Z is marked — 5 or 5 in the opposite direc- "•" y "^"""^ tion, or, 9, 8, 7, 6, 5, hence the next ' I I I ■ II~ point is on thread 5. Tlie 3rd pick is — — marked -\- 3 or 3 forward, or 6, 7, 8, the third point on the 8th third ; the fourth --_ pick is marked -]- 3 or 3 forward, then 9, 1, 2, fourth point on 2nd thread, 5th ZZZ pick is marked — 5 or 5 in opposite _ I I direction, then, 1, 9, 8, 7,6, fifth point on 6 thread and so on throughout until the weave repeats. The next step in the work is to produce as many designs as possible upon any given number of threads, and in doing so proceed systematically, as in the five-harness examples, first with 1 point, then with 2, and so on, until a complete series of simple lines as in Figs. 18 to 23 has been run Fig. 26. 2ii TEXTILE DESIGN. 15 through, and, accordmg to the number of threads, open out the space between the lines of twill. Make light and heavy lines and vary them until there is no further room for variation, observing the repetitions of the pattern in the reverse order, both in the Fig. 27. quantity of material which comes to the surface, and in the position of the twill. Diagrams for illustrating the construction of reclining and steep twills are shown in Fig. 27. 88 16 TEXTILE DESIGI^. Steep and Reclining Twills. The 15° reclining twill is formed by moving 4 points,' Fig. 28 29 30 31 32 33 34 35 36 u 20° 3 " 27° " . 2 " 38° 1+2 " " 45° Regular 1 " 52° Steep 1+1+0 - u 63° .1+0 u 70° 1+0+0 " u 75° u 1+0+0+0" Fig. 28. ■i Fig. 29. Fig. 30. ■ Fig. 31. Fig. 32. Fig. 33. Fig. 34. Fig. 35. Fig. 36. J24 • TEXTILE DESIGN. 17 Any of the intermediate degree twills can be formed aocerd- ing" to the requirements of design. INTERSECTIONS, INTERLACING, AND CUT SECTIONS. What is the meaning of intersecting, interlacing, and inter- weaving? Take the plain weave for an example, If we have a number of threads and lift the 1st, 3rd, 5th, 7th, etc., and depress or sink the 2nd, 4th, 6th, 8th, etc., and between these sets of threads we introduce a pick of filling, we should be inter- lacing or interweaving the warp threads. What would be the result? Fig. 37 illustrates the section of 8 warp threads in a Fig. 37. Cut Section. plain cloth, interwoven with one pick' of filling, A. We have 1st thread up, then an intersection of filling, 2nd thread down, then an intersection of filling. In Fig. 37 there are 8 warp threads and 8 intersections of filling. = 16 units. The answer to the above question is : Interlacing and inter- weaving is inserting the filling between two or more systems of warp threads, while the intersection is the space occupied by the warp or filling between any number of threads, warp or filling. 2 3 Fig. 38. Cut Section. On the design paper the spaces represent the warp and filling, while the lines represent the intersections. Take the next example, the three-harness twill : one thread up an,d one intersection, two threads down and one inter- section, threads 2 and 3 lying close together and no intersection. Fig. 38 shows 3 threads and 2 intersections =: 5 units. . . ' 2 We will now examine the cassimere or shalloon twill 2 (See Fig. 15.) We notice that the filling thread interweaves 25 18 TEXTILE DESIGN. alternately over and under two warp threads as shown in Fig. 39, ana in the same order the warp threads interlace over and under two filling threads, (Fig. 40); but by studying Fig. 15, we find that each succeeding filling thread does not pass over the same two warp threads, nor does each consecutive warp thread interlace over or under the same two filling threads, nor are they alternate as in plain cloth, but they change in regular consecutive Fig. 39. Cut Section. order, That is, if the 1st pick, A, interweaves over the threads Nos. 1 and 2, and under Nos. 3 and 4 ; the 2nd pick, B, will pass under Nos. 1 over 2 and 3 and under 4 ; the 3rd pick, C, will pass under 1 and 2, and over 3 and 4; the 4th pick, D, will pass over 1 under 2 and 3, and over 4. The 5th pick, E, is a repetition of No. 1, and so on. The design is continuous and unbroken, each thread and pick advancing one before it rises to the sur- face or passes to the back of the fabric. It is this order of interlacing that gives the effect of producing in the cloth distinct twills or diagonal lines at an angle of 45 degrees. This mode of interweaving is called the even, or balanced system. There are, as in the plain weave, as many of each system of threads on the face of the cloth as there are on the back. The longer the floats or inter- vals that we interweave and interlace the warp and filling, the greater the amount of material- that can be introduced -p-^ '^g the greater the gain in weight and substance. We will now examine the three weaves under con- sideration. Plain weave one up and one intersection, one down and one intersection or two threads and two intersections. We have already learned in studying the plain weave that when constructed on the truest principles, warp and filling of the same size or counts, number of threads and picks being equal, it will make a cloth more or less perforated according to the material used. The fabric would be built to withstand wear and tear and friction, but we could not obtain bulk and compactness. 96 5 o ►J IH IS W U TEXTILE DESIGN. 19 „ Fi^. 41, Now let us examine the three-harness twill, ; z We have two intersections in every three threads, as one up and one intersection, two down and one intersection, therefore, allow- Fig. 41. Cut Section. ing threads 2 and 3 to lie close together without any perforations. 2 In the four-harness cassimere or shalloon twill, , Fig. 42, we find that there are only two intersections on every four threads ; two threads up and one intersection, and two threads Fig; 42. Cut Section. down and one intersection, thus giving still more opportunity to gain weight and compactness of texture, as an examination of Fig. 42 will show. On the first pick the first and second threads are lying close together, then an intersection ; third and fourth threads lying together, then an intersection, and so on, consecu- tively and continuously. Fig. 43. Cut Section. The three weaves on twelve threads, their intersections an\ units stand as follows : Plain weave Fig. 43, 12 threads and 12 intersections = 24 units. Three-harness twill Fig. 41, 12 threads and 8 intersec- ^ "ZZZ ^ Fig. 44. Cut Section. tions = 20 units. Four-harness twill Fig. 42, 12 threads and 6 intersections = 18 units. 87 20 TEXTILE DESIGN. Take another example, Fig. 44 : The four-harness filling-flush twill, commonly called the swansdown weave ; one up and three down, or the warp-flush twill Fig. 45 ; one down and three up, commonly known as the ciow weave. In these two weaves there are only two intersections on four Fig. 45. Cut Section. threads, and there are three warp threads lying close together, either on the face or back of the cloth. These weaves give us more liberty to use heavier material or a greater number of threads in the warp or filling, according to the weave used. These intersections, units and warp' or filling flushes are items that must be considered when designing textile fabrics. The following will show how an examination question or exercise should be answered. Question. Write in your own words an explanation of the use of design paper. What do you mean by the dots placed upon it and how does it convey your ideas to others? Answer. Design paper is used -to represent woven cloth as follows: The series of squares running vertically represent the warp threads in the loom and the series of squares running hori- zontally represent the filling, weft, woof or pick threads inserted by the shuttle. If the warp threads are to show on the face of the cloth, the filling or weft threads must go under them. A dot or cross placed in a square indicates that the warp thread is on the surface and vice versa a blank square means that the filling or weft is on the surface and the warp under the filling. Suppose the warp threads are black and those to be put in by the shuttle are white. A black and white design, or fabric to be woven, is shown on the design paper by indicating by a cross or dot placed in the square what warp threads are to show on the surface. Imagine that each small square on the design paper is reduced so small that it can contain only a needle point. It is then readily seen that a design is traced by a succession of minute dots. The design paper thus used will give a very good imitation of a woven fabric. 28 TEXTILE DESIGN. 21 ^ ^ 1 DC 4- + T "^ f f +■ -4- to O OcO c^c^ CO CMC;* - i. i-i. + "*•"+* * + — CO — (O c-i _ 1 < -^ + + 1 CM CM— — -- — + ■^ -+ ' + ' ■«■•*-:^■* ^co ■7- *^K, j:i ■ ■ ■■ J. ;& •'- 4- T 'W + c^* v 1^ -+ ^ ° vfj in in in tr> m O + • o _ + + ° T CD CM CJ CVJ . o .- C\J 4- + + r f' ■? CO CO CO N _ - CM 5 ^ 4- 'J- -t ?-~ CM — rj CO 7 + + + + CM CO -jTin ^ in in in inir)if> O J. O — IN oj in _ o - 5J CO eO CO cp rj _ - CM ~ -^ "*■ 2; 'i- ^l^ "^ f + c5 4- 4- .^ f 1^ - z 'q. E 3 2 3 J2 o i '5 E Z 0. E ■p. 5 ■5. a- N CO O) 29 22 TEXTILE DESIGN. '"_ ^fM ?J^ NC^S ^^ oJJ o6 o6 <<^ c cvjh cj[o ^CNJ V) •0 ^CVi 01 -h '— ^ CSJ*^ cj '- C\j| cMh co|o Z'^ ^1^ (O 5 V o«i °« o«( icvJ o© oS -a >- i. i2 evil- CO cvl'- or cO^ c7^ CM f^J ^^ col"- CO T- x- CO CM- CM — :t> r— n 1 c\l O^ ^'^^ o -S «4 o8 oH «« o« o8 «« g >- cO CO ^co ^T) ^'^ _^h cM^^ f\J CO CVJ 1 — fM CM o c\J CO CVJ a fc >- ^ <\J CM C\J CVJ CO CM CM CO CM CM (O CM ^ 't cv) IcvJ CO CO ^ •* m lO *" CM c\j| CO CO ^ ^ in t- lH i4 CM CO •^ lO CD K OO OD O 30 TEXTILE DESIGN. 23 . EXERCISES IN PLAN MAKING. Work out weaves from the following : (3) 1_^^_ /l • (4) 1 ^ ' /6 (7-12) ?_J-_l_/l,2,3,4,5,6. 9 9 9 / (13-17) - ^ ^ g / 1.2. 8, 4, 5. (18) %%S A (19-21) ^i-2^/l, 2.3. '^2 2 ) (22-25) - ^^ ^" J 1, 2, 3, 4. (26-29) - ^ ^ ^^ /l, 2, 3, 4. 3— 2^ 2, 4-3+2, 4-2+L (30-33) ^ ^^ ^" ^ / and ^ ^^ ^^ ^ /2+0, B_l, 4-2, 5-3. 24 TEXTILE DESIGN. MAKE ONE COMPLETE REPEAT OF EACH OP THE FOLLOWING DESIGNS. • • •!• • • • • • e d|o • • • • • e 9 9 • • e • • » • « e ® o • e 9 • « e 9 @ 9 • • • • e$ • « • ^ • s e • 9 • « • 9 9 _ « e ff « 9 [» _J ffl 1^ [» k • • _ • s _ • « t fi 9 ^ 9 » 9 9 9 9 9 9 9 9 9 9 9 9 9^ 9 9 9] [9 9 9 _ 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 « 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 1^ [9J [®| [«J _ _ m 9 M 9 _ [ft] \sl IftJ A 9 •9 9 9 • 9 9 « J! 9 9 9 9 • 9 9 • 9 • 9 9 9 9 9 • 9 9 9 • 9 9 9 • 9 9 9 9 9 9 9 9 e 9 9 9 9 9 • • • « • • e 9 9 • • 9 9 9 9 9 9 9 9 9 • 9 9 9 9 9 9 _9®J» ••^ — ••.i* *9« 9««_99f»^ fi^^. **.* — **.* ••• ^•^—••* j»«9 •.••_•£* _•*• *i*_*.?.£_ » ••« e«e999 9 • • •09 • « e 9 9 9 9 9 9 » 9 9 9 9 » 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 _ 9 9 9 "^ 9 9 9 9 f* [9] 9] 9 9 9 9 9 9 9 • 9 • 9 « 9 9 9 9 9 9 9 9 9 9 9 9 9 e • 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 « 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 ^ 9 9 « • 9 9 9 9 9 9 9 9 9 9 9 9 1 9 • 9 9 9 9 9 9 9 9 9 9 • 9 9 9 9 9 ~' ~ ^ 9 ~" 9|9 9 9 9 9 9 9 9 9 9 9 (M • 9 9 9 9 9 9 91 9 9 T-H 9 9 9 9 9 9 9 9 9 • 9 • 9 9 9 • e 9 9 • « • • • • • • • • • • • • • • 9 • 9 9 • • 9 • • • • 9 • 9 9 • 9 • • 9 9 • • » 9 • e 9 9 • 9 • 9 9 • 9 • 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 e 9 9 9 9; 9 9 9 e 9 9 9 9 9 9 9 9 9 9 9 9 9 • 9 9 9 9 9 9 9 9 9 9 9 » 9 • 9 e 9 9 9 9 9 "~ 9 9 « 9 9 9 9 • 9 • 9 • 9 9 9 ~ 9 S e 9 « 9 9 9 » e 9 • 9 ® 9 9 9 9 9 9 9 9 • 9 9 9 9 « 9 9 • • « 9 9 • 9 >G • 9 » 9 • • 9 • • 9 e 9 9 « 9 • e 9 9 * 9 9 e • • 9 9 • 9 • • • • • • 9 • • - - • e e a • e • • • • |»| I I*! \»\*\ I |«| _• • • • • • • •_ a • • M» • • _• • • • • • _• •_ • • • • • • _• • • • • • • •_ • • • •_ 9_m_ ii^*^ •_•._ •_ •_•_ •_•_ .••._ _••. •_•_ •_•_ • **_ *_*_ *_*_ _• •_ •» •^•^ **_ _**_ •.•. •_• • _••_ •.•. •_•_ •_ »|»| I I*!*! 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COMPLETE THE WEAVES FROM THE ACCOMPANYING PORTIONS. • \» \ »\ I I I I I I I 11 • _•£_• __*^* _•••_• 111 ±±» :_ •! •! ±±± ^ 111 *±±±_ ^111 __•_•_•__••_•_•_ _•_• ""_•_•_•_•_•__•_• _11 *»_9_± 111^ • • • 11.1 -'—'—^-^--^—'—'—^—'—' I I II I I •! • 00 • • • • • • • • • Z • • • • • • • • • • i_ £ •_•_ • CO • • • • • • • • • • • • • • • « • • • • • • • • • • • • • f 9 CO __•_•_• Z~~ii± 1^*^* • ±± • • • r- • • • • • • • • • • • • CM • • • • • • • • • • • • •.*._ _»_± 1111 •±±± 1111 • •_*_± 1±_ _ •_ •__ •^ s^ 1±±± ±±±± • • C\J »[>[ II I I I • ± ±±»_*, • ±±± _•£ ,_ •_• •.•.__ _•_• ±*±± ± •.••. •_ • ••_ ±± •! ±±±±. ••••_ •_•_ ••• •±*_ • • • __ • • • — • • •_ • • • CO •.•••_ *±±9_ _••!• »_••• ±*.*.* ••.••_ , ±±±»_ ••±± _. •••• •••• _•••• : • • • • • • • « • 1 * • • • • • • • • • • • • - - O f • • e • • • • « • • •• • _ • •_ • •_• _••_• •±±_ •_• • •±_± _•_••_ _• •_• • • • lO • • • • • • I • • • • • • • • • • •_• •• • • •.• • • • OT) (Continued on next page). 30 28 TEXTILE DESIGN. • ■ • • • • • « o • • • ' • • • a • e • » •• • "• •• • • • e ® 6 • e • • • • » « • • • • • • • • • e • • • • » • • • • • • • • • • » • e • • • • . •• • • • • • • • • « • • • • • • • 9 • • • • • • • <» 4 15 ♦IB 17 ± j*_ •_*_»,*,_ •^•^ _•_• • e^ 8_ 2. •.• • *_*__ « « 18 • • • • • « ~ _• • • •_ _• • • _ __• • • ■ Z_* 9 * • •• • • • • • • o • • • • • m • • • • • • • 20 •_• I • •_o_ _«__e.e. *.*.— ~±9_ _®^_£._ a 9_ _»_ «_ « «e 9_ •_|j^ •_ _o •_ I • e __• __• _•• _*_±» _o ^ _2. *.*. — — • ^_*.*._ • __•_•__•__••__ »__«jS_«_ • •.^•.•.S • • • • » • • • ~ "* • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • c • • • _l» _•« *_••_ _»_±»_ L • •__•• ~ _• • ±_*± »_*_± • • •l_±^_ *__»_• ±_«* • • • • 22 23 24 • • • ^ ^ • ©•_••• ; • ••_••«! l»»^ *^» _•_• _»«^ »^^ •_• 9 e • « ; *.•*.••• _ _*.*i*.±*.* _•• 25 • • • • •• • • •• • « • • • • • • • • •• • • • • • • • • • • • • • • e • • • • • • • • • • • • • • • • • • • C ^6 _jf^± •_•_ •.•.±* •_•_ •.£._ ±^±*. i?.*.±*. • • 27 •_•_ •_ • •_2_^ 28 • • ±»_ _*_2_ 29 _ •_• • • — *.— *.B. 30 36 TEXTILE DESIGN. 29 MAKE ONE COMPLETE REPEAT OF BACH OF THESE DESIGNS. — ^ 1 I I I I I •••.•• ••••.♦. 'i'i~' ^ ••••.*.•• ••.• ¥• «■• •±* •••• • •• ••¥ •• •••••••_ ^'i~^ ••••. •••••.• »• ••.•.^••--••••. -mJ» ^ll***** •• ••©e ® • ••••••• •••¥-•- ••! ••••••• «■•"" ••••.• ••••• •'•'•"~ ••.••-• ••-i4_*±* ••••- ••••••• • -^••••- •• •••••••_ J ^ ••••_ •••••.• • ••« N _••• •• •• • "*••• • •••• • -» !• •••••• -•« — — £• ••••• •••III» •• «•• ••• • •« •» — **.— **** •. ••J~» — *• •••••••_ -^-^ — •*••. •••••.• — "««»~~ •••••• *••• -¥«¥• — _••••••• •• »••••"? • ••••••• #"» |»|»|«| I |»|«|«|>|»|«|» zzzz* • * ^•.•. • a • • • o 00 • • ¥ ~ ~~ • • ~" ■~ "■ • • • • • • • 9 9 • • • • • 9 • • • • • 9 9 9 • • • • 9 9 • • • • • • 9 9 • • • 9 9 9 • • • • • • 9 9 •' • • 9 9 • • • » 9 • 9 9 • • • • 9 • • • • • d 9 9 • • • • • 9 • • • • • • 9 9 9 • • • • 9 L_ • • • • • • • 9 9 9 ••••••• • •••• • • • • • • • • • • • e • • • • • • • • • • • • • • • • • • • • • • • e • • • • • • • • • • • • • • • • • • • • 9 • • « • • » • • • • • « • « • • • • • • • • • • • • • • • • • • • • • • • • • • • • _« • • •.±£ • • _±*.* • •_ • • ±*_± 9_± • • • • • _• • • • • •_ _•_ • ;_ • • • • CM • • • •• 9 « 99 9 9 • 9 99 9 9 9 • • 9 9 9 • 9 9 9 9 • • • • 9 • • 9 9 9 • 9 999 9 • • 9 99 9 9 9 9 9 9 9 9 9 9 9* 9 9 9 9 9 9 9 9 9 9 9 99 9 9 9 9 • 9 9 9 9 9 9 91 9 9 9 9 9 9 99 9 9 9 9 9 99 9 9 9 9 9 9 9 • • 9 99 9 9 • 9 99 9 9 ' • 9 9 9 9 9 9 « • • ■ • • • • • • • • • • • • •« • « « « ) 9 • • • • • • • •• • • • ••ft* » • • • < » • • • 4 1 • • • CO • • • e • • « • • • • • • • • •• • ••« » • • 4 » • • 4 » • • • • • • • • • • • • • • • •« » • • • i • • 0) I | 9| I I I I 17 _999 _9_9 _9999 • • 99_ 999 9 9_ 9_9_9999 9 9 9 9 • T e • • • • • "■ • • • • • • • • • e • • « • • • • • • • • • • • ' e • • • • • e e • • • • • • • • • • 9 • e , e • • « • • • • •j • • • • • • • • • • • • • • • • • • • • • • • • « • • • • • • • • • • • • • « • • • • « • « • « • • • e • • • • • • « • o « • • • •j • CO \n (Continued on next page.) 37 30 TEXTILE DESIGN. • • • • • • • • • • • • • • • r- • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • e • e • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • o • • • • • • • • • • • • • • • • • • • • • • .. •i •j • • CO • • • •" • ^m • •_•• •_•• • _*_&• • ••__• ••_• • • • •_•.•• • _• • •_ • • ••_ •m •_•_ •_•.•. •_ _••-•_ • • ••__• •_• £•._•.• _• • •^ ±»_± • •_• •I I I |~ 14 •. •.•.^^ ♦.ji.^*. •_ •.__*^*.* m_ • •. •• • •*_•_ • • •••_ • • • d • • • • • • • • • • • • • • • • • • • * • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • o • 9 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 15 12 88 TEXTILE DESIGK. 3i COLOR EFFECTS. Influence of Color on Weaves, or the Application of Color to Fabrics. The great variety of patterns produced in all lines of fabrics, are many of them made on the same weave, the change in the pattern being obtained in the arrangement of the colors in the warp and filling. To understand how this change is made, it is only necessary to bear iii mind that where warp is raised that color will appear, and where filling is on the surface that color will appear. These changes are called color effects, and the simplest form which can be de- ^ ^ I I I I signed is the common hair-line, which shows in POC — the pattern one thread of a light color and one B .B J -LLJJ thread of a dark color, running lengthwise of the ^^' ' fabric. It is made on the plain weave. By care- ful study the method will be learned quickly, so that any number of effects can be produced. These color effects are made to get an idea of the appearance after weaving of any arrangement of colors on a certain weave, in making these color patterns, decide what weave is to be used. To commence, we will use the plain weave. Fig. 46. Next indi- cate the weave on the design paper by a small dot or faint mark. Fig. 47, which will serve as a guide which thread must II 11 • • • • mi • • • • • • w • • • • u • • • • Fiff. 47. Fig. 48. be raised. Then indicate at the top, and right-hand side of the design, the arrangement of colors (see Fig. 47) which we will assume to be one thread red and one thread green in the warp, and one thread green and one thread red in the filling. After having indicated the weave and the arrangement of colors, the next operation is to mark where the warp is raised as indicated 80 32 TEXTILE DESIGN. by a small dot, the mark or square to be filled with such color as indicated by the color on the top of design as shown in Fig. 48. When this has been done, mark every filling pick as indicated by the squares being left blank, which indicates the warp down, with such color as represented on right-hand side of design, Fig. 49. This pattern in color is called " The Hair-line." The simplest change from this hair-line pattern is to produce the line effect across or in the width of the fabric ; this effect is made on ■ Fig. 49. Fio-. 50. the same weave and arrangement of color in the warp, the only change being in the filling, which is one of red and one of green (see Fig. 50). The chief characteristic of such hair-lines and stripes, is that each color must cover its own or like color, that is, if red warp is down a red filling must cover it. These color effects ai-e the most important in designs for dress goods and in cotton, woolen and silk fabrics. Constant practice in making them will be of great assistance to the student, as an excellent experience will be obtained in regard to the vari- ous effects,- and by the use of several colors the effect as in the cloth will be obtained. Explanation of Fig. Jf/. The design is 8 threads by 8 picks, all plain or cotton weave. The small dots indicate which warp threads must be on the surface, the marks on the top indicate the color of such threads in the warp which must appear on the sur- face of the fabric. In this instance we will suppose the warp is dressed 1 thread black and 1 thread white all the way across. The marks on the right-hand side of Fig. 47 indicate the color of the weft or filling which must appear on the surface of the fabric. Explanation of Fig. J}-8. Fig. 48 is like Fig. 47, with the warp threads lifted, squares filled out, showing the colors wliich are on 40 TEXTILE DESIGN. 33 the surface. In Mg. 47, the first thread and first pick is repie- sented by El which indicates such thread to be lifted, and in Fig. 48 the corresponding square is filled up black, which is the color on the surface of the fabric, the 2nd thread and 1st pick is represented by D , which indicates such thread to be down, and would be covered by the filling and the surface of the cloth, would be the color of the filling. The second pick: the 1st thread is represented as down □ , this would be covered by the filling ; the second thread on second pick is represented by □ , which indicates the thread to be on the suiface. ^^' * The color mark over the second thread in Figs. 47 and 48 is white, therefore, white will be on the surface of the cloth. Explanation of Fig. ^9. This is like Figs. 47 and 48, but interwoven with the filling as shown at the rightdiand side. Detail : 1st pick white : under black and over white alternately. 2nd pick black: over black and under white alternately. 3rd pick like the 1st, 4th pick like the 2nd, and so on, thus forming the " Hair-line " pattern, one dark line and one light line down the cloth. In the hair-line design black covers black and white covers white. Explanation of Fig. 50. The particulars for tlie warp colors and weave are identical with Figs. 47, 48 and 49, but the inter- weaving of the* filling is important. The first pick is black in place of white. The second pick is white in place of black, or black covers white and white covers black, thus making the dark line across the fabric as shown in Fig. 50. Explanation of Fig. 51. This shows the effect of the plain weave, warp solid black, filling solid white. Fig. 52 is an example of the plain weave on 8 threads and 8 picks, arranged in the following manner: ' 4 threads and 4 picks, plain weave 1st section J 1 4 threads i 4 » .^ i u » u \ L 8 1 ' 41 34 TEXTILE DESIGN. ! 4 threads and 4 picks, plain weave 2nd section! 1 4 threads ■ 4 ^^ " ^ " « " 1 Explanation: 1st section consists of 4 threads, 8 jDicks high divided into two parts, 4 threads and 4 picks regular plain weave 1st pick — 4 threads, 1st up, 2nd down, 3rd up, 4th down. 2nd " — 4 " 1st down, 2nd up, 3rd down, 4th up. 3rd " — 4 " 1st up, 2nd down, 3rd up, 4th down. 4th " — 4 " 1st down, 2nd up, 3rd down, 4th up. This is the first part of 1st section. See the first 4 threads and picks 1 to 4 and picks A to D, Fig. 52. " M • • • • G • • • 9 F • • • • t • • • • D • • • • C • • • • B • • • • A • • • • 12 3456 78 Fig. 52. Fig. 53. Second part of 1st section reads, 4 threads and 4 picks, plain weave, commencing with the second thread of the plain weave, which will read on the design paper: ''5th pick 4 threads 1st down, 2nd up, 3rd down, 4th up. Gth "4 " 1st up, 2nd down, 3rd up, 4th down. 7th " 4 " 1st down, 2nd up, 3rd down, 4th vip. •' 4 " 1st up, 2nd down, 3rd up, 4th down. Threads 1 to 4 and picks E, F, G, H. This 1st section 4 threads | [8 th See Fig. 52. completes the first section, 4 threads and 8 picks. Now take the second section of 4 threads, Nos. 5, 6, 7 and 8, in Fig. 52. First. part reads 4 threads and 4 picks, plain weave, commencing with the second thread of the plain weave, which will read on the design paper : 42 > i H S -] & K H TEXTILE DESIGN. 35 1st pick — 5th thread down, 6th up, 7th down, 8th up. 2nd " — 5th " up, 6th down, 7th up, 8th down. . 3rd " — 5th " down, 6th up, 7th down, 8th up. 4th " — 5th. " up, 6th down, 7th up, 8th down. Second part of section 2 reads 4 threads and 4 picks, plain weave, which reads on the design paper : 5th pick — 5th thread up, 6th down, 7th up, 8tli down. 6th ." — 5th " down, 6th up, 7th down, 8th up. 7th " — 5th " up, 6th down, 7th up, 8th down. 8th " — 5th " down, 6th up, 7th down, 8th up. Fig. 53 is the same weaving plan as given in Fig. 52. The warp is dressed 1 black and 1 white. The filling is interwoven 1 white and 1 black. B ■ BB ; 8 BBBB m B ■ ■ ■ fl ■ I ■ ■ 1 ■ ■BBI ■■■ 1 ■ flU ■ D B BD B BQ D B B □ ■ ■ B BQB BUB BBBHB man bqb bqb hb n Q D ■ D S ° ■„ BUB BUB BGBBIB BOB BUB ana ■■■ □ D D B a a a m BDB BOB BCJBflBB Fie. 54. Fiff. 55. Fig. 54. The design is on 8 threads and 8 picks all plain weave. The warp is dressed 1 black, 1 white, 1 black, 2 white, 1 black, 1 white, 1 black; = 8 threads. The filling is interwoven, 1 white, 1 black, 1 white, 2 black, 1 white, 1 black, 1 white ; = 8 picks. Fig. 55. This design is shown on 12 threads and 12 picks, all plain weave. The warp is dressed 1 black, 2 white, 2 black, 2 white, 2 black, 2 white, 1 black; = 12 threads. The filling is interwoven, 1 white, 2 black, 2 white, 2 black, 2 white, 2 black, 1 white ; =: 12 picks. 36 TEXTILE DESIGN. EXERCISES FOR PRACTICE. All on the Plain Weave. 1 Red 1 Black 1 Red 1 Black 16 Threads. 16 Threads. 3. 1 White c ixri -^ 1^20 Threads. 2 White [ 1 Black J 2 White 1 Black 12 Threads. 2 Black j 16 Threads. 2 Green J 1 Black 2 Red 1 Red 1 Black 1 Black 1 White 1 Black 2 White 2 White 1 Black 2 Black 2 Green 16 Picks. 16 Picks. 20 Picks. 12 Picks. 16 Picks. EXERCISES FOR PRACTICE. Sketch on point paper the effect produced by the following weaves and colorings. • • _• •_ • • _ • i WEAVE. (1) (2) same as (1) (3) same as (1) (4) same as (1) (5) same as (1) (6) WARP. • • • • • • • • • • •• Color Groun iJ}- Color— 2 ) ^^ Ground — 2.) Color— 2 ( ^^ Ground — 2 j Color— 4 ) _^ Ground — 4 ) Color— 2 2). Ground— 1 3 J ~^ Color Ground -t\=^ as warp as warp as warp as wai'p Color- 13 Groun d— 4 . f — * as warp 44 TEXTILE DESIGN. 37 • •_• • •• • •_! • • • •__ • •_• •_ • • •• • • • • (7) (8) same as (6) (9) •• • • •_• ••_ Ground — 2 I- Color— 1 1 Ground — 2 . =4 Ground— 2 2 \ _, Color— 4 . / ~*^ as warj) Color Groun nd— 1 . i —^ Ground — 3 1 \ q Color— 4 .j— ® (10) I I CI* ! * • •• _•• • _I] • •• ■ _ • • • • • • Ground — 1 ^ No. 1 Color— 1 > =4 No. 2 Color— 2 ) as warp (11) same as (10) (12) same as (10) (13) same as (10) (14) same as (10) (15) same as (10) (16) same as (10) (17) same as (10) (18) same as (10) (19) (20) same as (19) (21) same as (19) (22) same as (19) • • • • • • • • Ground — 1 1 1 _/ Color— 2 . i —^ Ground — 3 \ ^ Color— 3 i ~" Ground — 3 \ Color— 3 =6 Ground- Color — :'}- Ground — . 1 \ q Color— 'l.\ Ground— 1 1 32 |^_.<, Color— 113.$ —^^ Ground — . 1 3 Color— 1 1 . Ground — 2 1 ( (, Color— 1 2 No. 1 Color- No. 2 Ground- w as warp Color— 3 Groiind — 3 md— 1 \ r— 1/ Ground — 1 Color- Ground — 1 Color— 1 Ground — . 3 \ „ Color— 2 1 i —'^ Ground— 1 3 3\_i„ Color— 1 3 1 J ~^^ Ground — Color — as warp .>)- =16 No. 2 Ground— All 4 times twice No. 1 Color — No. 2 ^' No. 3 Ground- 1112 2; 1 1 1 2 2 > =24 22222) No. 3 Ground— All No. 1 Color— 11122 No. 2 " — 11122 No. 3 Ground— 22 22 2 =24 No. 2 Color— 1 1 No. 3 Groun d— 2 . / —^ No. 1 Color— 2 2 \ _j No. 2 Ground- 22) -13r No. 1 Color— .41 No. 2Ground— 13 j 45 88 TEXTILE DESIGN. ••♦ • ••_ _• • • • •• • • • • • • (23) (24) same as (23) (25) same as (23) (26) plain (27) same as (26) (28) same as (26) (29) same as (26) WARP. No. 1 Color— 1 2 . . 2 No. 2 " 1.11. No. 3 Ground— 1 12 21 4 times _„. No, 1 Color— l\_o ~^* No. 3 Grouud— 2 J ~ ^ No. 1 Color— 1 3 No. 2 Ground J Ih^^ No. 1 Color— 2 No. 2 Ground — 1 =3 6 times 4 times No. 1 Color— . 1 1 3 \ _-, ^ No. 1 Color— .131) No. 2 Ground— 1 1 3 2 j ~^-^ No. 2 Ground-13 3. j ^ Ground— 11 111 No. 1 Color 3.11 4 times 4 times =40 Ground — No. 1 Color- 1 111- 1 l.J- 20 4 times 4 times Ground — No. 1 Color- Ground — No. 1 Color 1^11-5 -11./-^ 11 111 2 . 12 3 times twice =24 Sketch on point paper the effects produced by weaves 30 and 31 warped and picked 1 color 1 ground "2 • •_•_♦._•_••_•_•_ •I*ZZ*Z»Z**I»Z*ZZZ _• •_»_•_••_•_•_• • •_•_•_• •_•_•_ •_•_•_• •_•_•_• Z»Z*Z*Z1ZI*I«Z*Z** •_•_•_« •_•_•_••_ _•_•_• •_•_•_• • •_•_• •_•_•_•_*•_ _•_• •_•_•_•_•_•• • • • • •~t» • • e S • ^ ^ 9 • ■ • 9 • • • • • ' ' « • • • • • • e • • • e • • • • • • • • • • • • • • • • • ^ 30 31 TEXTILE DESIGN. 39 Fig. 56. V Design from a written formula. Suppose a design is re- quired similar to Fig. 56. The first question is; liow many threads and picks are neces- sary to form the full design ? Second ; how many threads and picks are necessary for the large body square at the lower left-hand corner ? Third ; how many threads and picks are necessary for the small border squares ? Fourth ; what weave will be the most suitable for the re- quired fabric ? A design should never be made without taking into consideration the re- quirements of each opera- tion and the effect to be produced. In the main body square of Fig. 56 the twill is running at an angle of .45°, and in the small squares the twill is running to the right and left in alternate squares. We wdll make our first design on 24 threads X 24 picks in one repeat of the design. First. Mark off design paper to the required di- mensions. Second. How many threads and picks are necessary for the large body square A at the left-hand lower corner? In this instance 18 X 18 are required. Mark off the design paper to the required number of threads and picks (See Fig. 58). Third. How many threads and picks are necessary for the Fiar. 57. 47 40 TEXTILE DESIGN. small border squares B and C ? In this case we will divide the border into four parts of 6 threads X 6 picks each way (See Fig. 59). Fourth. On examination of the skeleton design of Fig. 59, we y ^ notice that it can be divided into four sections, 1, 2, 3, 4, as shown in Fig. 60. Fifth. Decide what weaves will be most suit- able for the required fabric. This design Fig. 56 shows a fine twill or diagonal, therefore we will use the 3-harness twill, filling flush ig to right and which we will call class weave " Bl," also the 3-harness twill, warp flush -^j to left, and which we will call class weave " B2." Now to construct the design from a written formula or problem. PROBLEM. Dress Goods Design. 24 threads and 24 picks. Section 1. 6 tlireads X 18 picks Bl. See first section Fig. 60, 61 6 " 6 " B2. ■— I — I — I — I — I — I — I — I — I — I — I — I — I — I — I — 1 1 Fig. 58. Section 2. 6 i( 24 u Bl. See second " Section 3. 6 11 18 '< Bl. See third " 6 (1 6 (( B2. 24 Section 4. 6 i( ■6 u B2. See fourth " 6 ( 1 6 1( Bl. 6 (t 6 (( B2. 6 (> -6 1( Bl. (( U 1( (( u u <( u u 24 Harness, Heddles and Eyes or Mails. At this point the student should begin to examine into the practical carrying out of his designs at the loom. The first step in this direction is to deal with the arrangement of the warp threads in the heddles on 48 TEXTILE DESIGN. 41 Z -A tl tl tl tl V Fiff. 59. the harnesses, or, as it is termed, "warping and dressing;" and the next will be the method of actuating the harnesses by means of a chain, or order to produce the required pattern. In this, as in all other work, there must be some recognized means of con- yeying or indicating the order in which the threads must be drawn through the* harness. When the weaver is standing in front of the loom, Avhether hand or power, the harnesses are in front of him, as in Fig. 62, which represents a common hand loom, such as is adapted for j^l^in weaving. It consists of four wooden posts framed together at the top by two long cross pieces. The two long pieces C C are called the capes of the loom. Between the two pairs of posts, forming, the ends of the loom, are placed two cylindrical beams ; the beam A being the warp beam, upon which the warp is wound, and B the cloth beam, upon which the cloth is wound as it is woven. The warp threads are placed parallel to each other, as I 2 3 Fig. 60. Y before described, and are carried from the waip beam A and attached to the cloth beam B. This is done by threading the 49 42 TEXTILE DESIGN. knotted ends of the threads upon a small rod, and wedging it into the slot or groove formed in the beam for that purpose, as shown at X in Fig. 63. In order to keep the threads in their relative positions and parallel to each other, two rods D D are inserted between the warp threads in such a manner that each thread passes over one 'of the rods and under the other alternately, as shown. Thus a cross or leese is formed by the threads between the two rods, which not only keeps the threads in proper order, but enables the . weaver to detect with ease the proper position of any broken thread that he may have to repair. This arrangement of the threads is formed during the process of warping or warp dress- ing and slashing. After the warp has passed the leese it is then passed through the lieddles, as shown at H in Figs. 62 and 63. The heddles are composed of a num- ber of threads or wires threaded between laths or harness shafts. Each wire or thread has a loop in the middle, or, instead, an eye called a mail or heddle eye is threaded upon it, through which the warp thread passes. There are two heddles shown at H H, one of which receives every alternate thread of the warp, and the other receives the remainder. Consequently, if either of them be raised, it will also raise the warp threads which have been threaded through the heddle eye or mails. The arrangement of the warp threads, and the various parts of the loom which operate them may be best understood by referring to Fig. 64, which is a diagram showing each warp thread separately. In Fig. 64 the harness shafts are ,shown connected and balanced by cords passing over pulleys, P P, and the lower part oa TEXTILE DESIGN. 43 attaclied to the treadles T. The right treadle is shown depressed, consequently it raises the other treadle and the harness. Thus Fig. 62. half of the warp can be alternately raised for the passage of tlie shuttle. The warp is kept in tension by means of weights connected Fig. 63. to a rope passing once or twice round the warp beam. The cloth beam is provided with a ratchet wheel and pawl M, also with a handle Z, for winding on the cloth as it is woven. In Fig. 64 only one each of the leeses is shown, but as 91 44 TEXTILE DESIGIS". there must be one to each pair of warp threads, the required number must be provided for. -Thus, if there are five hundred threads per inch in the width of the cloth, there must be 250 leeses per inch in the warp, or 250 threads per inch on each harness. But as the heddles are composed of material much Fig. 64. thicker than the warp threads, they necessarily take up more room, and could not be placed upon one pair of harnesses in weaving fine warps. In such cases more harnesses are used, each having its share of the threads, and half of them are raised at once so as to raise one-half of the warp threads. 1? — •1 • • r « p - • • • • • It • • • • • • in • • • • • • • 9 • • • • • • • • fl • • • • • • • 7 • • • • • • • B • • • • • • • • 5 • • • • • • • 4 • • • • • • • 3 • • • • • • • • ? • • o • • • 1 • • • • e • • • 1 2 3 4567 8 91011 1213 14 15 16 17 IB 19 20 21 222324 Problem 1 of the Ex- amination Paper carried out to its full extent, called one repeat of tlie design. 52 TEXTILE DESIGN. PART 11. ACTUATING THE HARNESSES. Drafting and Reduction. This is an important part of designing, and necessary for the production of extended patterns (Dn a limited number of harnesses. Although presenting no great difficulty to those wishing to understand the operation, yet it is surprising that so much igno- rance exists in reference to it, •even by those conversant with other aspects of the art of weaving. In the design for the pattern, drafting deals with 2 or more threads which are found to be alwaj^s working alike, that is, always up and always down together, throughout the weaving operation. This unites them in one motion or harness, instead of ^ employing separate harnesses for each 3 individual thread. By this means [ . a great variety of effects may be -p^^^ gg obtained, and large patterns produced in looms having the simplest appliances. Especially is this the case in the weaving of stripes, in looms capable of allowing only a limited number of harnesses, and with only one shuttle. But for the production of checks and stripes requiring a large number of picks and threads before the pattern repeats, the Dobby head or an equivalent motion is necessary. For this reason, although a design may be drafted so as to employ but few harnesses, yet the number of picks cannot be reduced, but must be fully carried out to the extent of the design. For the purpose of representing the harnesses, draw hori- zontal lines after the manner of Fig. 65, and then adopt a system of indicating the warp threads. A good, neat method is shown in Fig. 66. Here the horizonJ:al lines represent the harness shafts, and the vertical lines the warp threads. The point at which the 55 46 TEXTILE DESIGN. vertical line stops indicates the hecldle through which the warp thread is drawn. This form indicates at a glance the order of the draft. Another method is shown in Fig. 67, but as will be pres- ently shown, this is not as convenient, and it is better to employ this manner of marking for another purpose. A third form (see Fig. 68) employs numbers instead of the vertical lines ; this form is commonly used, and is very con- - venient. A still more convenient _ method is to use design paper ; this will be resorted to later on, but, for the beginner, it is better to work on the plan shown in Fig. Q6. When he has thoroughly mastered the sys- tem of drafting, he can resort to whatever method he finds most convenient. Let us turn to the actuating of the harnesses to produce the design. It will be most readily dealt with by following the method employed by hand-loom weavers, as this will enable the question of drafting and the actuating of the harnesses to be con- sidered at the same time. Suppose a plain cloth is to be woven. Where every alternate thread is alike, as explained under the head of plain cloth, there would be only 2 harnesses required, one to actuate the first, third, fifth, etc., and the other to actuate the second, fourth, sixth, etc., threads. Fig. 66. Fig. 67. -i Fig. 68. The draft and treading plan as made for the hand-loom weaver is shown in Fig. 69. The horizontal lines represent the harnesses ; the vertical lines at the left the warp threads ; the vertical lines at the right the hand-loom" treadles ; the cross at each intersection indicates the harness to be raised by the treadle ; and the numbers upon the vertical lines at the right indicate the order in which the treadles are to be depressed. In this case the weaver depresses his right foot for the first pick, his left for the 56 TEXTILE DESIGN. 47 Fig. 69. second, and so on. For a plain cloth this is exceedingly simple, more especially when only 2 harnesses are employed, but some- times 4 or more are used; It will be well to examine the di'afts for the use of 4 ^ or more harnesses, as it will be the simplest means of making the subject clear and preparing • the way for more advanced work. Let us turn to Figs. 70 and 7 1 . They are both plans for weaving plain cloth upon 4 harnesses, the first by what, is known as the straight draft-, and the second by a cross draft. This means that in the first case the warp threads are drawn through each of the heddles consecutively, and in the other that they are crossed from the first to the third and second to fourth. Now, if the threads are to be raised alternately, the harnesses carrymg the alternate threads must be raised at the same time, no matter what position they occupy in the series. This first portion must be thoroughly understood. The student must accustom himself to following the threads, and actuating the harnesses which carry them in exactly the order required. Fig. 70. Fig. 71. In Fig. 70, treadle No. 1 is attached to the first and third harnesses, always counting from front to back or fi-om that nearest you. These 2 harnesses carry between them alternate threads. Treadle No. 2 is attached to the second and fourth harnesses and actuates the threads not touched by No. 1 ; consequently by depressing the treadles alternately, plain cloth will result. In Fig. 71, the first and second harnesses are attached to No. 1 treadle, and the third and fourth to No. 2 ; the reason for this 57 48 TEXTILE DESIGN. will be apparent on examining the draft, for the first and second harnesses in this case carry the threads corresponding to those carried by the first and third in Fig. 70, so that the result will be the same. An explanation must be made here to those who have some knowledge of power looms. The system of attaching jacks and vibrators of the harnesses in power looms is different from attach- ing the treadles in the hand loom. .Thus, in making the plans, it would appear at first sight that the process in one case is exactly the reverse of that of the other. In the power ' loom there is a separate jack and vibrator attached to each harness, while in the hand loom each treadle is attached to as many har- - _J ~ , _J 1-' {' ■ '^ , ^ ,1 Fig. 72. Fig. 73. nesses as are required to be raised or depressed at once. The difference is : the hand-loom weaver depresses one treadle only for one pick, whereas the power loom depresses as many jacks or vibrators as there are harnesses to be acted upon. Thus the hand- loom treadle represents one pick of filling or one horizontal line of the design. This apparent confusion is overcome by reading horizontal for vertical, and vice versa. This, however, will be more fully explained later. Now leaving the plain cloth drafting, let us consider twilled fabrics. What is known as the 3-harness or prunella twill is dealt with in the same manner as the plain weave, hut 3 har- nesses or sometimes 6 are employed instead of 2, thus simply doubling the number, as has been shown in the plain weave. In working 4-harness twills the same principles apply, but there is a little more complication of detail. Take first the ordinary 4-harness twill ; suppose we wish 3 to work with the draft given in Figs. 70 and 71, because it is &8 TEXTILE DESIGN. 49 1 I2j3|4|5|e!7|8l - H ■ G I i - F 1 E I ■ D C 1 1 B 1 I A 1 1 2 3 454 3 2 quite clear tllat as there are only 4 threads in the design it can be woven on 4 harnesses. We must now look to the order of treading, or building the harness chain, as it is termed, or raising the harnesses. To follow out the principle explained in connec- tion with Figs. 70 and 71 it would be necessary to raise the harnesses in the order shown in Figs. 72 and 73. It is necessary, to follow each thread, and ascertain whether or not they follow in the order required. Having reduced the design to the least number of requisite harnesses, the working plan or chain is found by taking the con- secutive numbers from No. 1 to the highest figure shown beneath the design and placing them side by side in their order, according ^^S- '^4. to the requirements of the design, so that they shall read 1, 2, 3, 4, 5, 6, 7, 8 and so on. This will be seen in Fig. 74, which is given to show the principle of drafting and reduction in its sim- plest form. It is, however, the same as applied to the more elaborate patterns. The numbers beneath the design are used for the purpose of obtaining those threads that are working alike, and also to obtain the nature and extent of the draft. Fig. 75 shows the drafting or the threads drawn through the harnesses, as taken from the design, and the numbers beneath correspond with those found under the design. The horizontal lines represent the harnesses, and the vertical lines represent the threads. Fig. 74 represents a diamond pattern of which the design stands upon 8 threads. See numbers on top. Begin at the bottom at the left-hand corner, and note the dotted spaces of each thread, which means their manner of working, from the bottom to the top. When 2 or more threads are marked exactly alike, the same number at the bottom represents all of that kind. Thus the 1st thread is marked No. 1, and, of course, will require one harness to work it ; the 2d thread is working differently from the 1st, and will require another harness, marked No. 2 ; the 3d, 4th and 5th threads are also different from any of the others, and so will require different harnesses for each. They are marked Nos. 69 50 TEXTILE DESIGN. 3, 4 and 5. The 6tli thread is marked 4 because it is working like the preceding thread marked 4, the 7th thread is marked 3 because it is like the preceding thread marked 3 ; and the 8th thread is marked 2 for the reason that it is working like the first thread marked 2. The numbers under the design now read 1, 2, 3, 4, 5, 4, 3, 2 ; therefore the highest number is 5, wliich means that the design requires 5 harnesses to weave it. What- 1 2 $ 4 5 6 7 d • • • 3 • • 1 • • \ • 1 2 5 4 5 4 3 ^ ■■"■■ Fig. 75. Fig. 76. ever the highest number may be, it represents the number of haniesses required. In this instance five parallel lines are drawn for the harnesses and marked up the side 1, 2, 3, 4, 5. Now pro- ceed to draw vertical lines to represent the threads drawn through the harnesses, indicated by tlie numbers under the design, and \ 2 3kl5 6 7 8l9llOllllJ2ll3ll4ll5ll6ll7il8II9l20IZ122123l24l - D jV -k 1 1 ^ 1 ^ ^H H^ ^ 1 1^ 1 ^ ^H ^ C ■p B ^y 1 :■; V :il! Jl!ill!£ m 3 41 2 3 41^6 7 8 567 sis 10 1112 3 lonizl Fig. 77. just in the order in which they stand. No. 1 is drawn upon the first harness, No. 2 upon the second, No. 3 upon the third. No. 4 upon the fourth, No. 5 upon the fifth, No. 6 again upon the fourth, No. 7 upon the third, and No. 8 upon the second. (See Fig. 75.) Having finished the draft, the next proceeding is to obtain the working plan or chain, which is a reduction of the design, so far as the threads are concerned. In this case the consecutive num- bers from 1 to 5 are found together, so that the only requirement is to copy exactly the first 5 threads of the design as they stand, as shown in Fig. 76. 60 TEXTILE DESIGN. 51 The next examples comprise mixed weaves and are of a more extended and practical character. For the purpose of gaining the working plan from them, use the consecutive numbers from No. 1 to the highest. These are not all together as in Fig. 74. r 1 3 4 5 6 7 $ 5 10 II 12 13 14|I5|1G 17 18 19 1 21 22 23 ^ - 2 ■ 1 f ■ II _■ 9 1 ■ {J 1 H 7 ■ ' |i -■ 1 1 4 ■ 1 ( 3 1 ■ 1 _■ ■< 1 1 r 1 1 3 4 i 2 3 1 5 6 7 8 5 6 7 8 9 10 11 12 3 10 11 12 Fig. 78. Fig. 77 consists of 2.4 threads and 4 picks, and is made up of three different weaves. Each weave is repeated, so that the first four numbers under each different weave must be taken for the working plan or chain, which gives the numbers consecutively, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12. Fig. 78 represents the Draw- ing Draft. This design requires 12 harnesses to weave it. (See the chain draft of Fig. 79.) There is another consideration in reference to drafting which ought to" be understood, and that is, that frequently the full df.^sign is not given, only the draft and work- ing plan, so that the weave intended to be produced is not always intel- ligible. Many designers adopt this method for tlie purpose of economiz- ing time, and in practical work in the mill it may be recommended, not only for concealment, but because the draft and working plans are all that are necessary for the pattern weaver, chain builder or loom fixer. In order to obtain the full design from the reduced working plan and drawing-in draft, reverse the metliod adopted in the previous examples and follow the draft and chain in the same manner as with the design when making a reduction. Number D " ■r ^■~HA C |l 1 O z — 1 B ^ t f'= :IIU 1|2 3 4l5 6 7 8 910ni2 Fig. 79. 61 52 TEXTILE DESIGN. the threads consecutively at the top of the drawing-iii draft, so that the place for each particular thread in the extended design will be indicated. A simple illustration will explain this. In this pattern (see chain draft, Fig. 80), 6 harnesses are required, r E D - i ■ — 1 i 1 - - c B 5 I^^H ~j III23 4 5^ bl _ 1 2 5 4I5I6I7 8 9II0I11IJ2 1 ■ — I r i - II a "■ 1 .■ IL ■ jjj L 1 1 2 3 A 5 li 3 2|: 6 5 i Fig. 80. Fig. 81. on which are drawn 12 threads to complete the pattern. (See drawing draft, Fig. 81.) Thus the working plan contains 6 threads. Another method sometimes adopted shows the working chain of the design, as in Fig. 80, but has the draft indicated by figures, and not on parallel lines. For instance, take the draft for Fig. 81, the numbers for which would read 1, 2, 3, 4, 5, 6, 3, 2, 1, 6, 5, 4. To make this clear, draw as many horizontal lines as represented by the highest number, which in this case is 6 ; then number the lines consecutively, and proceed to draw the vertical lines upon them according to the numbering of the threads. This gives the draft as in Fig. 81. For design represented by these drafts, see Fig. 82. Examples. Reduce Figs. 83, 84 and 85 to the fewest pos- sible number of harnesses. 112 34 5 6 7 819 10 11 12 1 C ■ dX 1 c I M B lifli --Mwt iUi|| IE21? 563 2|l 65 4 Fig. 82. TWILLING. Flushes. Diagonal twills or cords that run obliquely across the cloth may vary in size according to the number of harnesses on which they may be drawn in consecutive order. This manner of drawing is technically termed a straight over-draw. Twills are generally named according to the number of threads that will 62 TEXTILE DESIGN. 53 complete the design. This is technically termed a repeat. Thus, weave is known as a 3-harness twill, filling flush; the weave A is called the 3-harness twill, warp flush. It may be stated here that when practicable, the smallest number of harnesses Fig. 83. Fig. 84, should be raised and the greatest number depressed in weaving special makes of cloth. In tins manner the wear and tear of the yarn is much reduced; the only objection to this, being that in a warp flush face weave, the surface of the goods is woven face down and cannot be seen by the weaver. The 4-harness twill, filling flush, is formed by the filling passing over 3 threads of warp and interweaving at the fourth ■ ►T4 ►r« ■ ►I< ►I^ ■ ►I* c< ■ ►i< ►f? ■■ ■■ ■■ ■■ .''< ■ ►T^ ►'< ■ ►I< C< ■ ►i< ►> ■ ►'< ►I* •T< ■ 7jK ►I< ■ ►!•< >*< ■ ►I< >i< ■ ■■ ■■ '-■■''■■ I ^T< ►:< ■ ►T< >!< ■ ►7" ►'< ■ ►T< ►T< ■■ ■■ ■■ ■■ •T< I *[i. ••T< ■ 7* ►I< ■ ►T4 ►r* ■ •v" 7^< ►I< ■ ►v< ►T< ■ ►r< ►i< ■ ►ji ►I-" I ■■ ■■ ■■ ■■ ■■ ■■ ■■ ■■ I ►I^ ►^ ■ ►I< ►I< ■ ►2< (•2< I ►I< *I^ ■ ►I'2 ■ ■■ ■■ ■■ ■■ ■■ ■■ ■■ ■■- >T< ■ ►loT^BC^^T^ ■■:<►:< ■ ►T< . ■■: ■■.:■■- ■■ >3< ►I^ ■C'Ov^Bi'T^ ►:<■►:< >T< ■ Fig. 86. thread. The 5-harness twill, warp flush, is formed by the fill- ing passing over only 1 thread of warp, interweaving at the second thread and passing under 4 warp threads. The 5-harness twill, filling flush, is exactly the reverse of the warp flush. Fig. 86, plain weave; Fig. 87, 3-harness twill ; Fig. 88, 4-harness 68 54 TEXTILE DESIGN. twill ; Fig. 89, 5-liarness twill; Fig. 90, 6-liarness twill. It should be understood that all marks, unless otherwise explained, are risers, and all blanks or spaces are sinkers: therefore, in Figs. 87, 88, 89, 90, the fillings predominate on the face and are called respectively 3, 4, 5 and 6 harness filling flush weaves. If the weaves had been reversed, that is, if crosses or black marks had been put in the squares which are now blank, the weaves would be warp flush weaves. We now understand a regular twill to run in small diagonal lines, bars or cords, at an angle of 45 degrees or obliquely across the fabric. It may be a filling flush, warp flush, or an even-balanced twill, according to the weave used. WMM B&^ m m Fig. 86. Fig. 87. Fig. 88. Fig. 89. Fig. 90. When the consecutive lifting of the harnesses or scheme of successive interlacing with filling is changed, so as to raise the. harnesses at intervals of 1, 2, 3 or more from each other, the twill or diagonal stripe is said to be broken, and it will be observed that the flushing does not run at an angle of 45 degrees, but is broken according to the intervals of interlacing and the disposition of the harnesses. We must now consider this broken effect as compared with the regular disposition of the harnesses running in consecutive order. When the harnesses can be raised regularly, at intervals of 2, 3 or more from each other, the weave is said to be a Sateen of a perfect order ; but if the intervals cannot be so arranged, or the weave will not admit of this regular intermission, then the weave is not a true sateen, although we find many of these imper- fect weaves forming the groundwork of many fabrics. The smallest number of threads that can be arranged to make a true sateen is the 5-harness twill, the arrangement of which is 1, 3, 5, 2, 4. Six harnesses do not admit of such a dis- position. The 7-harness twill is perfect, admitting an interval of 64 TEXTILE DESIGN. 55 1 or 2 harnesses. Eight harnesses is the lowest number used in making an evenly numbered weave that can be transformed into a true sateen. By experimenting we find that by an interval of 2 we have a most perfect sateen. The 9-harness twill is per- fect, each alternate harness lifting. The 10-harness twill is a good sateen, every third harness being raised. The same order of interweaving is shown by the 11-harness twill, which makes a perfect sateen. The 13-harness weave is formed by raising every third. The 15 is made by lifting every other third harness. The 16-harness sateen is made by omitting 2 or 4 threads. It may ^ ^^^^ BS"' iB"= Fig. 91. Fig. 92. Fig. 93. Fifj. 94. be remarked here that all twills of an uneven number, except the 3-harness twill, will produce perfect sateen arrangements. With the even numbers imperfections are often found. The pre- ceding remarks apply either to the filling or warp flush weaves, where 1 thread is either up or down and the remaining number covered either by filling or warp. Our next consideration will hQ fancy twills, or effects that are obtained by using any number of harnesses in any fixed weave. For instance, to make the 4-harness twill, 1 up and 3 down, into another variety or effect, we can take 2 up and 2 down. This is called the 4-harness Cassimere or Shalloon twill. With a larger twill the flushing can be varied by interspersing the weave vdth plain texture, as, for instance, the 7-harness changed to 1 up 1 down 1 up 1 down 2 up and 1 down, and so on. Fancy Twills. Examples are here given (Figs. 91 to 100) of what are termed fancy twills, and it will be seen how an endless variety of patterns may be obtained from them. Twills that run obliquely will form the groundwork for wave effects, either in the direction of the filling, across the fabric, or in the direction of the warp, that is, with the length of the 65 56 TEXTILE DESIGN. fabric. Take, for example, the 4-harness twill, filling flush ; draw this straight over on 4 harnesses and raise the harnesses as shown in Fig. 101. By studying this wave weave, we find that it is the common 45-degree twill for 4 picks and that it then twills to the left, thus : 1, 2, 3, 4, 3, 2, which makes a zigzag or wave effect in the direction of the warp. If we use the 4-harness — twill and ^ 3 draw the threads through the harness, 1, 2, 3, 4, 3, 2 (see Fig. 102), which is the same order as given in the preceding example, Vm y 11 bw 1 1 1 1 Fig. 95. Fig. 96. Fig. 97. Fig. 98. the effect or result in the fabric is a zigzag across the piece or in the direction of the filling. Reverse Twills. In all the regular twills, as shown in Figs. 87 to 90, the filling predominates on the face of the cloth, and the warp on the back of the cloth. Take the 5-harness twill for an example ; if the warp is of one color and the filling another, as there is 1 thread up and 4 threads down, it follows that four-fifths of the filling will be on the face and one-fifth on the back, thus changing the appearance of the filling from one side of the fabric ^^^^^^.^^ ^^______P___. to the other. This is called revers- II JiU ^jtOPt ^''^-^ ^^^^ twill. It is very exten- sively applied in different branches of weaving, particularly in the cotton and linen trades. We will take for example the reversing of the 4-harness twill, and make a stripe of 12 threads warp flush and 12 threads filling flush. In this example (Fig. 103) we notice that it takes 4 extra harnesses, that is, 4 harness for the filling flush and 4 harness for the warp flush weaves. Patterns of this description may be extended to any width of stripe, as they are formed and regulated Fig. 99. Fig. 100. 66 TEXTILE DESIGN. 57 entirely by the quantity of warp drawn on each set of harnesses. These examples will be sufl&cient to show the nature of reversed twill stripes, the varieties of which may be increased at pleasure by means of additional harnesses, and by varying the size of one or both stripes. The next variation of the reversed twill is to form on the same stripe, the warp flush and filling flush effect alternately. (Fig. 104.) We find that there are 12 picks filling flush weave and 12 picks warp flush weave. We will now go a little farther with these examples, combining the two systems so as to make a checker or dice board effect. In making designs of this character, attention should be drawn to the divisions of the two weaves. Where they —" ~~ ~" ~ "" ■"■ "" - -^. ■ 4. ifll «_s 3 ■ "L 1 k 1b 1 1 1 1 IS _ 111 Fig. 101. Iffl unite, the line must be distinctly defined, that is, to make them uifite in a perfect cut. This will be better understood by referring to Fig, 104, at the extreme sides of which, top and bottom, it will be found that the raising marks of Fisc. 102. I I I I I I M r ■ Fig. 103. one division fall exactly on the sinking marks of the other com- partment. This figure represents a perfect cut. DIAPER WORK AND POINT DRAWS. Damask. From what has been said in regard to fancy twills, 67 58 TEXTILE DESIGN. and from examples that have been worked out, it will not be difficult to understand the drafting of the cloth known as Damask. Instead of straight-over drafts, damask designs are usually woven by means of what is termed a diamond draft ; that is, a draft that runs from the front harness to the back harness and then returns to the front in the opposite order, thus forming a zigzag figure on the harness. Sometimes there are patterns of a more complex character woven on this system of drafting. This will be ex- plained under the head of double, triple and alternate diamond drafts. Fig. 104. The length or number of picks in the repeat of the design is worked out on the same principle as the draft for the warp. (See Fig. 105.) Whatever variety, therefore, is adopted for the ground work or plan, according to the foregoing explanations, the result of the extended pattern will be nearly double the number of ' ' . • « • & « • 6 • • • • o • 7 y • « « • • • 6 6 e • • • • b 5 ® • • a • 9 4 4 e o e o • 5 3 ® o • • • • i. 1 e • e • • J A 7 6 5 4 3 1 1 7 6 5 4 3 2 Fig. 105. ends in the warp. The additional threads and formation of twill will be in direct opposition to the original ground plan. As the filling is also carried out on the same principle as the warp, the design is nearly doubled by the picks, the resulting design or twill §8 TEXTILE DESIGN. 59 being run in the opposite direction. Thus a square or diamond figure is commonly produced. It must be particularly noticed tliat there is only one thread drawn on tlie first and last harness, and that the filling returns on the same scheme, so the whole design will be nearly four times the original figure. •Fio^. 106. Fig. 107. The. smaller weaves of this kind produce only a limited number of figures, generally a small diamond with a dot in the center, which gives the resemblance of an eye ; hence this variety of design is called a Bird's-eye. But when we use 8 harnesses or more, they admit of considerable diversity in flushmg, twilling and the addition of plain texture, thus deviating from the formal y_ 4 4 4- 4 4 _ 1 I 3 i 3 J 3 B 2 2 2 2^2 III III Fig. 108. DOUBLE DRAFT. Bird's-eye. The design now assumes the appearance of damask work. Double Draft. These examples show what a great variety of figures can be woven on the damask work principle, especially those of a large ground or original figure. All of these figures are produced by the extension of the diamond draft. As the resources of fancy weaving are mexhaustible, various other changes can be effected by merely diversifying the order or suc- cession of the dtaft independently of the position of the filling. 69 60 TEXTILE DESIGN. As every extension of the draft in this manner enlarges the figure in a duplicate proportion, that is, as the square of the number of threads in one set of the draft, such patterns, when the harnesses are numerous, will occupy a considerable space on design paper. In all double drafts it should be understood that' the fillmg or picks are extended in the same order as the warp draft. 6 6 6. 5 5_5 5 4 4 4 4. _3 3 3 1_ 2 2 2 2 DOUBLE DBAFT. Fig. 109. The double draft. Figs. 108 and 109, with any system that may be adopted, always produces two square or diamond effects. These are formed one within the other, and are agam surrounded by others of the same character. Triple Drafts. Fig. 110. A triple draft enlarges the dimen- sions of these patterns still further, producing three similar designs, one within the other. These figures are generally termed concentric designs. From this example it Avill appear that any number of concentric figures may be formed by repeating the draft any number of times straight over the harnesses in one direction, and by returnmg in the opposite direction an equal number* of times. Alternate Drafts. Fig. 111. Another method of diversifying the drafts of lined work patterns is by dividing the harnesses into two sets. Take 10 harnesses, for example, which, when divided, 70 TEXTILE DESIGN. 61 should form 2 sets of 5 each. On either set we can make a diamond point, double or triple draft. This arrangement throws the group of small figures produced by each set of harnesses into alternate squares, somewhat resembling the draft-board pattern, each square again being composed of diaper or damask work. The H Fig. 110. TRIPLE DEAFT. following draft is an explanation in itself. To find the number of harnesses required for any lined work design, either from the fabric or design paper, count the threads from the center of "one figure to the center of the surrounding figure. This will give the number of harnesses. If a square be foimed of which this is a diagonal, and is repeated four times, but inverted so that any one ~ " 10 10 9 9 9 9 9 $ $ 5 7 7 7 7 6 6 6 6 6 5 5 5 5 5 4 4 4 4 $ 3 3 ^ 1 2 2 2 2 1 _ Fig. 111. ALTERNATE DRAFT. corner of the design may be a common center, and allowing ooly one thread for each of the points, both by the warp and filling it will give one complete set of the design. Damask work designs are used to considerable advantage in the linen trade, and also to some extent in cottons. This class of work makes good designs for the shawl trade, provided the warp is of one color and the filling of some darker shade of another color. 71 62 TEXTILE DESIGN. EXERCISES ON DAHASK PATTERNS. 1. Form a check from the accompanying damask stripes a h c d e f. mmmmmm^^^ • «i ••• ••• •]• E [■ 2 E • •« ••• ••• ••• ^ • ••• • g^ • • ••• ••• 9*« ^ ^E ••• •* 2-, e 8 •{• • • •• . _x • • • « y ^x • • • • E ^ ^ >< • • • • \i X X • e • • • « e • • V XX • 9 • • J^ X ^ • c • • • >^x • • ^ •j •j >< 5 TIMES • I I I [•|»|»| I I |«|*|*[ I M X l J ?3 I* ** • • •• « •.••. ^XR ••* ••• *•• ***. *_sES — ^^ *••_ _••«_ ft** •• &HS *- •£• • •• ••• ••• &E^ •*• • •~ 09« ••• g ^(^ I |»»|»| I |~|» 61 • 6 7 • « X X • • X X • • XX • © E X c 2. Make damask stripe designs on 48 ends from weaves g and li. 3. Make check designs from l^liree stripes (Question 2). 4. Make two original damask stripe and corresponding check designs. • • • •_• • _• • • • _• • !.• • • • • _•_*.* •_ _• •• •_ 9_*_ • * • • • • • • • • •••__• • • • • • • •• 72 • TEXTILE DESIGN. 63 EXERCISES FOR PRACTICE. 1. Work out the designs from the following drafts and chain plans. 2. Work out the designs obtained by using chain plan M with drafts G, H, K, L. 3. As No. 2, but with chain plan N. i_ • __• • • •_ • • • """•_ • • • • : • • •_ • "2 • • • • !]• • • • • • __• • • • • _• • • • o in • • • • • • • • • • • • • • • ' • • • • • • • • • • » • • • • • • • • • • • • • • • • • 1 a e _ • _ • • e • • • • « • • 9_ • « •. •• «• 9 • • • • • • o • • -p e I1II_« • • • * Sp * ** *« i •" • • • I^« • !•! I I !•! M l*M I I I M M M I a! j • • • o • • • • •_ ""_•• •• • • • • • • • © » © "~ . • • • • • • • • • _• " wlal I kki I w "l~ I Ul • • I !• I I •! I kl I kl 11 I U I I w' •• • • • •_ _• • • • •• • • • • •!• • • _• • _ • • • • •• _• •_ • • •• • • • • _• •_ • • • • •_ • • • B C (Continued on next page.) 73 64 TEXTILE DESIGN. I I I I I I I I I I I I le i I I i«i I I i«i I I I I I I i»i I I i» i I I l»l I I I I I I I I r • ;• • S. • • • o • • • • ^ • • • £ • • • • • • • • • • • * • • • • ~ • • • • — • • • ~ 1^ _• • •_ , • •] • • • • JZ • •I • • • •_ ; • • • • • • T~ • • • • iL • i# • • ii» • • ni I __tr • • • • * I _• _• • • • • ; •l-J I l»l M m I I l»l M •11 I •! MM IT" I I I I M I I I | I 1 I I I I I K •. •_«_ ••_ ••_ •._••_ • • • ]• "• • •^_ • • • • » • ±«_ §_•_•• • • ~r • • • • • • • • • _ • • • • _• • G « • • ~ • • 'm o ¥ ~ • • • • • • • • • • • • • • • e • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • '• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • e • • • • • • • • » • • • • « • • • • • • • • • • • • • • • • e • • • • • • • • • • • • • • • _ [•J _ • ; • • • _, • ^ • • "I • I • _• • .^ •_ • • • • • • 74 TEXTILE DESIGN. 65 • _• , •_ l_ e^l • • nz • z • • ~i •_! 33 •_ _ I] n _i~ • • p I r~ _ e ^ • , • • • • • • •__ •_ • • _• • ■_ • _. • •_ • • • ._ •, •_ • • • • • • • • • • • •_ • • • • • • • ~ • I • • ^ • ~ z •_ • • " • r • I • • '_ • ' . • I • • •__ I I I I I I 1 1 I I I I I N UJ • • ft •_ mJZ • •_\ • » • • • _• • H • • ~ • • • • • • • • • • • • • M N 75 66 TEXTILE DESIGN. EXERCISES IN DRAFTING. Reduce each of the following designs to weave on the fewest possible. number of shafts, giving draft and chain. 78 TEXTILE DESIGK. 67 EXERCISES FOR PRACTICE. Draft each of the following designs on fewest possible shafts and give chain. • • • r' • • • • N • • • • • ■ • o • • • • • • • • • • • • • • • • • • 1 • e • 1 • • • • • • • • • • i • • • • • • • • • « • • • • » • • • • e • • * • • • • • • • • • • • • • • • • • • • • » • • • • • • • • • • • • • • • • • • • • • • t • • • • • • • • • • • • • • > • • • • • • • • • • • e • • • • • • • • • e • • • • • • • • • • • • • • • • • • • • • e « • • • • • • • • • • • • • • • • i 9 • • • • • • • • • • • • • • • • • « • • • • • • • • • • • • • a • • • » • • » • • • • • e • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • e 9 • • • « • • • • • • • • e • • • e • • • • • • • • t a < • • • • • • • a • e • • • in • • • • • 9 • • o p * • • • • • 9 « • « • • • • • • • • • • • • • • • • • • • • • • • • • « • • 4 • • • • • • • • • • • • • • • • • • • • • • 1 • • • • • • * 4 • • 9 • 9 • • • • • 9 4 • 4 i • 9 • • • • • • • 4 • • • • • • • • • » « • • • • • • 9 • • * • • • • 4 • • 1 • * • • • • » • • • • • • • • • • • • 4 • • • 9 • 9 • • • • • • • • • • • • • • • • • • • « • 9 • 9 • • 4 • • 9 • • • • • • • • • 9 • • • • • • • 9 4 • » 4 • * 9 • • 9 • • * * e 4 • 4 • • • • • • • • * 4 • • 9 • • • • • * • 1 4 « • • • • > • • • • • 4 4 • » • • 4 4 • 4 • • • • 9 • » 9 • • • • • • • 9 • • • » • 4 • 9 • 9 • • • • • • • 9 • • • • • • • • 9 • 9 • • » 4 • 4 4 • • 9 • • c 4 4 • • < 9 9 9 • • c 4 4 • 9 4 9 9 • • • • • • • • • 9 • • • 4 4 4 • • 9 4 • • • t • 4 • • • 9 • * • 4 • 4 • • • 9 • • • • 4 4 • • 9 9 • • • 4 • • • • t t • • • • tt • t • 9 • • • • • • • • • t • • • • • • • 9 • • • • « 4 • 4 « 4 ■ e • • • • • • • • • • 4 4 • • 4 « 1 • • • • 4 • 4 • • • • • 4 • • • • • t • • • • • • • • • • • « • • 4 • • • • • • • . 4 • • • '• • • ~ • • • • • < • • • • • • • • • • • • • • • • • • 1 • • • • • • • • • • • • • a • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 9 • • • • • • • • • • • # • • • • • C • t • • • • • • • • • • < • • • • • • 9 • a • • • • • • • • • • % « • • • • • • • • • « • • a • • • • • • • • • • • • • • • • • < < • • • • 9 • • • « • • • • • • • • • • • • « • • • • • • • « • • • « • • • • • • • • • • • • 9 • • • a • • • • • • • ■ • • • • • • • • • • • • • • • • • ~ ■~ • • 1 ? 9 ~ 9 ~" 9 *~ s '~ 9 9 9 - " - 9 '4 • • • » » 9 9 9 9 9 9 • 9 • 9 • 9 9 9 9 9 9 • • • 9 9 • 9 • 9 9 9 9 • • 9 9 9 9 4 9 9 9 • 9 • 9 9 9 9 9 9 9 9 9 * 9 9 9 9 » • t 9 • • ■ 9 4 9 9 9 9 9 9 9 • 9 9 9 9 4 9 • 9 9 9 9 9 • 9 9 9 * 9 9 9 • 9 9 9 9 V • 9 9 9 9 9 • • 9 9 9 » • • ■ 4 9 9 • 9 • 9 9 • 9 9 » 9 1 9 9 9 9 • » 9 9 9 9 9 4 • 9 9 • • 9 9 9 9 9 9 9 • 9 • 9 • • 9 9 9 9 ■ 9 9 9 • 9 9 9 • 9 9 » • 9 • 9 4 4 9 9 • 9 • 9 9 9 9 9 9 9 • 9 4 • • • 9 9 9 9 • * 9 9 4 4 9 • 9 9 9 9 9 9 9 9 9 9 9 B 9 9 9 9 9 t 1 9 9 9 4 4 • 9 9 9 9 9 9 4 4 4 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 4 • • • • • 9 > 9 9 9 9 9 • 9 9 9 9 9 9 9 9 9 4 9 9 9 9 • • 9 9 9 ■ • • 4 9 • 9 9 • • 9 4 9 4 4 * 9 4 k 9 9 • • 9 4 9 4 4 4 ■ • 4 4 • • • • 9 4 4 4 9 4 4 4 9 • • • « 4 4 ■ * 4 4 4 4 9 • • 9 9 9 9 9 9 9 4 4 9 9 9 9 • 9 9 9 9 9 9 9 9 9 9 9 • 9 9 i 9 * 9 9 9 • » * • • • • • • t • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • ■ • • • • • • • • • a • • • 9 • 4 9 9 4 4 9 * 9 9 9 4 4 i * 9 9 4 4 9 4 9 S 68 TEXTILE DESIGN. EXERCISES FOR PRACTICE. Make draft and chain plan for each of the following designs, giving good workable drafts. /••e^__» •• •• j •• • 6_IS«_a_« I 9_9 9 » | o • a ©_ J _•• • 9. *• •.• ^ e •«•_•• •• 1 •• •• • ••_e 1 » • •• •_•_•• \ •_•»• •• i» /»• •• •••_• I »»_•_• •• •• • _•• • •• •• / •• ••_••• • A •« •• • •*•_ \ _• ••_••• • • •_•_•• •• • • \ I l»l»l ' >• • ••• " ••1 ~ ••1 *l* • 9 ~ e] 9] — 1 Ti] • « • B 9 • * • a « 9 1 •!• • 9 >c 9 9 99 ••1 • 9 • 9 • • a 9 9 9 9 • • • m 1 9 • a ela • 9 t O e 9 » o 9 «| ale a 9 9 9 » e • >.| e 9 9 • a • 9 © B 9 s • • |» e 9 » 9 9 9 e • » • •{ •I 9 • a e • »l 4)1 6 e 9 9 e 9 l« « a 9 9 e • • ^ 9 • 9 • • 9 • 91 9 9 9 9 tT • 1* 9 9 9 •1* * 9 9 9 9 • a • 9 9 C 9 i a 9 &\ e a • • e| • |e 9 9 9 f • 9 e 99 • • • 9 • 4 • e » e 9 9 • < > • • • 9 > 9 9 t 1 e 9 9 9 » O 1 9 • 9 9 9 9 9 s 1 9 • • 9 9 9 • > • a 9 9 9 • e* • »e • B 9 9 9 s • a • a 1 9 ®e 9 9 9 » • • ei »» 09 9 9 9 • « » • 9 9 9 9 9 • ' C 9 9 9 99 1 • a 9 9 9 9 9 » » • 4 1 • • 9 9 9 9 , » • • • 1 9 » • e • 1 » 9 • 9 • > a • • 1 • 1 « 9 • « • • > • 9 9 9 99 in M a 9 • o < » « 1 9 9 9 » » e • • 9 9 • 9 9 9 9 « • 9 • • >• • > e • > « e • f t • t* » • »• • «' • . ■ • I 78 TEXTILE DESIGN. 69 EXERCISES FOR PRACTICE. 1. Make good working drafts and chain plans for designs A and B and supply chain plans for two original designs to weave in the same draft. 2. Make one draft to work the two accompanying designs C and D and give the chain plan for each. 3. Kun out the accompanying design E until complete, then draft on 28 shafts and give chain plan. • 9 • • ®« • • • • • • • • • • • • • • • • • • O • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • _ •• V c • • V* • • • • 9 • «• • • • • • • • • • • • • • • • • • • • • • • • • • • • V • • • ¥ • • ¥• • • • • • • • i • "* • — • f • • • • • • ¥ • • • * • • e • • • 4 • • • • 9 • 9 • • • • • • 9 • • • • • • • • • « 4 • • • • • • • 9 • « • 9 • 9 • • • • • • • e • • 9 e 9 • • • • • • • • • e 9 • • • 9 • 9 • • • ff • « • • • « • 9 • • • • • 9 • • • • • • 9, t S • • • t, • £ 9 • ••• ® • •• ® » ® • • »•• _• ••• •••• ••••_ •••• • ••9 • •• • *• _IK* • •!• • _•••• •••*" ._•••• • ••• 9»» • • ••• _•••• ••• • ••••_ ^_»s«» •• •• • •• • • • •• • ••• _•••• __••*• • ••ft «••¥ • •• « • •¥ •• ••_: • • •» •• •• • e •• • • Si • • •• • •• i • •< • • • •• • • (• • • •• • • •• • • •« • • •• • •• < • •• _;* • • •« • • •• • • •• • • •• ¥« •! • • •• • • •• • • •• • • • ¥¥ • • •• • • •• • • ¥• • • •« • W- 99 • • •• • • •• • Sfl •« ft* 1* • • •« • * •• • • •« • • »• • • «• • • •• • • • •• • ft «• • •~ •• • • !• • • •« ft* ift • • •• •* ft* 1 • • •« a* •• «• •• *• *• • • •• *ft ** • • •• • 9 «• • • •• *• *• r •• •• -ftC ftft • ft ft* • 9_ •• •S- ft ft* «• •«_ is ^ • • IS _!• •« • 9 9« _«• •• • • •¥ • •• . • * ft i • • •• • • • ) •• •• *ft *• _•• •• • • •« • •» • ft ift" •• •• *• •» • e •• *• ■• •• m. ** •• • •« • 1 «* •• •» _ ■• ift ■■ -•t •£_ «• •• l«io e @ ¥*~ •* 111 • 1 • • s* • • • • • • • • • • • i • ft • • • • • » • • • • • • 9 • * * • •• • • • •• • • • • • • • • • •• • ^ ' • ••• • • • • • • * • • •• • • • •• • • • • • • ^•9 • •• 9 • • •• • • • . • • • « • • •• • • • •• • • • ¥ • • • • • •• • • • •• • • • • • • ' • • • ¥ «• • » • • • • • • • • • • •* *• • • • * • • ¥• * 9 s • • •9 • 9 * *• • • • ¥' • • • • • •• • * . _••• • • ¥ • • 9 • • • •* • 1 t *• 99 • 9 • • ¥• • *• 9 • • •• 9 9 9 9 • • 9 9 • •• 9 • • •• • a » » * • • • • •• » • • •• • • » • 79 70 TEXTILE DESIGN. 4. Give draft and chain plan to weave design F on the fewest possible shafts; also give chain plan to weave it with draft G. 5. Give two original designs and chain plans to weave with draft G. 6. Give chain plan to weave design H with draft G. 9 9 • 9 99 « « • • a 9 9 9 99 9 • 99 9 9 9 9» 9 9 9 • 9 9 9 9» 9 9 9 9 9 9^ • 99 9 9 9 9 99 9 • « • • • 9 • 9 9 9* • 9 9 9 9 9 99 9 9 99 • 9 9 9 • • • • • 9 • 9 9 9 9 9 9 9 99 9 9 9 9 9 9 9 99 9 9 99 9 9 9 9 • 99 9 • • 99 • 9 • 9 9 • 9 9 9 9 9 • • • 9* * • • 9 • • 9 99 • • 9* • • 9 • • • • 9 • 9 • • 99 • 9 9 9 • 9 99 • 9 9 9 • 9 9 99 • 9 • 9* 9 9 • 9 • 9 • 9 • 9 9 9 * • • 9 99 9 «k • 9 i 9 9 • • 9 • • 9 • • • • tt 9 • • • • • • • • • • • 9 • 9 • 9« • • • • 9 • • • • • • • 9 9 • • 99 • 9 • • • • • • • • • • • * 9 • • mm 9 _• ~~ : • : IIIIIIIIIIIII 9 • ZZZIIII" • 9 9 III" 9 9 9 IIIZI 9 9 9 Z . 9 t IIII 9 9 _zzzzz •__!__ 9 ~~~ 9 9 ~ 9 _9 ^__ z__» 9 ~~ 9 9; ~ 9 9 ~ 9 9 9 9 ---,- 9 ~ zzzzzizzzzzzzizzzzz 9 9 I 9 .____ 9 : 9 • 9 9__ 9_ • 9 9 ^__ 9 * . 9 . 9__ 9_ 9 9 9 9 9 9 :zzzzzzzzzzzzzz±zzzz'i_ o 9191 !■ \m\9 ««s — 1 «lilZZ ••• •_ ¥••• ■9 — •9¥ lllZZZ 9*9 ZZlllZ • • 9 lllZZZ !•••__ 9 •• • • 9 • •• ••9 • •• • • • •••_ • •• IIIZIS _••• ••9_ • •• • •• ••«_ • 9 • • •• _»•• • •• • • • • •• ••• • •• • • • __ftJll_ ••9 e • • _9»€» •• •_ •• • •••• _••••_ • •• • • •• _••• •••_ • • • • • • •«• • • • • • • • •• _•••__ • • • • • • • ••_ _• •• • •• z»«» • •• • •• •• •_ • • • • • • ••• • •• • • • • •• _•• •-Z • •• • • • •••_ _•••__ • •• • •• • •• _ • • • CD 39 TEXTILE DESIGN. 71 EXERCISES FOR PRACTICE. Give designs and warping and wefting plans to produce the following effects in single clotli. 81 72 TEXTILE DESIGN. EXERCISES FOR PRACTICE. 1. Make designs, drafts and chain plans for two-stripe patterns, thus : 1. 39 ends of plan " a," 13 ends of plan '' a ' reversed in twill 13 ends of plan " a," 13 ends of plan " a " reversed in twill 2. 24 ends of plan " 6," 12 ends of plan " 6 " reversed in twill 24 ends of plan " ?>," 48 ends of plan " 6 " reversed in twill 2. Make designs, drafts and chain plans for two-stripe patterns, thus : * 1. 24 ends of plan " c," 12 ends of plan " c " reversed back to face 24 ends of plan " c," 12 ends of plan " c " reversed back to face 2. 8 ends of 2 and 2 twill, 16 ends of plan " d " 8 ends of 2 and 2 twill, 8 ends of plan " cZ" 16 ends of plan "cZ " reversed back to face, S ends of plan " d " 3. Give designs and chain plans for three-stripe figures to weave in the accompanying draft " e," supplying your own weaves. 4. Do you consider that the following combination "/" would give a perfect cloth? If not, give two perfect combinations introducing one of these weaves in each. 5. Give design, draft and chain plan to produce a stripe figure similar to the accompanying suggestion "(/," supplying your own weaves. I REPEAT B2 TEXTILE DESIGN. 73 i • «- - ~~ " " ' • • • ■ ~ ■" 9 • 9 fit* • • • • f • • » • i • • • • • 4 « »• i • • • • • • • • • * • • • • • «i*~ • • • • • • • • • • 9 1 • 4 • • • • • • • • • f f I* « • • • e • • • • • • • • • • _ • • • • • f • • • • • •• • • • • • o • • • • • • i ^ • « • • • • • • • • • • 4 ► • i • • • • • • • • • 9 • • 9 • * • •• • • • f 9 9 < 1 • « • • • • • 9 1 >• « • • 9 9 9 9 • !• ~ • f • • • 9 • •• f • • • • 4 < 1 • « < »• _! ^1 • • • • • ••. f ■ < f • < • • •• • < f • • i !• • • < »• • • • •< • • •< • ••i • 4 ^f • ^ . • < )• • • 1* •^r- f SSi • %•< • • •< • - »• • « ■ • • • < »• • • • 01 • s». « !•' • • • • • rf • I 9 • « • M- « • •< • • •< • *• • • • ■ • • • • • • • • i ► < ■ • • • • f *• . • • » • • • • • • • • • • • • e • • •• • T i • • ^ !•• • e • » • • • • • • • •• • ► e » • • • • • • • » • »• • • • •• • • • ^ • • • •• • • 4 • • • f • •• • • • • • f f • • •• • • > • • • •• • • • • • • • f • • ••• • > • . • • • • • • • • • • • • £ • ••• • 1 > • • •• • • • • • • • • • • • ••• • » d • __ • •• • • • • •L » I- _ _; _ i. _, JL _l_ _ _ Ul 1— L. _ m 83 74 TEXTILE DESIGN. EXERCISES FOR PRACTICE. 1. Fill in the accompanjdng Fig. 1 with the following weaves : A : 2 and 2 twill to right. B : 2 and 2 twill to left. C : 2 and 2 hopsack. Make clean cuts at the joinings and give* draft and chain plan for your design. 2. Make a design with draft and chain-plan to produce the accompanying Fig. 2, using your own weaves. 3. Make a check figure by a combination of jDlans A, B, C, giving draft and chain plan for your design. 4. Make a design for a. check figure to weave in same draft and to be composed of same weaves as accompanying stripe design D. 5. As No. 4, but with stripe design E. 6. Make one check and one stripe design to weave in the accompanying draft F and to have the same weaves. •* ** • •••_ _• ••• • ••• • • • • • • •• • --*•• ft • A* •• f • •• • • • •• • •• * • ••• • ••• • ••• B _•• • •_•_!_•_• • •••_•_•_•_•_ _••• ••_•_•_•_ • •••_•_•_•_•_ _• • • •_•_•_•_• • «.•• •_•_• • _••• •_•_•_• • • •••_•_• • • •_•_•_•_• •••_ •_•_•_• ••• ^« •_•_•_•_• •••_ _•_•_•_•_••• • _•_•_•_•• ••• _•_•_•_•_••• • • • • • • • •• Fig. 1. ^ M M Fig. 2. 84 TEXTILE DESIGN. 75 • • • • o •• • ± • • • _• e • •_ _• •• •_ • • o • • • • • • • • • • • • • • • • •_• •_• • •• _•• • •• •••_•• •ft •• •_ ••_••• •••_•• ••_••• • • ••_• •_•• •• _••• • • •••_••_ • • •.♦ •_ ••_••• •••_•• ••_••• •• • •_• •_• • •• _•• • • • •••_•• • • •• •_ ••_••• •••_•• • • •• • © §_• • • • • •• • • • • • • • • •# • • • • ftft • • ••_••• •• • •_» • _• • • • _•• • • • •ft«_»» •• •••_ ••_••• •••_•• ••_••• •• • •_• •_• • • • _•• • • • •••_•• • • • ••_ ••_••• •••_•• ••_••• • • • •_ • •_•• •• _• • • • • •••_•• • • • ••_ ••_••• • • • • • • • • • • • • • • •• • • ••• • 9 • • • ••• • ••• • • • • • • •• • • • • • •• • • O* • • • • • • • •• • • • • • • • • • ••• « • • • • «• • • ••• • •« • L_ • •• • •»•• • • •« • •• • • • •• • e* • » ••• • •«« • ••• • ••• • ••• ••••ft A •••• •• ••• ••• •• •••• • • •••• • •• • • • • • • •• • • •• • • • •• • Sso »• •• • •• • • ••• • • • • • •• • • ••• • •• • • • •• • • •• • »•• • • • • • • • • • • • • • • • • 111 • _• • • • •_ • "Z • • • • .^ • n • •_ J • • • _• ; . ; • . • ^J ~ «. • • • • « , • ~ ^ • • 'Z ; •_ : • • • _:_ • ^1 - I • u X • __L :!_• •_ • : • • • • • j_ • ; , ; • Z •_ . • • • • • ^ e • •_ • • • •. ZL • zp: • • ~ • • • ,• . _• ^; • • ; • •_ • • • • • • I • •_ • ^ 76 TEXTILE DESIGN. EXERCISES FOR PRACTICE. 1. Fill up the vacant space in plan B with weave A, joining equally at both edges, and run out to form a diagonal figure. 2. Make two designs for diagonal figures, using plan C as the basis for each. 3. Make a design to produce a diagonal figure on 24 ends and 48 picks by a combination of weaves D and E. 4. Give design to produce diagonal Fig. F, supplying your own weaves. 5. Make an original design for diagonal figure to weave on 36 threads. wl [ •[•I I I I I I I I I I [ I I I I I I 1 * 1 *1*1* 1 1* 1 * 1 1* 1 * 1 * • _ • • . •• a» •••• • • •• ••_••••_••_• ^^ZZZZZZZZZZZZZZZZZ**Z****Z**Z** • • •.••.•._**_****z • • ••_••_••••_•.•_ • •±_***.*_**_*** • ••••_••_••••_• • •♦_**_*^**_*JI_* •« •••• ae •••• u n n TEXTILE DESIGN. Ti • , • •_ _ • ~ • • • • • • • • • _• • • • _ _ • • • _ • • • • • •_ • • •_ • • _• •I \»\m " ~ ~ — "■ ~ • • • • '• • • • • • • • • • • • • • • • • • • • • Q • C • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • e • • • • • • • • • • • • • • • • • • • • • • • • • a • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • « • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • * • • • '• • • • * • • • • • • • • • • • • • f • • • e • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 87 78 TEXTILE DESIGN. SATEEN WEAVES. Satin. Real satin is a silk fabric in whicli the warp is allowed to float over the filling in such a manner as to cover it entirely and present a smooth, lustrous face. Satinet is a mixture or union cloth in which the face shows only a woolen filling, the cotton warp being covered by it. Fig. 113 is the weave for a cheap imitation satin, known in some districts as " Kentucky Jean." These weaves produce what their name implies, a satin effect. They are very extensively used in cotton, linen and silk goods, also in woolen and worsted fabrics. In the manufacture of WARP Fig. 112. T w 1 L L I ^ D 1 C ■ B -i| A ^ 3 4 5 Fiff. 114. damask and linen table-covers they form nine-tenths of th^ product. In cotton goods they are used for making stripes, and in woolen goods they form such cloths as Venetians, doeskins, beavers and kerseys. They are constructed usually from a twil] weave, and this principle of interweaving is sometimes employed where the object is partly ornamental, as in satins that are used largely for tiimmings and for ladies' dress goods. In such cases the first object is to produce a highly lustrous surface, perfectly smooth and showing no pattern. If we take one class as typical, in order to show the peculiar arrangement and its effects upon the fabric, it may serve as a guide to us when dealing with patterns for ornamentation. These weaves are of tAvo distinct classes ; those in which the warp pre- dominates on the face, called the warp flush sateen, and those in which the filling predominates on the face, known as the filling flusli sateen. The peculiarity of this kind of weave is that the order of interweaving the two sets of threads does not follow consecu- tively, but at definite intervals ; especial care is taken that they do not follow consecutively at any point. 88 TEXTILE DESIGN. 79 An example of the simplest kind, and one most commonly employed, is derived from the 5-harness common twill (Fig, 114), where the filling predominates on the face and runs to the right at an angle of 45 degrees. Consecutively this is 1, 2, 3, 4, 5, but by changing this weave over to a sateen weave (see Fig. 115), it will be observed that the order of interweaving is at set intervals. To obtain the combination from which to design a sateen, take the number of harnesses of the original twill weave on which it can be woven, and divide it into two parts. These must be neither equal nor must one be the multiple of the other, nor should they be divisible by a third number. In constructing the weave (Fig. 115) in accordance with the rule, the number of harnesses on which the twill (Fig. 114) is woven, in this case five, is divided into two parts, thus giving two and three. Fiff. 116. ■ Fig. 117. Fig. 118. Fig. 119. The method of constructing sateen by means of these two figures is to use either the two or the three as the number with which to count; If we use three as the number, it will be found that the picks of the twill would be used in the following order : A, D, B, E, C, which produces the sateen weave shown in Fig. 115. This is a filling flush sateen weave and the reverse of the warp flush weave (Fig. 116). This latter is constructed after the same manner as the filling flush weave, except that the one down and four up warp flush weave is used. From a 6-harness twill no regular sateen can be made, the number of harnesses not being divisible according to the rule. An irregular weave can be produced, but it is not desirable, as there will be two threads or two picks running consecutively in some parts of the weave. The best combination is made by using the threads of the twill in the following order : 1, 3, 5, 2, 6, 4. (See Figs. 117 and 118.) 89 80 TEXTILE DESIGN. The 7-harness sateen can be obtained according to rule. (See Figs. 119 and 122.) As a farther demonstration, let us take the 8-harness filling flush twill, 1 up and 7 down. (Fig. 120.) According to the* rule the numbers in this case are 3 and- 5. Four and 4 would be equal, 6 and 2 would be divis- ible by a third number ; consequently they would not be correct. Take 3 as the number for counting. The first pick of the sateen is the first pick of the twill ; the second pick is found by adding 3 to tlie fii st pick, which makes it the fourth pick of the regular twill; then add 3 to 4, which makes it tlie seventh pick of the twill; to this 7, 3 is added, which shows that the fourth pick of the sateen is the tenth of the twill, but as tiie twill repeats on 8 picks, the second corresponds to the tenth and is the fourth of the sateen ; to the second pick 3 is added, which makes it the fifth of tlie twill and also the fifth of the sateen; to the fifth pick 3 is added, v^hich makes the eighth of Fig. 120. Fig. 121. the twill the sixth of the sateen ; to the eighth 3 is added, which makes 11; the third pick is equivalent to the eleventh and seventh of the sateen ; to the third 3 is added, so that the sixth of the twill is the eighth of the sateen. If 3 is again added, the first pick of the twill will be' the next one to be used, thus showing that the repeat of the weave has been obtained. The 8-harness sateen is formed by using the picks of the twill in the following order: 1, 4, 7, 2, 5, 8, 3, 6. (See Fig. 121.) In laying out a cloth of this description the number of threads in both the warp and filling is of the greatest importance. The warp threads in a warp flush weave should be placed as close together as their diameters will permit, and as the filling is inserted, one thread will be withdrawn from the surface of the fabric and will bend around the filling at the back. As the next pick is inserted, another thread will be withdrawn, the first one 90 TEXTILE DESIGN. 81 returning to its original position. As the threads are not with- drawn in regular or consecutive order, the filling does not bend around the warp in a great degree, but remains straight, the warp only being drawn out of its course. Under this condition the filling threads cannot be made to lie close together, but are always separated from each other by at least the diameter of the warp thread ; therefore, in this class of fabric, we should always have a greater number of warp threads per inch than filling picks. If the fabric is to be durable, we must take care that the material which is present in least quantity, whether it be filling or warp, shall be of sufficient strength to compensate for the absence of quantity, otherwise the fabric will be able to bear strain in one direction only, whereas by proper attention to the strength of the material employed we may make it able to bear the requisite strain in both directions. If it is desired to produce on the fabric a smooth, unbroken surface with no visible pattern, pj ^22, the war^) threads may be placed so closely together that as one is withdrawn to bend around the fill- ing, those on each side of it will close over the vacancy and com- pletely hide the point where it has interwoven with the filling. • ■ In that case the number of warp threads should be increased in proportion to the number in the filling, and consequently the fabric will be capable of bearing an increased strain upon the warp, but a decreased strain in the direction of the filling. Ex- actly the same principle will apply to fabrics where a filling surface is desired ; the warp threads are then set such a distance apart as will permit of the filling threads passing readily between and bending around them. The filling threads are inserted as closely as their diameters will allow, and in some cases pass over and hide the point where the filling has bent around the warp; and again, in many cases, they are inserted so closely that the filling is compressed and loses its cylindrical form. In such fabrics the greatest strength is in the direction of the filling just in proportion to the quantity of material employed. M 82 TEXTILE DESIGN. EXERCISES IN SATEEN WEAVES. (J.) Work out weaves from the following: w^^^A (^)^^^^A (^)^^A c*)^^A c^)^T^A («)^^A (7) 3 3 1 3 2 2 /l (8) ^ ^ ^ /2 (9) ^ ^ ^ , / / ^^32 2/ ^^32 2/ ci«^ ^^^A (">^^^A <^'^ 3 2 2 3 3 1 3 2 2 3 3 1 2 '2 (22) LA_ /_ 5 (23) ^ /2 (24) ^_^ /- 3 2 4 2 3 (i?) Write the order of weaving, and move numbers for each of the following weaves 25 — 30, both warp way and filling way. «• •._• •• •_• •!• •• • _• •.••• • • • •• • _ » • «[¥ •_•._ • « • " I • m • • ±_9 **.* [^^_ • *.***_ _• •••• • •••:• •_• • • • • • • • •_• ••• •_• •••• •••.• •_• • •^•i •_• • •_•. **** _•. •.••• • _»m»± •_•_ • • *._• •• _•_• ••••_ • •^•» •_ •[•|«|«| I |»| !•! |~ _ •_• ±_ •_•_••_• •_^ •_•_•_•• _^_ • •_•_•_• •_^_»._ _•_•_ •>^_ •_ •_j» • _• ±__±_*_*±_±_* ±_*._*_± •_•._•._• •_^_«»_»_«_» •_ • ••••••• 25 26 27 (Exercise continued on next page.) . •S TEXTILE DESIGN. 83 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • e • • • • • • • • • • 1 _• • •_•••_•_ _•_••«_• • •_ •_•••_• •• • • •_ • •• •_ • • • •_•••_ • •_•••_• • _•••_• •• • _• • • •_• •• •• •_•••_• • • •• • •• _• •••_ • • • • ••• • __• • •• • • • • • ••• • •Z[I»« 28 29 . 30 ((7) Make plans with bases 31 — 33 and order of weaving 4 2 4 11 and with bases 34 — 38 and order of weaving 2 2 13 1- • ~~~~~ •_ •_ «,_ • _• • ~_9 _• • 3i • • _• •_ • • • • 9 • I I 32 • • • • • \\ 33 34 35 _[ I I I I I I I I U ] • • __ ___•_______ __ • _ — , , » • • _•___ . « -^ — _ ^_ _ — e • • -• _, •_ — • • -s • _ l»M M I M rm 1*1 M M M LLF - i — I — I — I — I — I 1 — I —.' 36 I I I I I I [• I • • • _• • • : • £ • _• 1*1 I M I M M I • __• _Z '. • • • • •_ • • ; • •I I M I I I I N .1 37 38 (Exercise continued on next page.) 93 84 TEXTILE DESIGN. (i>)Make two plans on each of the accompanying bases 39 — 41. • •_ •_ • • • • _• o • •_ • • • I I I I I I I I I I !• • • • • • • • • • _• • • • i~ • • 39 40 41 (Uy Run out plans 42 — 45 to one complete pattern of each. _• • • • ••_•? _••• • ••• _• •••_•••_ • • • • • • • •• •_••_•. _••_• •• • • • • o • • 42 43 44 m\»\ I I (•• •• 45 (i^) Give two bases on 13 threads and run out two plans on each base. ( (r) Make plans as follows : (1) i_LJ_/3 — 1 ^ ^ 2 2 2/ (2) ^ '^ '^ /4 — 2 ^ ^ 2 2 2/ (3) i-J_J__/5 — 3 2 2 2/ ^^>^^A+« 2 2 2 (5) W" . /3-1 ^^>^^4A-^ (T)L_i_?__/5-8 (8) ' ^ ^ I ^ '' 2 12/ 5 — 1 — 1 (9) LAJ_/3 — 2 + 2 (10) ^ ^ ^ /4_3 + 2 ^ ^ 212/ ^ ^^ 212/ ^ 94 TEXTILE DESIGN. 85 (^) Give order of weaving and move of the following plans (13) L_/o + + 3 (14) ^-3/0 + 3 (17) l^J_J_^/5— 1 — 1 (18) ^ „^ ,^ . /5_1_1 2 2 2 3 2 1 <^«^^^A-^-^ (^»)'-r^^A-^-^ I I 1*1*1*1 I 1*1 I 1 *1* •[♦[ I [•[ I I*! [• • [• • •.•^ • • _• •.*!•. ••._*_ _• •• •_ ±±jt— _••*. *. ±—*.* — •••. • ••• ± *. ••.*. ••_ • • £ •£• • *.±± * •_• • •# » *.*.± ±_*. *. j**^_ • • ••.• •• _•• ••• • • • _• *.*j» _*±_*. • ^••_ • ••• **±— _*_*± •••__•_ _• ±«£_Z_*** * •.*._• • •• _•,*• ••.• • * •._^* *.*.* »±± »,**_ *.*.*. ••• — J* • • • •±* • •. *._•• ••• •\m\*\ I l»l*l»l I !• I |«|»|«| I W\*\ kl I !• B •I I I [•[•l»[ I I I* ! [•[•[•I' _• ••• •_••• •_• ••• •_•• • •_• ••• •_• • | »| \»\»\ [»|>| I I Tj ••• •_•••_• ••_••_•• _••• •_•••_• ••_••_•• ••• •_•••_•_ • •_•• ••_ ••• •_•••_• • _••_•• • •_•••_• •••_ _••_••"'•• •_•••_• !!••• • • !•_••_ • •_•••_• •* • _•• ••_• •• •_•••_• • _••_•• •• •••_• ••• •_ ••_••_••_ _•••_• ••• • • ••_••_• •_•••_• ••• |»|»| I I I [•[•I [•[•I I |»| [•[•[•I \m\ I I [•U|»|"T" C D (Exercise contiuueii on next page.) 95 86 TEXTILE DESIGN. (7) Make two plans on each of the accompanying bases 31 — 40. r.l I I I kl r • • •_!!_ _ • •_ • •I I I I I I I 31 __• • • •_ _• • _ • . • • 32 33 • e 3_ • • •_ •_ __. • • • • 34 111! TTT I I I H • • ; • • • • • • • • . J*ll II I I I II II I' II I I I I ITTTi _• i» ZZ_5 9 • • • • • • 35 36 I ICII I II II |»[ I II [ | •_ •_ . • • • • : • _• .^ • • • " _ • , .• I_»_IIII • • • . __• ZI _•_ • • 37 38 • • • •_ • • . • _• • • __ • ♦ II!*ZIZI • •_ . • _• __• • ^ZZZZI . • • • _ • •I I I I I I I I II I I •] I I IT" 39 40 (Exercise continued on next page.) 96 TEXTILE DESIGN. 87 (e7) Run out plans 41 — 46 until complete. • • 9 • — • ~ "■ • — • • • « • * • # * • • • • • • •• •• •¥ • • ••• ~ 4i 42 I I*! |»|»[»[»[« | »| |»| I I I ' •_*•••••_• 43 44 45 • _•_ •• • • • _• !•• • ~ • •_• • • • 46 (^K) Give one complete repeat of plans 47 — 53 and write order of weaving and move number for each. [-1 @ m m ffl s [H @ [•] [*! M [1 M s [• [H @ @ [¥] • • 9 • 1 • • R[ ~ • • • • • • i • • • 5 • • • • « • • 9 • • • • • • • • • • • • • • • • • • • • • ~ • S • • • • • • • ■" • • • • • • • • • • • • • • • • • • • • • • • • • • • « • e • • • • • • • • • El \s \m\ 111 D [•] [•] [a D S •• [•] 1*1 H 1*1 Q 47 48 "_•• •• ******** .§.* _•• ••••••••_ •••••••• •• •• •••••••• •• •• 49 • • ~ • .• • 9 • — ■" ^ • 1 ^ 1 • • • • ~ • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 51 • • • • • "" "■ • ^ [*1 [*1 [i • • • • • • • • • • • • • • • • • • • • _^ • • • • • • • • • • ^ "" • • • • "" • • • • "^ • f • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • i • * • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 4t • • 52 53 50 87 TEXTILE DESIGN. SATEEN STRIPES. In designing fancy fabrics for the white cotton trade the designer is frequently compelled to depend almost entirely upon the weave to obtain different effects. When the warp and filling are both white, this becomes a necessity. There is another method, howevei", and it is one that is often useful, namely, the manner in which the warp is reeded. In some patterns it is necessary to have some parts of the warp reeded in greater numbers than in other sections, that is, in some parts of the reed each dent contains 2 threads, while in other sections the reed may contain 3, 4, 5 or even 6 in one dent. Six is generally considered the highest number, but in some rare cases even 8 or 10 threads are put in the same dent. Nearly all the fancy white goods that are made have for the body or groundwork of the fabric the regular plain or cotton weave, 1 up and 1 down. The stripe in the warp will be either a twill, broken twill, or sateen weave, warp flush, and the overcheck will be a sateen weave, filling flush. The sateen weave is generally combined with other weaves to make stripes and cliecks. Stripes consist of bands or lines, varying in width and color, running lengthwise of the cloth, viz., in the direction of the warp. The distinctive character of this make of goods is its line-like composition. All patterns of this order are nothing more than a blend of lines of various shades and weaves. They are of varying widths and extend from one end of the fabric to the other. Athough this form of pattern is well adapted to trouserings, shirtings and some styles of dress and mantle cloths, it is not suitable for coatings and even suitings when extended beyond a very minute stripe of the hair line description. The variety of these stripes is very extensive, both as to shade and color, commencing with the single thread hair line, and increasing in size until a stripe or band several inclies wide is obtained . The prominence of the different weaves employed, the bands or lines of color, their distinctness, solidity, their intermittent character, and their subdued tone aspect, are all qualities depend- ing on the structure of the fabric and its weave composition. 98 TEXTILE DESIGN. 89 The pattern in striped styles is principally a warp product and the filling in such cases only of secondary consideration. The filling is employed, first, to bind the warp threads together and thus form a wearable fabric ; second, to constitute an appropriate groundwork on which the warp colorings may be correctly exposed. Proper emphasis of the colors composing the stripes is ac- quired by employing a suitable shade of filling, and by adopting that system of crossing or interweaving which will, in addition to yielding the requisite strength and firmness of fabric, suffi- ciently interfere with the continuity of the fancy shades introduced into the warp. Some are mere lines, no wider than the diameter of the threads employed, while others are several inches wide. Two colors may be introduced to form stripes of different widths ; for example, black and a dark mix may be combined to give stripes of many descriptions. We could use 1 thread of black and 1 thread of dark mix, which would make a stripe of the hair-line description, using the plain weave for the intercrossing ; or 2 threads of black and 1 thread of dark mix, using the 3-harness twill for the inter- weaving. Thus we might continue on these principles and form sets of stripes of variable widths or sizes. The character of these styles to a very great extent is governed by the class of texture in which they appear. Examples of this occur in the various fabrics produced by the loom. Take, for example, stripes for trouserings, which are generally small to medium size, softly and neatly toned in coloring. In dress goods, mantlings and ulster- ings are found much broader effects, more elaborate in arrange- ment, and which require much greater force of coloring. In cotton shirtings small, neat styles are considered the best, but in cotton dress goods there appears to be no definite limit, either as to the width of the stripe or to the radical plan of coloring. For aprons, children's dress goods and such fabrics as tickings and awnings, stripes are used to a considerable extent. To form a practical idea of what is meant by a sateen stripe the following particulars should be thoroughly understood. Sateen Tick Stripe. When ttie name " Sateen Tick " is used, the general impression is that of a line of goods or a fabric 99 90 TEXTILE DESIGN. which in some way resembles a sateen. But a sateen tick is in no way like a satin, being used for an entirely different purpose. These goods are made entirely of cotton, and are used for uphol- stery ; the name "Sateen Tick" being taken from the weave, which is a sateen weave. There is quite a demand for this fabric, but the manufacture of it is chiefly in the hands of a few lai'ge mills, which monop- olize the industry. In many mills in which this fabric has been attempted a 2-ply yarn has been used for the warp, and this has made the goods harsh in feeling, and unfit for this purpose. The only proper way to make them feel soft is to use combed cotton yarn for the warp and the same stock for the filling, but having the filling twisted harder than the warp. The best fabrics on the market have 98 threads to the inch of single 7's and about 52 picks of single •14's. The weave which is used, and from which the fabric obtained its name, is the sateen weave, warp flush, Avhich throws the warp entirely on the face. It makes a smooth face, free from twill lines, with the points of intersection evenly distributed. The 5 -harness sateen is the simplest kind. As before stated (see page 37) these weaves are constructed by taking the number of harnesses to be used for the sateen, and dividing it into two parts, neither of which are equal, nor one a divisor of the other; still further, neither divisible by a third number. The stitcliing for the weave, or the interlacmg of the warp, is obtained in the following manner : The first intersection will be on warp thread No. 1 ; the next intersection will be either on the third or fourth warp thread, according to whether the weave is counted by twos or by threes. If counted by twos the intersections will be as follows : 1, 3, 5, 2, 4. Almost all of these goods are woven on this weave, but in some cases the 8-harness sateen shown in Fig. 121 is used. The intersections are as follows : 1, 4, 7, 2, 5, 8, 3, 6. This is con- structed on the same principle as the 5-harness sateen, but there are fewer intersections of the warp; consequently this allows more picks and makes a heavier fabric. These sateens are • • • • _• •_ • 8 H. Sateen. very desirable 100 TEXTILE DESIGN. 91 goods, as they may be woven easier and faster on account of the weave. The Ime of colors should be as simple as possible, because the fewer the colors the less the expense. The following is a line of colors in use in one of the largest mills in the country: black, white, red, very light tan, medium tan, dark blue, brown and light brown. These colors, if made in light shades, can be combined in a great variety of effects and produce mnmnerable patterns. The following will give good results and splendid combina- tions, and will also give the size and style of the stri]3es. An attractive effect having a very broad stripe can be produced by 120 threads of red, 10 white, 60 light tan, 4 dark blue, 10 medium tan, 4 dark blue, 10 medium tan, 4 dark blue, 10 medium tan, 4 dark blue, 60 light tan and 10 white. This can be varied and will make another very effective style by using 120 threads of dark blue in place of red, the rest remaining the same. Another good coloring is made as follows: 10 threads red, 10 dark blue, 88 red, 10 dark blue, 10 red, 50 white, 6 dark blue, 10 dark tan, 6 dark blue, 10 dark tan, 6 dark blue, 10 dark tan, 6 dark blue, 50 white, 2 dark blue, 16 red, 2 dark blue, 50 white. In all these dressings the color can be varied ; the number of threads may also be increased or decreased at pleasure. The principle effect desired is contrast of color, combined with har- mony. There is no limit in the range of design. COTTON SATEEN STRIPE. The yarn used for this class of fabric varies from 40's to 70's,. although a large proportion is between 50's and 60's. There are also large quantities of 2-ply, 4-ply and sometimes 6-ply yarn used in cotton cords and stripes. The filling for such goods will range from 60's to 90's. The texture of the fabric in the plain part, that is, the part between the sateen stripes, will vary from 60 threads X 60 picks to 96 threads x 80 picks. The width of the goods is generally from 27 to 28 inches, though goods made especially for aprons win run from 40 to 42 inches. For an illustration let us make a cloth 28 inches wide, having 101 92 TEXTILE DESIGN. for the design a sateen stripe, with plain stripe ground for 1 inch; sateen or broken 6-harness twill, ^ inch; plain ground, ^ inch ; broken twill, i inch. Total width of stripe to be 1| inches. 28 inches -^ 1.75 inches z=z 16 repeats or designs across the cloth. Suppose we make the body of the warp, or what we have already called the plain or ground work, 80 threads to the inch. Then we have : % incli broken twill X inch groundwork X incli broken twill 1 inch groundwork It is to be divided into a reed with 40 dents to the inch, or as is usually understood, a 40's reed; 2 threads in one dent = 80 threads per inch. When making a pattern with one part of the design larger than the other, divide the larger portion into two parts, so that the design will commence at one side of the cloth and will be equal to the design at the extremiC edge or other side of the cloth. Our typical design has one inch of plain or ground which we divide into two equal parts. The way to lay out this piece of cloth will be as follows : }4 inch plain 20 dents 2 threads in one dent = 40 threads X inch strijDe 10 dents 6 threads in one dent = 60 threads X inch plain 10 dents 2 threads in one dent = 20 threads X inch stripe 10 dents 6 threads in one dent = 60 threads )4 inch plain 20 dents 2 threads in one dent = 40 threads 70 220" Thus it will be seen that one pattern occupies 70 dents, and as we have already decided that there are to be 16 repeats of the pattern, we shall require 16x70= 1,120 dents exclusive of sel- vedge. Add 10 dents on each side for selvedge, this making total of 1,140 dents. 1,140 dents ^ 40 i= 28^ inches. The reed must be 28|- inches wide. Two hundred and twenty threads in "one pattern X 16 = 3,520 threads. The selvedge is composed of 20 double threads, 2 in a dent on each side. Left selvedge 20 double threads = 40 Body of warp = 3,520 Right selvedge 20 double threads = 40 Total number of threads = 3,600 108 TEXTILE DESIGN. 93 Fig. 123 represents a good weave for a 6-harn ess broken twill. This weave is especially recommended for this purpose. The next thing to make is the drawing-in draft, or harness draft and chain. Also leave for selvedges 10 empty heddles on the right and left sides of the 4 front harnesses. ■ The first 40 threads on the 4 front harnesses, which are forming a plain weave ; [ the second section of threads which are drawn on the 6 back harnesses, and are weaving a 6-harness broken twill ; the third section of the threads, which are drawn on the 4 front harnessed, the fourth section of threads, which are drawn on the 6 back harnesses ; and the last section of 40 threads on the 4 front harnesses, make one repeat of the pattern or 220 threads. This operation is repeated 16 times, and when finished will Fisr. 123. have completed the body of the warp, or 3,520 threads. Now 10 10 Fig. 124. Fig. 125. draw in the double threads for the selvedges on each side of the warp. The foregoing is a systematic way of obtaining the lay- out of a design, chain, and harness draft; but in some mills the drawing-in or harness draft would be laid out as follows : 10 double threads on 1. 2. 3. 4. 1 40 Repeat 16 times 20 60 40 220 X 16 threads on 1. 2. 3. 4. threads on 5. 6. 7. 8. 9. 10 threads on 1. 2. 3. 4. threads on 5. 6. 7. 8. 9. 10 threads on 1. 2. 3. 4. 10 double threads for 1. 2. 3. 4. for selvedges for plain weave for broken twill for plain weave for broken twill for plain weave for selvedges 103 94 TEXTILE DESIGK. There is another very important matter to which particular attention must be paid ; that is, the question of how many wires or heddles must be placed on each harness shaft, thus preventing any possibilit}^ of overcrowding the wires or heddles on any or all of the harnesses. Take our previous example for illustration. On the 1st harness 25 threads X 16 patterns = 400 heddles On the 2nd harness 25 threads X 16 patterns =^ 400 heddles On the 3rd harness 25 threads X 16 patterns = 400 heddles On the 4th harness 25 threads X 16 patterns = 400 heddles On the 5th harness 20 threads X 16 patterns = 320 heddles On the 6th harness 20 threads X 16 patterns = 320 heddles On the 7th harness 20 threads X 16 patterns = 320 heddles On the 8th harness 20 threads X 16 patterns = 320 heddles On the 9th harness 20 threads X 16 patterns = 320 heddles On the 10th harness 20 threads X 16 patterns = 320 heddles 3,520 heddles Also on the 4 front harness 5 extra for selvedges 20 heddles Total 3,540 heddles In this cloth we will suppose there are 72 picks per inch. In weaving this class of fabric, there is often much trouble caused by filling kinks. The filling is apt to catch on the sateen stripe, and unless the shed is perfect and clear there will be trouble of this kind. Under these circumstances it is necessary that the harnesses are properly hung, and that they are making a clear, even, open shed. Almost all mills engaged in weaving this class of goods use a head motion known as the dobby. The Crompton, Knowles and Stafford being the most popular. As the goods are woven with one shuttle the looms can be run at a very high rate of speed, for which the dobby or head motion is especially adapted. These dobbies are made to fit any kind of loom, and it is quite common for mills to put them on their plain looms, to be used thereafter for fancy weaving. But as the loom can weave with but one shuttle, it is confined to striped goods. Overchecks. In making patterns for plaids, proceed in the same manner as with the stripes to find the number of warp threads. It is the filling check or overplaid that will give most of the trouble in these patterns. To get the stripe or overcheck in the fillmg of the same density as the broken twill or sateen stripe in the warp, the take-up motion must be prevented from working, so that the filling 104 TEXTILE DESIGN. 95 threads may be beaten up closely, to correspond with the broken twill in the warp. To accomplish this a wire is attached to the pawl that pushes or pulls the ratchet gear, and is fastened at the other end to one of the levers that work the harnesses. Wherever the take-up motion should stop, a pin is inserted in the chain at the proper place. The pin, in lifting tlie lever, pulls the wire that is fastened to the pawl, thus hfting it up and thereby stopping^ the take-up motion. Fig. 126. The question now arises of how often the take-up motion should be stopped while weaving the check. We will again take our example : to make the filling compare with the warp, there will need be as many picks in | inch as there are in the corresponding stripes in the warp, which is 60. It will be found, how- ever, in practice, that 54 will be sufficient. Supposing there are 72 picks per inch, in ^ of an inch there would be 18, but the overplaid calls for 54. The ratchet gear is taking up 1 tooth every 2 picks, thus moving 9 teeth for every i of an inch of cloth woven; therefore, to get 54 picks in that space, there must be 6 picks for every tooth taken up, so it * follows then that out of every 6 bars in the pattern chain, 4 of them will have to contain pins in order to stop the take-up motion. The best weave for the stripe or overplaid, when there are an k^* *~flPW~ ■~ \ * • •^■■■M ♦^« » • ^B^^n * • •■n^^Bi ( 4^< » • ■§■^■1 * • *^^HPV J *J \ ^i k^ I*. " Hd^P » !♦ 'w ^^M \ f ' I*. I^^H « !♦ rl-l ♦1 ^♦. " L^^n J ♦. \ 4 IH 1 l' • • ■■■■I * • •^■'~^^H »^ » • ^B^H^ .♦ • •i^^^H J »; i"«~^ s .•. a •■IH^HH ^J iVpV * V^3 4. y"Hilm *♦. ** " \ .♦ ♦ 1 ^♦. '' ^BiH • ^ * ^^n \ • ^ } .♦. ». ♦ *■ ■ ~ -♦. ^^Ki / ^J •-< ^P uv ■ ♦ ^ y '^H ■ -♦. - — > • - ^B^ ~ .f .s-::HHt.: .z J Fig. 127. 105 96 TEXTILE DESIGN. even number of threads in a dent, is the 4-harness broken twill, or Crowfoot weave. In making the design for a filling stripe of this description, and in order to have the warp stripe pass smoothly over the filling check, the weave must be made double what it is in the plain part ; if we are using a 5 up and 1 down weave, it must be made to run exactly double, that is, 10 up and 2 down, when it comes to the filling stripe. Fig. 126 will explain. There must be 2 extra harnesses allowed for selvedges on patterns of this nature, otherwise there will be a bad selvedge where the filling stripe is being woven. Fig. 127 shows the harness chain complete for weaving a plaid from the stripe pattern just explained. PLAIN AND IRREGULAR RIB WEAVES. After the plain, twill, and sateen weaves have been studied, the next class is the derivative weaves, or those which are de- signed by using one of the foregoing weaves as a basis. The simplest class of these weaves is the ribbed. This is formed by using the plain or cotton weave as a foundation. Fig. 128 is an enlarged diagram of a fabric woven on the simplest rib weave that can be constructed. It is made by raising 1 warp thread for 2 con- secutive picks, and lowering the same warp thread under the next 2 picks ; the second thread being exactly the reverse of the first. By a careful study of Fig. 128 and Weave 129, a clear idea of the designing of these weaves will be obtained. The warp thread No. 1 is raised when the pick A is inserted, and the same position of warp threads is obtained in the case of the second pick, B. When C and D are woven, the warp thread No. 1 passes under them, the warp thread No. 2 passes under A and B and over C and D, which is the reverse of the intersections on thread No. 1. It will be seen that this weave is nothing more than the Fig. 128. Fig. 129. 106 TEXTILE DESIGN. 97 plain weave, with an additional pick made in the direction of the filling. This causes the warp to cover the filling. This effect is called a rib, and is made by the warp. These weaves are called warp-rib weaves, because the rib is formed by the warp, but the rib line runs across the piece or width of the fabric. In the fill- ing-effect weaves, the rib lines run in the direction of the warp, but are formed by the filling. The threads 3 and 4 are the duplicates of 1 and 2. This weave repeats on 2 harnesses and 4 picks. Fig. 128 being the design for the enlarged section of the fabric. ' The warp-rib weaves do not have the extended use which the filling ribs do. These are also an enlargement on the plain weave basis, but instead of being in the direction of the filling, the rib is VA Y/A B f^ — : : A 1 2 34 Fiff. 131. Fig:. 132. Fig. 130 and Weave 131 illustrate Fig. in the direction of the warp the simplest filling-rib weaves that can be constructed 130 is the enlarged section of the fabric, and Fig. 131 is the design for Fig. 130. The pick A is over the two threads 1 and 2 and under the two threads 3 and 4 ; the second pick, B, is the reverse of A, and the third and fourth picks, C and D, are the duplicates of A and B. The weave repeats on 4 warp threads and 2 picks. In the fabrics woven on this principle, the face rib is formed by the filling, and it covers the warp almost en- tirely. On account of this characteristic, these weaves are used largely in the manufacture of woolen and cotton union fabrics, that is, a cotton warp with woolen filling; but because of the slippery character- of the cotton warp, and the filling crossing each bunch or set of threads in the same manner, it is found that in the fabric the filling will slip or pull on the warp and form open spaces. This defect can be remedied to some extent by using such a weave as is shown by Fig. 132. In this weave it will be 107 98 TEXTILE DESIGN. noticed that a warp thread is lowered on every rib or cord ; this additional intersection holds the filling and keeps it from slipping on the warp. From the plain rib weaves the fancy and irregular rib weaves are made. These consist of the com- bination of two or more rib weaves of various widths in one design. Fig. 133 shows the design for a weave of this class, which repeats on 3 threads and 2 picks. Fig. 134 is the Fig. 133. Fig. 134. same idea designed for a warp rib. EXERCISES FOR PRACTICE. 1. Make designs for warp-rib weaves to repeat on 2 har- nesses and 6 picks, for 2 harnesses and 8 picks ; also for 2 harnesses and 10 picks. 2. Make designs for filling-rib weaves to repeat on 6 threads and 2 picks ; also 8 threads and 2 picks ; also 10 threads and 2 picks. 3. Make designs for irregular rib weaves of this character, consisting of the combining of those weaves where the filling crosses 2 threads and 3 threads, 3 threads and 1 thread, 4 thread's and 2 threads, and 4 threads and 1 thread. 4. Make designs where the warp thread crosses the same number of picks as the warp threads in the above examples. 5. Make a diagram of each weave and a cut section of the first and second picks of each design. WARP EFFECT, FIGURED RI3 WEAVES. The first step in making figured rib weaves is to break the rib line or to change it after a certain number of warp ends. The method of designing these weaves is shown in Fig. 135, where the rib line on the first 6 warp ends is the same, then by raising the intersection 1 pick, the rib line is broken from a straight D ■ ■ 1 ^ ^ 7, "" c ■ ■ ■ f^ 'i ^ *ffl ^ ^ ^ ^^ 'f. '// c 1 ■ ■ fl ^. ^ '^Z ^ ^ y^, A ■ ■ ■ ^ ^ ^ y^ ^ ^ ll 2 1 2 1 2 3 4 3 4 3 4 Fig. 135. 108 TEXTILE DESIGN. 99 line across the fabric. On this break it also covers 6 ends, so that the weave repeats on 4 picks and warp ends. This weave can be varied considerably by using a different number of warp ends in the change of the rib line, such as using 12 ends for the first direction of rib line, and then a smaller number for the second direction. Fig. 136 is the combination of the 4 up and 2 down rib weave, using 6 ends for each change of the rib line ; this makes a broad and a narrow rib line, and is a very good fancy effect. It repeats on 12 ends and 6 picks. By using various rib weaves and changing the arrangement of the num- ber of threads used for several widths, a great variety can be produced. Fig. 136. FILLING-EFFECT, FIGURED RIB WEAVES. These weaves are designed on the same principle as the warp- effect rib weaves, except that the rib line runs in the direction of the warp instead of the filling. Fig. 13T shows the narrow and wide rib weaves combined, the rib line running for 6 picks, then changing on the next 6. This will produce an alternating wide and narrow rib effect. The filling effects, as in the warp effects, can be varied by using various widths of rib weaves and different numbers of picks for the various widths. The next class of figured rib weaves combines the warp and filling effects in one weave. This is usually done in the shape of block effects, using the warp or filling effect for the ground, and the opposite of what is used for the groundwork of the pattern for the figure. Fig. 188 is the combination of the 2 up and 2 down, using the filling effect for 6 ends and 6 picks, and the Fig. 137. Fig. 138. 109 100 TEXTILE DESIGN. warp effect for 6 ends and 6 picks ; this repeats on 12 ends and 12 picks. Fig. 139 is an idea for a weave of this character, each square representing 8 ends and 8 picks. Where W is marked, use warp-face and in those marked F filling-face rib weave. F F W F F F F W F W F F W F F F 8 8 8 8 Fig. 139. EXERCISES FOR PRACTICE. 1. Make this weave (Fig. 139), which will require 32 ends and 32 picks ; also make two other designs of this same class. 2. Make designs for three of the figured warp-effect rib and three of the figured filling-effect, marking number of ends used for each weave. Eight designs in all. OBLIQUE RIB WEAVES. These weaves are a combination of the warp and filling effect rib weaves, and are used principally in the manufacture of what are called bird's-eye effects. They produce a square pattern in the cloth, which fact will be readily observed from a careful study of the weaves. To design these weaves first mark off on the design paper the repeat of the weave ; that is, if it must be woven on 8 harnesses, mark a square containing 8 ends and 8 picks ; subdivide this square into eight parts, as shown in Fig. 140 ; number each triangle in rotation 1, 2, 3, 4, 5, 6, 7, 8. To design an oblique rib weave, mark in each uneven numbered square the warp-effect rib weave (see Fig. 141), and in each even numbered square the filling-effect rib weave, which produces the completed oblique rib weave (Fig. 142). This procedure can be reversed ; that is, the filling-effect lib can be designed in the uneven numbered triangles, and the warp-effect rib in the even numbered triangles, which will produce the finished weave (Fig. 143). 12 3 456 76 Fiff. 140. 110 TEXTILE DESIGN. 101 All weaves of this class are designed either commencing rib effects alternating with filling or the reverse. These weaves are also combined with plain rib weaves for producing checks, usually using the oblique rib weave as the groundwork of the check, and the plain rib weave as the over- plaid or check. A weave of this class is shown in Fig. 144, where the groundwork of check is the 8-harness oblique rib H G F E D - J u J 1 ■ 1 1^ 1 + 1 - 1 il A^ C ■iem: R _ M r - :l: A Jj -^ 1 2I3I4I5 ^ 79 H G - am m ■■■ [§■ ■ ■ - c I _ iffil ~ 1 2 3 4 5 6 7 81 1 H H HT 1 ra rpi F" III ^ LL c nr ? 4 : t A ■ L ■■~ T- T~ lkjai4l5Lel7l8l 1 L ^ _ - 1 . Fig. 141. Fig. 142. Fig. 143. weave designed by commencing with the filling-effect rib in first ti'iaiigle ; the 4-harness rib filling effect for the warp over- checking, and warp effect for filling over- checking-. These combination weaves are simple, the only difficulty being experienced where the warp and filling effects of overcheck- ing join. At this point care should be taken that the weaves come together, preserving as nearly as possible the effect of both. These weaves are principally used in the manufacture of piece dyed worsteds. EXERCISES FOR PRACTICE. Fig. 144. 1. Make designs for 6, 8, 10, 12, 14, 16 harness weaves of this class, using warp-effect rib in first triangle ; also make 6, 8, 10, 12, 14, 16 harness weaves, using-filling effect rib in first triangle. 2. Design two weaves of this class, combining the 10 and 12 harness oblique weave with warp and filling effect rib weave. m 102 TEXTILE DESIGN. BASKET WEAVES. The common weaves of this class are simply an enlargement of the plain or cotton weaves, in that the intersections are 1 end up and 1 end down, and 1 pick up and 1 pick down. ^ To enlarge on this requires that the number of ends and picks on the same intersection must be made larger. The plain weave consists of 1 end and 1 pick each way, and to enlarge on this arrangement the number of ends and picks must be increased. It '^ ^ gr II 1 1 . _ 1 2 3 4 Fig. 145. Fig. 146. F P! E D C - ■ A -L 1 V 1 . 1 1 ,4^ 6 Fig. 147. is obvious that the next change would be 2 ends and 2 picks each way. This produces the simplest basket weave that can be constructed, shown in Fig. 145, of which Fig. 146 is an en- larged section of a fabric woven on this weave. This basket is the 2 and 2. Fancy basket weaves are constructed from the plain or com- mon basket weaves. These are solely the combination of two or more weaves of the common basket, or a basket and the plain combined. Fig. 147 is an illustration of these weaves. There is combined the plain and the two basket to form a weave which repeats on 3 ends and 3 picks. Fig. 148 shows the combination of a more complicated weave of this class. It is the 1, 2 and 3 combined, and consists of three changes. It repeats on 12 ends and 12 picks. In designing these weaves always commence at the left-hand corner and run the weave across the paper to the upper right-hand square. Two repeats of the orig- inal weav^es are necessary before a complete repeat of the weave Fig. 148. 119 TEXTILE DESIGN. 103 is secured. After designing tliese on paper, fill in the rest of the weave, always counting the changes the same both warp and fill- ing way. EXERCISES FOR PRACTICE. 1. Make the designs for example 1, 3 and 3 ; example 2, 4 and 4 ; example 3, 5 and 5. 2. Combine the following in fancy basket weaves : example 4, 2-4 ; example 5, 1-4-2 ; example 6, 2-3-1-2-1 ; example 7, l_l_2-2-3 ; example 8, 2-3-4. CORKSCREW AND DOUBLE-TWILL WEAVES. These weaves are chiefly used in the manufacture of worsted suitings and trouserings, and in some branches of silk manufac- ture. They are similar to oblique warp-effect rib weaves, in that they require a fine or close set, since the warp forms to a great extent the surface of both face and back of the cloth, the filling being merely embedded between alternate warp threads. We shall now describe the construction of a few of these weaves, a close study of which will readily demonstrate the end- less variety of new designs to be made in this manner. With reference to the theory of constructing this class of weave, the true corkscrew is made from the regular twill weaves on an uneven number of harnesses, by using the regular 45-de- gree twill for a chain, and drawing the threads through the har- nesses in the same order as the intersections would occur in any given sateen weave on that number of harnesses. In order to provide for the equal overlapping at the juncture of the corkscrew twill, the warp section of the 45-degree twill must use one point in excess of the filling section or sinkers, thus : 3 4 5 = 5 threads; =i 7 threads : = 9 threads 2 3 4 If the overlapping of floats at the juncture of the two twills is more than one point, the effect of this style of weave will be lost. This explains the reason why this method of drafting is impracticable on weaves of an even number of harnesses, as an even number cannot be divided into two unequal parts, one of which will exceed the other by one point only. The fewest 113 104 TEXTILE DESIGN. number of harnesses to make a corkscrew weave is the 5- 3 harness 45-degree twill; the 13-harness being the largest corkscrew weave in practical use. Fig. 149 is the 5-harness 45-degree twill. Operation : Divide the number of harnesses into two parts, one of which will exceed the other by one point or unit ; thus, 3 ■ Fig. 149. Fig. 150. Fiff. 151. and 2 equal 5 . The dra wing-in draft to be made on the same principle as a sateen weave, always commencing with the first- thread on first or front harness, using one of the numbers to count with as a move number, thus : first thread on first harness, second thread on fourth ; that is, first and move 3, — this move will place the third thread on the second harness ; second and move 3, — this move will place the fourth thread on the fifth har- ness ; fifth and move 3, — thu move will place the fifth thread on the third harness ; third and move Fiff 152 ^' — ^^^® move places the sixth thread on the first harness and determines one repeat of the weave. This draft shows a straight draw for 5 harnesses, consider- ^ ^ \s!". s: Fia:. 153. Fig. 154. ing every other warp thread only, viz. : every uneven warp thread, X, 3, 5, 7, 9, etc., etc., calling in turn respectively for the first. 114 TEXTILE DESIGN. 105 second, third, fourth and fifth harnesses ; the even warp number 2 commences on tlie fourth harness; considering again every other warp thread only ; viz., every even warp thread, numbers 2, 4, 6 and so on, calling in turn respectively for harnesses numbers 4, 5, 1, 2, 3. The draw or draft completed will read 1, 4, 2, 5, 3, 1, 4, 2, 5, 3. A study of Figs. 150 and 151 will explain. Explanation in detail: 1st 2d 3d .4th 5tli 6th 7th 8th 9th 10th thread thread thread thread thread thread thread thread thread thread on No. on No. on No. on No. on No. on No. on No. on No. on No. on No. 1 harness, 4 harness, 2 harness, 5 harness, 3 harness, 1 harness, 4 harness, 2 harness, 5 harness, 3 harness, count count count count count count count count count count off 3 off 3 off 3 off 3 off 3 off 3 off 3 off 3 off 3 off 8 places places places places places places places places places places Fig. 151 shows the corkscrew weave carried to its full extent. It will be noticed that in the first half of the draft, the first or odd thread com- mences the draw, whereas in the second part of the draft it is the sixth thread or even number that commences the draw. The draft must be extended to double the original weave to make one full repeat. Fig. 152 is a 7-harness weave. Seven divided into two parts, one of which will exceed the other by one point only, 4 and 3 equal 7. degree twill. • Fig. 153 represents the harness draft, and Fig. 154 is the extended design or corkscrew twill ; 4 is the i:aove number. Fig. 155 is a 9-harness weave. Nine divided into two parts, one of which will exceed the other by one point only, 5 and 4 5 equal 9. 45-degree twill, with 5 for the move number. Fig. 166, harness draft. Fig. 157, extended design. Uneven balanced weaves will always produce more perfect 115 106 TEXTILE DESIGN. corkscrew weaves than the even-sided twills, since it is only pos- sible with the uneven-sided twills to balance the cut-off of the double twill. The direction of the twill will be reversed by using the lesser number. Fiff. 156. Fig. 167. Corkscrew weaves on an even number of harnesses. No matter what even-harness 45-degree twill is used for the foundation for an even-harness corkscrew weave, the junction of the two twills will be faulty. There is not the equal cut-off as produced with weaves having an uneven number of harnesses for repeat ; but some- times a corkscrew weave on an even number of harnesses is required, especially with fancy effects, in which corkscrew weaves are used in combina- tion Avith other weaves. For instance, a case may occur in which a corkscrew weave for an even repeat of harnesses is required to connect with a 6-harness twill. Fig. 158 is the 3 45-degree twill. Ti•.- •] [• •__• «»• •_• •• •• • • e^* ••_ •• •_%_ •_•_ •_•_ • • • e •• •• •• •! [• ¥]¥ T¥ •• mT « ¥] [J- F m_9 •_9^ "^ ®^ »_^ • ! • •_*_ • •• •• •• •• •• Fig. 27. • •• • • •_• •• •.•. •.•- •• — •j "jF \m\ • »_•_ •^•. •.•_ •_*. • • • . ¥"• T • • •ZZ!*HZZ£ •ZZ Z^ZZ^^ZZ* ± — - «¥ '•~^ [m\ •"¥ • • •• •• •• •• • ¥ ¥ _±ZZ?!* • [il • • •.•. • • • • ¥¥I-¥¥II¥¥II¥¥II¥ 1IL_« • **- i«l*l --* £ • • • • m^ •_• • • I*! ■• •• • )• • • •_%_ 9_»_ •_• •_•. • , , , * • • 1*1 ___• ¥¥ ¥¥ ¥¥ ¥¥ ¥¥ •^ ¥•""• ^•ZZ*fi Fig. 26, u§ TEXTILE DESIGN. PART III. CLOTHS BACKED WITH FILLING. This branch of weaving has not had a very extensive use in the cotton trade, but in the woolen and worsted industries it has a very wide application.' The term, single cloth, is generally applied to a fabric that is interwoven with one set of threads for the warp and one set of picks for the filling. This may be a cloth in which the weave will allow the warp and filling to be equally divided between the face and under surface of the fabric, or such cloths as sateens and doeskins where the warp or filling predominates on the face. A fabric which has an extra layer of threads woven on the under surface or back of the cloth, and which is distinct from the face, is called a backed cloth. These extra threads may be in the direction of the warp, or they may be in the direction of the filling. Backed fabrics of this description are not what is understood as double cloths. There is as much difference between a backed cloth and a true double cloth as there is between a single cloth and a cloth backed with either warp or filling. To retain the fine surface and appearance of a light-weight pattern on the face of a fabric, and at the same time to increase the weight or bulk of the fabric, a lining or back must be inter- woven on the under surface of the cloth. This back can be interwoven either in the direction of' the filling or warp. Double cloths are composed of two distinct sets of threads, both in the warp and filling. They are two separate cloths, inter- woven at various intervals to form one compact fabric. Sometimes one fabric is superior to the other in quality ; in such cases the fine fabric is called the face and the inferior fabric is called the back ; or it may be that the two cloths are of the 121 no TEXTILE DESIGN. same quality and material, but of different colors, one cloth form- ing the outer garment, while the other cloth forms the lining. The face of one cloth may be of a very fine surface and of one color; the lining of such a cloth can be composed of a fancy weave, and the pattern and coloring of several bright and radical colors. There are three methods of backing a fabric : First, by having one warp, with two fillings ; one filling for face and the other for back. A 3 1 c ■ ■ > i X X X X ■ ■ > < X X X X X ■ ■ ■ ■ X X X X X X ) <. x X X X X ■ ■ > ^x X X X X ■ ■ ■ ■ > iX X X X X X X X X X X ■ ■ > K X X X X X ■ ■ ■ ■ X X X X. X X > <^ X X X ^ f 1 1 ■ •> <;x X X X X ■ ■ > < X X X X X u ■ X X X X X X ■ ■ i ^x X X X X 1 1 ■ Fig. 166. Second, by having one filling and two sets of warp threads ; one set for the face, the other set for back. Third, by having two distinct sets of warp and filling, inter- woven so as to make two different fabrics, bound together at certain intervals. Those backed with filling are usually low or medium grades of cloth. This system is probably the best for such fabrics, as it allows the warp threads to be set close together, and also allows the manufacturer to use heavier yarn in the filling at the back of the cloth. But this system of backing does not allow the back to assimilate with the face, as all the yarn at the back is in the direction of the filling. Cloths backed in the direction of the warp can be made to correspond with the face of the fabric, espe- cially in stripe effects. Some of the finest of worsted cloths backed on this system s?< o 9 ■ _ X X i , -« ^^ ■ B m. !■ _ X ^ X x' X 5' X 7 I ■ ■ o X X X o X y X ■ ■ ■ ■ X X X o X X X o ■ ■ ■ ■ X X o X ?< OXi ■ ■ ■ ■ J Fig. 167. Fig. 168. also followed by being depressed at the second face pick. Thus the flushing on each side of the back pick by the first and second face picks conceals the stitching point or binding. Fig. 168 represents a cloth composed of the same two weaves as those at Fig. 167, but the point which unites the back to the M ~ B i ~ ~ n ^ ^ X X 5? X 5? X ~^ X ■" " "■ X X x} X X X o X ■ ■ ■ ■ X X X X X X X ■ ■ ■ ■ a ■ B ■ X X X X X X X X o X X X X X X a ■ ■ ■ X X X X X X X ■ ■ ■ ■ B ■ ■ ■ X X X X X X X X X X X o X X X ■ ■ ■ ■ BTITCh X X X X X X X ■ ■ ■ ■ ■ ■ ■ ■ 1 X X X X X X X X X X X X X X o ■ ■ ■ ■ >^ X X ^ X X X, ■ ■ ■ ■ o X X o X X X X X - FACE o BACK ■ ■ ■ B o X X X X X o X X o ■ ■ ■ m o o X X X X X X X o ■ ■ ■ ■ Q X X X o X X X X ._ _ _^ ^_ _ a ^ ■ ■ ■ ■ COMBINED Fig. 169. face is not in a position where it can be covered on both sides by a filling flush. Fig. 169 is the very best way in which a filling back can be woven to a cassimere twill weave. The backing is an 8-harness sateen weave. It will be observed again here that the points of intersection on the face are depressed previous to, and after the intersection of, the backing pick. The 8-harness sateen back pro- duces a soft and full texture. 194 TEXTILE BESIGJT. 113 Backed cloths in the proportion of two picks of face and one pick of back. There is one important fact with this system ; that is, that the backing pick cannot be bound as satisfactorily as in the one-and-one system. Fig. 170 shows that only every alter- nate thread is interwoven with the back. To have a thoroughly even balanced cloth, every thread should have the same amount of binding, otherwise the thread that has the greater number of inter- lacings must necessarily "take up" the quickest in weaving; therefore, in making an uneven fabric, to have each thread take up equally, the warp should be dressed on two beams. There are cloths woven on this principle which have only one beam, but the fabric i;: not satisfactory, especially when the backing filling is much heavier than the face fillingo After a certain length of cloth has been woven, the threads with which the backing has been interlaced most frequently will work tight and cause streaky places to appear in the cloth. It must be thoroughly understood that whenever the structure of the design will admit of the arrangement of backing ties, these should always be preceded and followed by flushes of face filling. This is the secret of good binding. In making figured designs, the same prin- ciples will apply. Fig. 1 71 is a checker-board pattern, the weave of which cuts at every eight threads and pick. Therefore, as the design stands, two face picks then one of back, it would be impossible to arrange it in such a way as to have the filling flush on each side of the binding point if the first and sixth picks were not coupled together. Fig. 172 shows the wrong way, and Fig. 173 illustrates the correct method to arrange such weaves. Fig. 174 represents a figure warp-surface weave. It is a de- sign which illustrates the irregular system of binding ; this figure is bound at two points on the filling pick and only one on the warp thread. There is one other class of goods that has had a considerable X X X 5? X 3? 5 X B ■ ■ 1 ■ ■ ■ ■ o X X X X X X X ■ ■ ■ ■ ■ ■ ■ ■ X X o X X X X X ■ ■ ■ ■ ■ ■ ■ ■ iK X X X o X X X ■ ■ ■ ■ ■ ■ ■ ■ X X X X X X o X ■ ■ ■ ■ ■ ■ ■ ■ o X "x X X X X X ■ m ■ ■ ■ ■ ■ ■ X >< o X X X X X ■ ■ ■ ■ ■ ■ ■ ■ X X X X o X X X ■ ■ ■ ■ B ■ ■ ■ Fig. 170. 125 114 TEXTILE DESIGN. sale, and the designing principles of which are very similar to those just referred to ; cotton warp, worsted or woolen face, woolen back. The weave is generally a filling flush, as repre- sented in Fig. 175. The chief object in this class of work is to hide the cotton warp, so that the face represents a perfect and smooth worsted o r woolen sur- face. As the weave is made of long filling flushes, it is not a very difficult matter to find a suitable place to join the back and face to the cotton warp. Fig. 176 represents a class of goods which is made in direct opposition to the previous example. The cloth is made from worsted warp. p — li| a] m\ "" PI 1] ■" a a ■ la ■ ■ B e ■ ■ ■ ■ ■ ■ ■ B B ■ ■ ■ 1 ■ ■ ■ ■ ■ ■ ■ B ■ ■ a ■ ■ ■ ■ ■ B B n ■ ■ ■ ■ ■ B ■ ■ B ■ ■ ■ B B B ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ a a a ■ ■ ■ ■ ■ B B B ■ ■ ■ ■ ■ B B n B ■ ■ ■ fl B a ■ n ■ ■ ■ B B B ■ ■ ■ ■ B a a J B ■ ■ B ■ B B _ B Fig. 171. xo><,> sX.>^>^ x.\xy. XX c )XX B 1 IBB BB 1 IB ■ ■■ B BB ■ ■ >^>^xc )>^>^X XX^o xx> (X> B BB B BB ai 1 ■ 1 IB ■ Bl ■ ■ 1 >$X>^> iKOX X)^X.X OX> ^x> C BH I ■ BB Bl 1 ■ 'ian ■ ■ 1 1 1 1 >^^X^ ^>^xx oxxx xx,> '^o> ^ III 1 I ■ B B 1 1 ■ 1 ■ B B I 1 IB ox>^> ixxx xoxx xx> ^X> < ■ ■ BB BB a 1 1 a BB a a Bl IB ^x,x> <,x x>;) < ■ B BB ■ BBI 1 BB 1 KB BBI 1 xxo) ^ >^lx O ?< XX X >^ X ■ ■ ■ B ■ ■ ■ B X xoix x X X o X X X X ■ ■ ■ B ■ ■ B B X X X X o XX X X o X X ■ ■ ■ B ■ ■ ■ B XX X X ^ X o X XX X 6 H ■ B ■ ■ B B B X o X >^x X X(X X X X ■ ■ ■ B ■ ■ B B XXD< G X X X X XX O X ■ B B ■ ■ ■ H a Fig. 175. ■ ■ ■ ■ B i ■ ■ ■ ■ ■ X X o X X X X X X X o X X X X X ■ B ■ B B ■ ■ B B a 9 unDBBDD aBDDBnnn o xixixixbcixixixioixixix XXX ■ n nnnBCDDBBDnB HaBDLUBDDBBL: BUU □BD lxb? q ■ B a B ■ B ■ ■ B o X X X X X X X DX x X DBDBnmnBQBno Wo XXX X xxb dy 1 II Bl 11' - Bl II ^DBDi X o X X X X X) KX o X B B a a a B X X o X X X X) xc >x X X ■ B B B ■ Bl 1 B X X X X X o X x> CO X X DaBnaDBmonBn X ^ X X X o <\x o X B a B a IJB a Fig. 174. Fig. 176. will be found that the risers and sinkers on each design are nearly the same ; therefore the explanations that have been given for tlie one fabric will hold good for the other fabric. There is, however, 127 116 TE»XTILE DESIGN. X 6 X X X X X o ■ X X o X X ■ o X X X X ■ y. X X o X B ~ ~ i ♦ a ■ H ■ u ■ ♦ ■ ■ ♦ m ■ ■ ■ ■ ♦ ■ ■ a ■ ■ ■ i Fig. 177. Fig. 178. one advantage to be gained by using an extra warp ; on each side of the fabric an entirely different design can be made, and as it takes extra harnesses to weave a warp back, the designer can utilize them to vary the figure. There is not much diversity applied to the under surface. This is usually of a sateen char- acter, but the face weaves have every variety of design. The point of tie is as important in this type of cloth as in the previous one ; the binding should fall in such positions as have face warp threads elevated on both sides, exactly as flushes of face-filling are necessary to effect the successful binding when backing with filling. Flushes of face warp are as essential to cover the ties when back- ing with warp as are filling flushes when backing with filling. The order of lay- ing out this class of fabric is on the one-and-one prin- ciple. To arrange the threads on the two-and-one system, would necessitate the use of a heavier yarn for the back, and even then would produce a rather open texture on the under-surface. The yarns used for warp backs are, as a rule, about the same size of thickness as those used for the face fabric ; the yarn is set close in the reed, and the warp contains a large number of threads per inch in proportion to their counts or sizes. EXERCISES FOR PRACTICE. 1. Back plans 1 and 2 with weft 3 picks face to 2 picks back ; plans 3, 4 and 5, 2 picks face to 2 picks back. 2. Back plans 6 and 7 with weft, 3 picks face to 1 pick back. 3. Point out any defect in plans 8 and 9 and give con- nected plans. 4. Plans 10 and 11 show two methods of backing the same weave with warp 2 and 1. Which do you consider the better of the two and why? 5. Back plan 12 with warp, 2 ends face to 1 end back so that there may be one pick only in each shed. 128 TEXTILE DESIGN. 117 6. Would the face weave in plan 13 be affected in any- way by the stitching of the backing weft? l—p • •■ • w\ •I • « • • ~ _ /• • * • • • • • •■ • • • • • • • • 9 • • •• • • • • • • • • > • •• ! • vt '•• ■ ■ 4« • • • • r\l ~? • s • * ♦ • * • • • •• • • * • — -•• • • • • • • • • • 4* • • • • _i 5 •• • • • • • • • • • • • ' , 1 .i 4 • • • ^s • • iu • t t * t ^ _^ _ a 4**. ♦ — ■" Ill* <» « • • 4 • 4 • • • • -- • t* ■ • 4 • ' * • • • • • _. • • • • • • • • 4 • • •• •t • • • 1 • 4 • • • t _4»» • • • • • • 4 • 4 • 4 • 47 9m •1 • • * • • • • • • • • • •• • • 4 • 4 • • • • • • • • 1 • • • 4 • 4 t • •• • •1 • • • • • • 4 • 4 4 1* •1 • • • • 4 • • )•• • 4 • • • • -51 • • • 4 • • ■ i 4 • 4 * 14 4 » ■ ■■ ■ ■ ■ • 9 • • • 4 1 4 4 i X • •« • 4 4 I 4 4 ■ 41 ■ ■ ■ • • J • 4 • 4 1 4 4 • ■ ■ ■ ■ ■ ■ •1 • i 4 • 4 *■ 1 X • • ■s 4 • 4 4 • 4 ■ 4 4 4 ■ ■ • 4 4 • 14 t X ■ ■ ■ ■ ■ ■ *• • ■ 41 ■ ■ ■ ■ • • • X • • • ■ ■ 4 4 4 ■ ••• ■ 4 4 4 4 ■ • i • X 9 • • ■ ■ ■ ■ i ■ • < • ■ 4 I ■ • • • 4 I 4 4 X • • • ■ 4 ■ ■ 4 • • ■ 4 X ■ ■ • « • I 4 4 4 • < • X ■ ■ ■ ■ -^ • • • « ■ 4IB I 4 4 4 • 1 a 4 4 4 4 ■ ■ t • ■ • X • * • 4 ■ I ■ ■ ■ • • « 4 • 1 ■ ■ 4 ■ 4 * • • 4 X X • ■ 4 « . ■ ■ 4 ■ 4 ■ ■4 4 ■ ■ X X 9 4 • • I 1 ■ 4 a ■ 4 ■ • • • • 4 I ■ ■ 4 • » • • 4 X • 4 4 • • ■ 4 ■ .o._ 4 al « • • 1 1 • 4 ■ 4 I ■ 4 • • • • _x_. X • I • • i ■ ii I 4 4 • • « • t 4 4 ■ ■ • • • 1 1 • >^ x; ■ « * • 4 ■ 4 ■ ■ # • • 4 • ■ ■■ ■ ■ ■ • 4 • • • — X • • • 1 • ■ ■ ■ !■ • • • • « ■ ■ ■ 4 ■ ■ • • • • • X ■*, • • • • • 4 ■■ ■ i ■ • • ( • ■ ■ ii • • • X ■ , 5? • • • » ■ 4 4 ■ ■ • • • > ■ ■ ■ ■ ■ ■ • • • 1 X LLJ .4 S • _ • _ _ ■ ■ ■ ■ ■ Give the reason for your answer and make a plan of this weave stitched correctly. 139 18 TEXTILE DESIGN. EXERCISES FOR PRACTICE. 1. Back with warp 1 face to 1 back, plans 1-6, stitching firmly. 2. Back with weft 1 face to 1 back, plans 7-12, stitching once in the repeat. 3. Back with warp 1 face and 1 back, plans 13—18, stitch- ing so that the back will be like the face. 4. Back with weft 1 face to 1 back, plans 19-24, stitching so that the back will be like the face. le _■■_ !■__ ■ « _■_■! !■_■_ H ■ ■ ■ 11 Iga ■■■ -ill ■11_I~ ■ ■ ■ m Bi_ _11_1 _1 11 1I_1_ 1_1 ■ !■_■ ■ a ■ a m ■ m ■ ■ ■ ■ ■ ■ m ■ E ■ B m ■ ■ m ■ ■ ■ ■ ■ ■ ■ ■ ■ a V ■ 4 a B B ■ ■ ■ ■ ■ m ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ B ■ ■ ■ a ■ ■ a B a ■ ■ H '■ ■ — ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ I ■ ■ ■ ■ ■ i ■j 1 11 1 11 111 _■■! _111 ■wIbI Tj " l_BOB_ 111_1_ 111 B ■■_■_! _M_111 a a a B ■ B B B a B 1 m Ed ■ m fl B a H B a B B ■ ■ ■ a B B ■ B ■ ■ B i B I I l a i Bi iB i a _!! BB _11_1B 1 1B_1 B_ll 1 ll_ia_ aa ii_ ■■ wm \ I - B m B ri a ■ H B B ■ ■ B B B a ■ ■ a B ■ a B a a B m a a ■ B a H 10 11 12 i-Si -ill BB a 13 illBl BBB _1!B_ Bll__ BB a 14 19 B_ _B 1 __B a 20 l¥> TEXTILE DESIGN. 119 ■ ■■■ ■■■■ ■ ■■■ iiilli ■ ■ ■■ 15 ■ ill !■!■ ■ 11! ■ 11 1 ■ ■ ■■ 16 c c I 1 I n n n L ■ ■ 1 ; [■ f n g - - r r B ■ ■■DDDDC ■DDDDDI DgaDDHB nnn" I I 1 uuu ■ ■ ■ - 1 17 l-lillL* 18 21 22 23 24 6. Back plan A with warp, 2 ends face to 1 end back, and give peg plan to weave it with draft B. 6. Back plans C D and E with warp, 3 ends face to 2 ends back. 7. Back plan F with warp, 2 ends face to 1 end back, so that there may be one pick only in each shed. 8. Give draft and peg plan to weave design G with a waip back, 1 end of face to 1 end of back. 8TIME5 4 TIMES 1 IB Bl IB B Bl 1 ■ ■ IB 1 IB ■ 1 IB B B B IBB 1 IBBB B B 1 IB IBB 1 IBBB B B B 1 BB ■ ■ BB Bl 1 ■ ■ B ■ ■ ■ ■ BB Bl 1 B B 1 B ■ ■1 IB Bl 1 B B B B B ■ ■1 IB ■ 1 1 ■ Bl 1 IB \i IBBB B B B Bl 1 B 1 IBBB B ■ Bl IB BB IB Bl B B Bl IB I ■ ■ ■ ■ B ■ IB B B I ■! IB Bl 1 1 IB B IB ■ ■1 IB Bl 1 ■ B 1 B IB Bl IB B 1 B BB 1 IB Bl IB B Bl I B B B ■ ■ Bl ■ ■ 1 ■■DDDI B ■ ■ Bl 1 ■ DnBDDL 1 ■ ■ Bl ■ I 1 1 B MBDDDIB ■ ■ Bl Bl 1 ■DDBDDDB I3X 120 TEXTILE DESIGN. '8 TIMES 4T1MES ~\ — 1 — 1 — 1 — 1 — 1 — Mil — 1 1 1 ■ ■ ■ ■ ■ ■ ■ ■ ■ 1 ■ ■ ■ ■ a ■ ■ ■ ■ ~ ■ X >? X X X X X X X X ± B " 7 i y' V ,.^ y^ ,.' y^ .^ ' / V ,. ' ■ / ,. ' y' ■ y' ,.' ' y ^ y' y' '' ' ' ' ^ ' ) 1 5 TIMES 132 TEXTILE DESIGN. 121 I \U \ iM l !■_■ !_■■ ■1_1_ ■_■ ■_■■ ■ ZliiZilZiZii _!■_■ ■_■■_ _■■ ■■_■!_■ ■■ BB ■~rB _1_1 1 I ■l_l_ll_l_li ■ ■ 1_ ■_11_1_1111_ _1 ■_■_■ B B BBBB a~m a ■ B B ■ ■ ■ n n ■ n n PI ■ B n n n n L ■ ■ , : 1. I ■ ■ I r - n ccpignnBi [innc I ■ B □cnannBi I I :■ I ■ ccDBBnncc ■ I I 1 - B ■ .. , I I ■ I I 1 II i[ 1 ■ ■ - _ _ L. I I I Z " I nnn ■ ■ I . ■ DDDBDn L I ■ ■ ... 1 ^ I ■ n U L U u ■ ■ U u L B un B ■ B ■ ■ ■ a a ■ a a a a a a a a a i ■ ■ a B a a a a a a a a a a a a a a a a ■ B a a a a a a a a a a a a a B a a ■ a a a ■ a a a ■ ■ a a a a a a a ■ ■ ■ a ■ a a ■ a a a a a a a a a a a ■ ■ a a a a a a a a a a a a a ■ ■ a B a a a a a a ■ a a a a a a a a ■ a P n _ ■ la H _, ll m. ^ Ifi H aj H _ H ■ H _ H m m _ _ a _ .3 TIMES J TIMES — m\ ■1 i| s a] ~ u a ■ a a a B ■ a ■ a a a B ■ a a a a a a B a a a ■ ■ a a a a a ■ a a H a a a a ■ a a a a a a a a a a a ■ B a a a a a B a a B a a a a a a a ■ ■ ■ ■ a a a a a a a a a a a a a ■ a a a m a a ■ a ■ a a a a a ■ a a a a a a a a a a a a a a a a a a a a B a a a a a a a a a a a a a a ■ a a a a a a a a 5 a a B a a a a a a B ■ a ■ B B a ■ a MES' B a a a a a a a a a a a a a a a ■ a a a a a a a a aJ iJ _ K la la _, a _ _ H ll la _ _ 5 TIMES H 9. Back plan H with warp end and end and give peg plan to weave your design with draft J. EXERCISES FOR PRACTICE. 1. Back plans 1-6 with warp 2 face to 1 back, stitching each backing end once in a repeat of the face weave. 2. Back plans 7-12 with warp 2 face to 1 back, stitching twice in a repeat. 183 122 TEXTILE DESIGN. 3. Back plans 13-18 with weft 2 face to 1 back, stitching twice in a repeat. 4. Back plans 19-24 with warp end and end. 5. Back plans 25-30 with warp end and end, stitching so that the back will be like the face. 6. Back plans 31-33 with weft, 1 face to 1 back. , ■_■■_■ i_il_i ■■_■ i_ . ■ ■ ■■ ■■ ■■■! ■■!! Bg _■■ 111! ^ ■■■■ ■■ - ■■DBnDDDBa [^■nanaHiDBa DBD^DDBC DDniiCi B ana ■ B ■ iBl 1 a B B B B I iBiBi iBiirr i 111 1 11 _B 1B_11_ iB_ii a B , t IbI I |bIbI la ill a ■ ■ a a a ■ B a a > ■ a E m ■ B B n ■ a a ■ a a B m ft B B a B B a a a B a B a a a a a a l_ii : ii_i B_BB 11_1 BB i_ I M I mm BB 11 11_I 11 11 11 . IZIlIIiillllii 11 11 11 i; alal I PIbT I IbIb 10 !-* <» » n [i] n — H PI PI ~ ~ n li] H a 1 a a r e 1 5 B B ■ B a a B ■ a a B a B a ■ ■ 1 a a a a a a a ■ ■ a a a a a ■ a ' a a a a a a a ■ a a a a a a ■ a a a a a a a ■ B ■ a ■ a a ■ a a B a a a a a a a a ■ a a a a a a a a a a a a a a a a a a a a a n • a a a ■ a _j a a 1 B a m a _ B a li s 11 12 13 ^ "" a B a a a a ■ a ■ a a ■ a a ■ a a a a a a a a a a a a a a ■ a a 14 I I BI laiBna 1_11_B B_11_B ■_I1_B 11_B 1_ BB_B B_ _1 1_11 B B ill 15 184 TEXTILE DESIGN. 123 ■■■■ 11 11 1 111 111 1 am. _iiii 1111 ■ ■■■ 16 ■1 II ■ D □nnn ■1 E !8 ■nnn ■Bnn Jffi ■ ■ ■ 1 ■ ■ I m nnni 1. ■ ■ ■ nc" Jl I !■: :i I ■ .ui IB B u n 3 ■ 17 u ■ ■ "~ i ■ ■ ■ ■ ■ m ■ ■ ■ m ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ m ■ ■ ■ m ■ IP 18 -111 11 ■I 11 19 20 BBBD B B n n n n n Bnni ■ 1 ~ I ■ - ~] RSSBBRBRR I ■ I ■ 21 111 111 111 ■ ■1 !■■ ■ ■■ 22 1 I I ^ ■ ■ r r I r r - ■ ~ ~ ■ I n ^ I I 1 [■ I r [■ : I ■■ I ■ ■ ■ ■ ■ -DBnnnBc I ■ I I ■ r I ■ Dnni ;:i ■■ I ■ I ■ ■ ■ ■ ■ ■ BnnB ■ ■ ■ I '■ ■ I ■ ■ ■ ■■ '1 BBnfl ■ I I ■ ■ I z I : : = I ~ 3 23 1 \mM{ M ■1_11 _11 11 !■_■!_ 1_11 1 E1_B1 ■ ■ ■!_ -11.11 24 nnBBnn npHnnnn pnnnBBDn 25 ■1 1 iBlBlalHl - BpBnnnni BHnnnBn nBnnn nnnni nnnnB n c B ■ - ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ 26 : 1111 1111 iaii_ 1111 11 ■■ 27 ii_ii_in__]srr 11_111 1 ~il~ ■11 1 ii_ii~ __■ ii_ii_i"« I I ■■ ■■ ■■■ ■ 28 29 IM ■ __111~ mmmz ■ 1 i~ 11 ■ 11 ri 30 135 124 TEXTILE DESIGN. ia ■ ■ ■ ■■ ■ ■ ■ ■■ ■ ■ ■ ■ ■ ■ ■■ i ■■ ■ ■■ ■■ ■ ■ ■■ "■■ 11 ~_11_11- 1_11 ■ ■■_■! il il_ ■ ■ ■■ B ■ ■ ■ ■ ■ a a a a ■ ■ H ■ B ■ B a a ■ ■ ■ ■ ■ ■ B a m ■ ■ ■ ■ ■ ■ ■ ■ a ■ ■ ■ ■ ■ ■ a ■ m ■ ■ ■ ■ ■ m B m a 31 32 33 EXERCISES FOR PRACTICE. PAGE 125. 1. Put a warp back on plans 1-36, binding with a firm stitch. 1 end face to 1 end back. 2. As No. 1, but 2 face to 1 back. 3. Put a weft back on plans 1-36, binding Avith a loose stitch. 1 pick face to 1 pick back. 4. As No. 3, but 2 picks face to 1 pick back. EXERCISES FOR PRACTICE. PAGE 126. 1. Back plans 1—5 with warp, end and end, and with weft 2 picks face to 1 pick back. 2. Back plans 6 and 7 with -warp end and end, stitching firmly, and give draft and peg plan for your Tinswer. 3. Back plans 8 and 9 with warp end and end, stitching loosely, and give draft and peg plan for your answer. EXERCISES FOR PRACTICE. PAGE 127. 1. Complete design 1, of which 8 picks are given, and back with weft 2 face to 1 back. 2. Back plan 2 with warp, 2 face to 1 back, and give draft and peg plan. 3. Back plan 3 with warp, 2 face to 1 back. 4. . Give draft and peg plan to weave design 4 with a warp back. 1 end of face to 1 end of back. 186 TEXTILE DESIGN. I2i ■ THiirBl 1 1 1 1 1 1 1 1 1 1 n 1 -- -- "■" BB ■ --\ ---_:_ '■■'eS j ■ ■■■ !■■ ■ ^ '11 ----- Ha ■ ■ ■ ■■ ■ 3IlB ■ ■■ ■■ faafe ■ — mirn .- !■ II ill lli ■■ -- -■■ - --"i" it " " -■■ it. 5 . ■'Fr ^ " ~"' ' i ■■ -- ■ : ja ■■ ~ mi" ■ ■■Ml ■ ■ ■■ - - -- ■ ■ ■ ■ IM }■ ■ ■ ■ ■ n q ■ ■} ' itii"i: i"*it : ■' ■■■ la ■■■ Jill ._■■ 11 : lii BBS I :iii - ■ ■■ ■ "i-" ■■■PT ■■ ■»■ ■ -■■ :■■!■__ - - -- - - _- - UaLL iL „!■■- aSai - - - - - _- |;| [■|b|" "PP-- - -■■■■t - ■■■■ W'' b|b |n [B mm m - 1 II BIB > ■ ■ ■ ■ ■ ■■ ~ iBBiT ■ ■■■ ■■■■T" " "" ■PB ■■■ ■■■■r !■ - ii"ii -^ ■■■ It ni« . ■■ ■■■ ■ ii_ !_ ■«> ■■EL ■ ■■_ - - -■■ - ■■■ ■■■: s " - ■I- _ ■■■: ■■■ ■ -- ■ _. _. ■■ ■ ■■■ ■' -- ■■ I ■■ ■- ■ -- - ■ ■■■ J_ bHi _ mm i s ■■ ! _■■ ■■ . ± ■■■ _ qi -mMm : ~ - ■ ■■ ■ ■■■'> oit It ""it ■ ■■ rv ■■■ ■ ■■■ ■ ■ ■■ - - - ■aU ■■■■ _ ■- ■■■ ■ ■■ _ ■■■■ ■ ■■ "I _ - ■31- -- !■■■: ■■ -- ■■«! _ ■■X-" ■■- !■■ - - -- Mm\ ■■■ Ib aiKi ■ iUa t"" - - M" ■ ■■ - li"» ±"g- It ■ _ ■■■-. ■! ■_ ■!■■ : ;- - ■ ■ ■ ■ ■ I I ■ ■■ ■ ■ ■ I ■■ ■ ■■■■ ■ ■ "> ■■!■ -■■ ■ ■ _ - ■■ ■■! -■■ ■!■=■■■ _i: - ■■ ■■ i ■■■■ ■■ ■ ■ ■ ■ ■ ■ I ■ ■ ■ ■ ^ ■ ■ ■ ■ ■ ■ ■ 3 ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■'■'■I Hi !■ ■ 1 ■ ■ ■■ ■ ■■■: xitii 1^ ■ ■ JlB'IlB ■ ■ ■ ■ ■ ■ ■■ ■ ■■ ■ - ■ ■ ■■■ ■ ■■ ■ta >» ■■ ■ ■■■ ■ IT 111 ■■it ■■■ I ■ ■ ■■ ir^ ■■ ii : li _- ■■ ■ ■ alt: ■ ■^ ■■■■!■.: ■■■■ ■ ■ ms: :_ _ ■_ ■■ ■■■: : ■!■■ : ■■■ ■- ■ ■■it _ p iig pa a aa in ana ■ laa aaa ■■ ■ bbi aaaa aa a mm ■ ■■L-' Jai aaa '' ' ' aaBH aa ■ a ■■■■■■ ■■■ ■ ■■■ ■ ■ ■ ■ ■ ■ B 'N ' ■ ■ ■ ■ ■ ■ 1 I i B ■ ]■ " B BB aBB B '" " "rS ' ■ ■ '^ ■ ■ ■ ■ ■ bIbI ^ bI b b b ' ai '" -■■-" aa aa ■■■ Hi a a ■■■ 'Itll ■ ■ ■■- ■ IB m_ m ■■ ■ ■■ ■■it ■ !■ ■■ ■■ ■ ■ Bail ■■■ ■■ BB. ■ a N ■■ X iir ■ __ ■■ BB _aa _ a alt pB a i b__ _bi aa. a- bbI - liB a B BB a^ ■■ a ai X ■■IS □■■■ ■ ^" ■■ - ■ ■ It -■■■t -P" ■ , 3M' ■■ i a_ 3a ■ _ p^ _a aaa g It"«-"it BI - X p ■ait ■■■ B Jib dal 3a 3all ■ hb ■ ■■■ I"!"' TFT ±BB:__Jii-.___. Jmi ,,._B_-!Ba ■■ ai , 19T 126 TEXTILE DESIGN. =-T- li BT r^ as T- n s 1*1 - s 1? r- s s n I9 1? r H P r 15 P 9 r n - 9 "1 -5 A 1 i 4 9 t 9 1 ( k 4 1 I 4 ■ 4 4 • 1 • I 1 • 4 I i 1 9 ■ 4 9 9 • • I « 9 i 9 • 1 4 1 4 4 * 9 4 k • ■ 4 • I • • • 9 i 4 9 9 k 4 4 9 4 4 i i • « 9 9 9 • 9 1 9 9 • 9 4 9 k 9 9k • • • • • 9 1 9 ■ g I * t 4 • k k • 4 ♦ • 1 1 i 1 i t 1 t 4 t 4 1 4 K ■ ■ f • 1 1 9 9 1 9 f 4 • k 4 • 4 1 i 4 • I • I I 4 9 I • 1 1 fl 9 1 4 4 • 9 4 4 • 1 • 1 • ■ 1 9 9 ■ ■ g 1 • ■ 4 9 • 9 • « « t • 9 1 ^ ■ • ^ • • • 9 4 4 4 4 ■ 1 4 4 1 1 ■ 9 1 1 9 4 f 4 i 4 4 4 k • • • 4 • I 1 4 m g 9 • 4 4 4 9 9k •* • • IMI 1 4 1 • 1 1 ■ k 9 4 • 4 im ■ n GBBoanc I I 1 1 I 1 1 : 1 ■ 1 P! ^1 II : s « • > ■■DC ■ 9 1 4 ■ 4 4 f 1 1 " 4 9 4 4 ■ • 1 • • • I 4 I 1 9 1 ll 9 p 4 4 1 1 # fl II * • 4 ■ 1 ■ 1 * 1 1 4 4 9 4 • • • • i • t 9 1 9 9 « 4 4 4 4 9 4 k • « I • ■ • 9 ■ I 4 9 4 4 4 1 4 4 9 • 4 • « i 4 I • 1 • 4 k 1 4 9 4 P k 4 4 9 « i • ■ 1 • • • 4 9 1 9 f 9 I 4 1 4 4 4 4 4 9 tl ;: t « i f I 1 ■ 4 1 1 t 4 k 9 4 B • • • « 9 9 • 9 B 9 9 9 9 ■ 9 4 9 1 9 • • ■ • I ■ 9 9 • 9 i 9 1 1 4 k 4 1 4 9 • t 1 « 1 ( 1 4 i 1 t • t 9 9 4 9 ik *• 1 • 1 fl 9 • 1 1 I 9 9 • 9 k 4 4 4 1 4 « • • i • 4 9 ■ 9 i k ■ 9 k 4 9 fl ( 4 1 9 • • 1 • 9 • • 9 k i 9 4 ■ 9 4 # 44 • • • I ■ ■ 9 1 ■ • I k i i 9 k k 9 1 « • • ■ i 1 1 9 ■ 1 9 I k • 9 9 k 9 k k 4 k k 4 k ■ 9 4 4 9 1 4 4 C 9 • • • « • • ■ * ■ 9 9 4 4 4 i 4 9 k9 9 # * 4 I • ■ ■ 9 I » 1 9 9 i 9 % 9 k k 9 1 9 4 ( 1 4 • 1 • t t t 1 k 4 9 k ■ k 9 4 4 1 f f 1 • I • ■ ■ • t • b 4 k k k 4 4 1 9 fl 9 * ■ 4 P 9 ■ ■ f k i k t 4 4 9 1 4 9 S i 4 p 4 k ■ f 4 1 t ■ • 4 k^ s 4 1 4 t i 4 • 4 9 1 p t i ^ 1 • « 1 1 fl ■ • U f 9 9 1 k I k k • 9 ■ • I « f I 1 9 f k ■ ■ 1 1 ■ 4 fl • I 1 • ■ • I B 9 • k 9 • k k 1 9 • • 1 • I 9 9 ■ 9 ■ k p ■ k 9 9 k 4 ■ 9 • • • ■ 9 » 9 k • B I 9 I • • 1 4 • • • • • • 9 9 9 9 k 9 • • k k • • ' • « 4 I 4 I 9 9 ■ 9 • • • k * 4 # 4 > 4 • * ■ f * t 4 ■ 4 4 ft 9 4 4 ■ 4 k ■ 9 4 • 4 ■ « • ■ • • k> 1 4 1 9 • ■ 9 k k 9 4 i 9 • • • i • ■ 9 • 9 9 9 9 9 • 9 9 9 9 « • • I • 4 • ■ 9 • 9 9 9 fl 9 9 1 4 H • • • • I • t 9 • • 9 • 4 9 k9 ■ # * • ■ • T ■ k • k 4 f • » 9 • 1 i • • 9 B 9 • k 9 % • 9 1 9 • • • ■ • 4 - C 9 k 9 4 k k 9 # 9 • I I ■ 4 ■ • I 9 k 4 k • 9 k 9 4 ■ • • ■ • ■ ■ 9 • 9 k 9 • 9 4 k 9 k •• I I • • I 9 k k k 9 • 4 9 4 9 « I I • I 9 9 ■ 9 • ■ • 9 4 • 9 • « • ■ • 4 B 9 • ■ 9 ■ ■ k 9 9 k * 1 1 • • • • » 9 k » 9 4 k • f 4 9 • 9 • • • fl « • 9 • 9 9 9 ■ 1 4 k 4 4 •• • • I • 9 » 9 9 * 9 k 9 9 I 9 • • 1 1 • • ■ » » • 4 9 • 9 k • 9 # • • • 1 4 « • 4 4 4 4 9 I 4 • • 4 • 1 If I I * • t I • ■ k i k • 9 »i 1 f f f t f 1 • f 1 1 1 1 k • • • • • • 9 * 9 9 • 4 k k I 9 •• • • • 9 9 • 9 i k i k k ■ 9 • • » 9 9 ■ 9 k i I 4 k * • 1 il 9 4 4 ■ 1 k 4 4 k k « H • 1* 9 4 • I k 1 k k k 4 i 1 • • 1 • ■ 4 1 4 9 ■ k 9 4 f 4 k •• • i « • 1 9 ■ 4 ■ 1 • 4 1 • •• • • • * 9 9 4 • k • • * * 1 • • ( * • • 4 9 9 • 4 9 ■ k k • i • • 4 9 • 1 1 ■ 9 k k k 9 • 1 <» ■ • ■ ■ • ■ 9 • k k k li ■ k ■ • k 1 • • • • 9 9 ■ I » k k 9 k 9 9 1 Ik 9 9 9 9 i •• • t f ■ ( 1 • 4 1 ■ 4 k ■ ■ 1 ■ k k • •• • • • • • 9 9 k k k • k 9 1 1 k k • • 9 k fl • ■ • • ■ ■ 4 k ■ ■ 4 • ■ 1 1 k k k k P» • 1 ■ fe 9 « 4 1 • 4 f * • 1 1 1 4 1 f • 1 • ■1 9 9 ■ i • 9 4 k ^1 19 9 k ■ • 9 9 • • • • 9 k • ■ ■ k • k k « k ^ 1 k • k f 4 k • •• • • • • • • 9 9 9 k 9 9 k 9 k 9 k k 9 • •« • • < • f 9 k 9 k ■ k k 1 Ik k 1 k 1 k • 5< • • % • k 9 • 4 k k k » • f k n t •1 • • • • t 4 f ■ k ■ 9 4 k k k ■ • 1 p • ■ • ■ • 9 9 ; 1 4 ■ • k * k 4 k k 1 k 1 ^ • • • • 9 £ S a . _ _ . 1 ^_ £ a • _ „ _ a s i s e fi& 138 TEXTILE DESIGN. 127 •••• • ••• • • -T~ — — • •••• • • ••• • •••• • •••• •••• • « • •• • n •••• • • • •• • w' •• • •••• • •• •• • •••• ft ft* • •••• •_ _•!•• • •••• • • ••• •••• • ••• • • ^ • •••• • ••• •f^i •• • •••• • •• « •••• • • ••• •ia* • ••! 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J_ L L a Js •S- 140 TEXTILE DESIGN. 129 EXERCISES FOR PRACTICE PAGE 128. 1. Make a design for a single cloth to weave on one beam and appear like plans a, b, c and d, in the same set. 2. Make a design with single weave to imitate the warp- backed design, e. 3. Make designs with single weaves to imitate designs f and g, then back your designs with weft 2 picks face to 1 pick back, so as to hide the backing weft as much as possible. 4. Back designs h and k with warp, 2 face to 1 back, then make single clotii designs to imitate them, giving suitable setting and counts of yarn for each. 5. Back design 1 with warp, 2 face to 1 back, then make a single cloth design to imitate your backed design and to weave on 30 shafts or less. 6. Make designs for backed cloths to give the nearest effect to plans m and n. DOUBLE CLOTH. The next step is to make two separate and distinct fabrics employing two warps and two fillings. Cloths of this kind may be made with either both sides alike, or totally different ; that is, each of the separate cloths may be of the same pattern and made from the same yarns and t^e same quantity of yarn in each, or one cloth maybe much finer than the other, and of totally different pattern. Double cloths are merely two separate and distinct single fabrics woven on the same loom at the same time, but during the weaving process, so bound together as to appear like one fabric. The two fabrics may be identical in appearance and make-up, or one may be a coarse fabric and the other a fine one with the weaves and color arrangement differing radically without interfering with each other. Designs for such fabrics are made on design paper just the same as for single cloths, but the threads and picks on the design paper are divided into two sets, one for face threads and picks, and the other for back threads and picks. A good practice to adopt for distinguishing one set from the other is to shade the threads and picks to be used for the back cloth, in their proper arrangement, with a light wash of color or by fine lines. Different 141 130 TEXTILE DESIGN. proportions of face and back may be used, as one thread of face to one of back, two threads of face to one of back, two threads of face to two threads of back, three threads of face to one of back, or any other arrangement which may suit any particular design. Whatever the system adopted, it is customary to start the design with one thread of face. In the case of two of face and one of back arrangement, the order would be one face, one back and one face, repeated to the full extent of the design. Suppose, for instance, that it is required to make a double cloth, each fabric to be a simple four-harness cassimere twill, as shown in Fig. 179. The warp threads would follow in the liar- nesses alternately, one of face iind one of back, and the filling threads would appear in the same manner. Seeing that alternate Fig. 179. Fig. 180. Fig. 181. threads on this paper represent two different cloths, the student should run a faint wash of color, or shade with fine lines, over one of the sets of threads, so that when putting the design on paper there will be little liability to confusion (see Fig. 180). Now pro- ceed to put the face weave upon one of the systems of threads, as shown by squares in Fig. 181 ; then put the back weave on the other system of threads, as shown in P'ig. 182 by the oblique crosses, remembering all the time that the shading put upon one set of threads possesses no significance but to guide him. If divested of the shaded lines and color, the weave will now have the appearance of 'a simple eight-harness twill, as shown in Fig. 183, and if woven as given here would produce a simple twill and not a double cloth. Then something more must be done. When the face filling is being put in, all the back warp must be left down for the shuttle to pass over, and when the back filling is put in, the face warp threads must be lifted for the shuttle to pass under. This is quite easy of accomplishment. Simply add to Fig. 182 the marks which 142 TEXTILE DESIGN. 131 will raise the face warp when the back pick is gomg in, as shown in Fig. 184 by the circular marks. One thing must be made perfectly clear at this point: the crosses or marks cannot be subject to any variation; they must be put on the back pick and upon every face thread. There will bi some apparent interference with this when binding or stitching the two cloths together, but in the meantime the lule must be held to be absolute.. Now suppose the matter is carried a step further, and the twill is to be used for the face cloth only and the back bi made plain, as in Fig. 185. This arrangement of design is quite simple and easy. Each weave is put on paper upon its own threads only, and then the marks are inserted to cause' each filling to interweave with its own warp only. ■ IH \ \\m " [|| ~Il iM i _■ ■ 1 i_ ■_■ 1_1_ ■_■ l_l _■_■ ■ ■ Fig. 182. Fio-. 183. Fig. 184. Attention must be directed to the probabilities in dealing with such a design as this. Here the threads of the two cloths are alternate, but tlieir weaves are different. It requires little inge- nuity to point out, and but little knowledge on the part of the student to understand, that if one cloth be woven twill and the other plain, and the yarns of the two are the same, one cloth must be much finer than the other. So that if any fabric is woven to this design and each cloth is intended to be equal in structure, as regards the relationship of yarn to weave, then that of the twilled cloth must be thicker in proportion than the plain cloth, and that proportion will be governed by the order of intersection. It is not often that this is done. Generally, in cloths of this kind, the two are of the same weave and quality, and consequently there is little trouble on that account. They may, of course, be of any pattern, such as that in Fig. 186, which consists of two six-harness twills,. or they may be of fancy weaves. (renerally speaking, this kind of double cloth is made when i^ / U3 132 TEXTILE DESIGN. lli^lZ ■ iTiiFmn Fig;. 185. is desired to have both sides of the fabric of the same texture, but perhaps of different colors. Tliey are seldom made use of except in simple patterns, such as twills of the simplest kinds. Fancy designs, so far as the interweaving is concerned, are seldom used, the variety of patterns desired being generally produced in colors, which may be in stripes, checks or over-plaids. Attention must now be directed to double cloths in which fancy designs and weaves are required, the backing, as in most double-filling fabrics, being for the purpose of giving bulk and weight to the fabric. The conditions of arrangement are somewhat similar to those of cloth backed with filling, but there are two warps, and of course both have to be taken into account. Take, for example, the pattern given in Fig. 187, which consists of the four-harness cassimere twill for face and the two-harness plain cotton weave for back; there are two threads of face to one thread of back, the face weave being shown in Fig. 188 and the back weave in Fig. 189. As will be noticed, the same practice is followed out as in the one-and-one system. The face weave is first put upon its own series of threads, and then the back weave is dealt with in like manner ; when both weaves are completed the rising marks are put on the back pick and upon the face threads, to cause a separation of the two cloths. Now, to carry this out to a greater length, make a six-harness twill face and a plain back, as shown in Fig. 190, with face weave in Fig. 191. In this case, if the pattern is only carried out once, there would be but three threads of backing, and as a plain cloth is not complete upon three threads, the whole must be carried/out to double the length, so that twelve threads of face and six of back must be employed. In such a case as Fig. 192, there would be no necessity for a repeat of the weave ; as the face pattern in Fig. 193 occupies eight threads, four threads would be required for back, and consequently the whole would be complete on twelve threads. It will be well to keep the practical application and the ■liMiii_iil_llj,_Ml I|lffili|ll|l ■ I illT'll~Tl~m~ Fig. 186. 144 TEXTILE DESIGN. 133 arrangement side by side. * For instance, the question of draft- ing will come forward, because in many cases the face pattern will be a very elaborate one and the back may be perfectly plain, or a simple twill, and consequently does not require many harnesses to ■ HI J I IB ~ff~£}ffp ■ninttii Fig. 187. Fig. 188. Fig. 189. E i m 1_ 1 11 in bI _ M ■ - '- ■ ■ ■ — ■ — ■ ■ ■ ■ ■ ■ ■ ■ m • c ■ s: K M S ' c m ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ m • S 9 • i m C m ■ ■ ■ ■ m ■ ■ ■ ■ ■ ■ ■ a m m iC • i C; SI c m -.m ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ m m m >v m m ml C : m 9fi tw m ■ m r ■ m ■ S ■ m ■ • ■ C m £ » B-r ■ m • K ■ m ■ a 1 ■ [ r weave it. In the design, Fig. 187, there would be no reduction, because the face weave occupying four threads and the back weave two threads, there would of necessity be six harnesses required, but the matter of arranging the harnesses must be con- sidered; that is, the arrangement of the draft must have particular attention, not only so as to know how the threads will be drawn through the harnesses, but also to determine the actual positions of the face threads and the back threads. Draw the face threads on the four front harnesses and the back on the two back harnesses, as in the draw in Fig. 194 and chain in Fig. 195; then reduce Fig. 190 to the smallest possible ' number of harnesses, as in the draw in Fig. 196 and chain in Fig. 197 ; next reduce Fig. 192 to its lowest number of harnesses, as in the draw at Fig. 198 and chain in Fig. 199. Binding. So far, the designs give two entirely separate fabrics, and to complete the double fabric it is necessary to bind the two together. To accom- plish this binding, which is also termed stitching, tacking, etc., either one of two systems may be adopted. The two cloths may be bound together by lifting a back thread over a face pick at certain intervals, or by sinking a face thread under a back pick at certain intervals, one system being Fig. 190. ■ B 1 B 11 ■■■ ■■■_ _■■■ HBB Fig. 191. 145 134 TEXTILE DESIGN. exactly the reverse of the other. Several considerations must be taken into account at this time, however, for if these binding points are selected indisciiminately a faulty piece of cloth is sure to result.- To bind correctly by lifting a back thread over a face pick, it should be lifted between two risers of face and either between two risers or next to a riser of back on the back thread. It is usually possible to lift between two back risers, but when a plain weave is used for the back, it is lifted next to a riser as the thread is not lifted over two consecutive picks. If, when binding in this manner, the back thread is lifted over a face pick at a point where ■ ■ 1 1 ■ ■ m • m * ■ ■ .. ■ ■ ■ m • • • • a m ■ ■ ■" s ■ ■ .. 1 _ ■ ■ ■ ■ ' ! * ■ ■ ■ . m\m «• B * ■ ■ ■ 1 11 111 111_ 111 111 _111 ■ ill _X I "I X ■ »!■ • • ! ■ •■ TTT x _x 1 1 1 ■ Fig. 192. Fig. 193. Fig. 194. Fig. 195. a sinker of face weave would come on either or both sides, the thread lifted would float over the face filling which is on the sur- face at this point and consequently the back warp thread would be brought to the face at this point, and if, as is often the case, the two cloths were of different color, the result would be a plainly discernible imperfection. By lifting the back warp thread between two face threads which are lifted, the two face threads come into close contact and cover the back thread completely. It is necessary to lift the back thread between two risers or next to a riser, because, if the back thread were weaving on the under surface of the back cloth and carried directly through to the face of the cloth, it would carry the face pick through to the back in such a manner as to make it show on the back, causing a similar imperfection on the back to that which was caused on the face. The second system of binding being just the reverse of the first, the point selected for the bind- ing should be just the reverse in every particular for similar reasong to those just given for .the first system. 146 TEXTILE DESIGN. 135 The binding points in a design are generally arranged in some definite order, such as a twill or sateen, so as to distribute them evenly throughout the cloth, but this order must suit the other requirements named. Taking now the design in Fig. 184, which requires only the binding to complete it : suppose it is to be bound by the first system, the binding points to be distributed I J I M I LI X ^ _K 5< ^ \ 1 ■ zri 1 ■ ■ 1 1 a ■ ■ ■ b< x^ M J !•■■• •_■•■■• •_ ~llaia_« •aB<|B_t_ "•'aaaaa •_aiBia_ "•~~»aBti_a •aiti iiIIi_BltiBB •_!•■ Baa a aBaaa a am Fig. 196. Fig. 197. in the order of a 1 four-harness twill. By the rule, the first point must come where a face pick crosses a back thread between two risers of face and between two risers or next to a riser of back. The only point on the first face pick answering these require- ments is where the first face pick crosses the first back thread, as indicated by the diamond-shaped mark in Fig. 200. Letting this mark indicate a riser, it shows the back thread lifted over a face pick, thus binding together the two cloths. Following out the binding points in the order as decided upon, the next point will come where I I I M I I J I ^ :xii„igii__ a a B 1 1 1 a a >S ^_ laaaa a a_ _aBBaB_a a_ IllZiZililil _a a aiaaa It a a_Bai aaa a a aa Fig. 198. Fig. 199. the second pick crosses the second back thread, this point com- ing in consecutive order, and answering all the requirements. By indicating all the binding points in their order as the fir:,t have been indicated, the design will appear as in Fig. 200 ; and if a fab- ric were woven with this design, it would be a double cloth with cassimere twill face and back, and bound together by interweav- ing the face-filling with the back warp in the order of the 1 twill. This binding would be very close m^ firm, and iu most ca^es it is 147 136 TEXTILE DESIGN. desirable that the binding should be distributed at greater inter- vals, as further examples will show. Fig. 201 is a cut section of the first two picks of Fig. 184, and Fig. 202 is a cut section of the fust two picks of Fig. 200, showing the binding, and Fig. 203 is a diagram of the complete weave. For a further illustration of binding, suppose a cloth is de- sired with the same face and back weaves as were used in the previous example ; but this fabric is to be bound by the second system, with the binding points arranged in the order of an eight- harness sateen. As the binding is to be done with the face threads, and eight threads are lequired for the face, with the design arranged in the proportion of one thread of face to one of back, there would necessarily be eight threads required for back, giving sixteen threads and picks required for a full repeat of the design. Fiff. 200. Rule. — To find the dimensions of a ply or multiple fabric, find the least common multiple of the number of threads required for each of the single weaves to be employed, including the bind- ing motive, and multiply by the number of threads in one repeat of the ply dressing; i. e., if the cloth is arranged one of face and one of back and one of face, multiply by three, etc. A double cloth arranged in the proportion of one thread of face to one of back is called a one-and-one double cloth, or a double cloth arranged on the one-and-one system ; and a double cloth arranged in the proportion of two threads of face to one of back is called a two-and-one double cloth, or a double cloth arranged on the two- and-one system. Having found sixteen threads by sixteen picks to be the dimensions of the design given, shade off the design paper and place upon it the face and back weaves and the face lifters on the 148 TEXTILE DESIGN. 137 back picks, each of the two weaves bemg carried out twice in each direction, as in Fig. 204. To select the first binding point, the requirements are to sink a face thread under a back pick between two sinkers on the back pick and between two sinkers or next to a sinker on tbe face thread. On the first back pick two such points may be found, the first on the fourth face thread and the second on the eighth face thread, both of which are equally good. Taking the point where the first back pick crosses the face thread as the first binding point, the face thread is found to be lifted by the system of lifting all of the face threads on the back picks ; in this case the thread must not be lifted, but must be gta u Im M H U- m ' ... ■ ff ■ 11 ■■ - i y: : ! • 1 ; • ■y • ! ■!!!!ii!j|D!fjin!!!!iJ!!!|||i!iai!!ig!!!! ^ Fig. 203. Fig. 204. sunk under the back pick to effect the binding. This being the case, the mark indicating a lifter must be removed, and the space left vacant showing the thread to be sunk, but for convenience in showing the bindmg arrangement, the point is indicated by a circle, as in the design. Now as an eight-harness sateen is to be used for a binding motive, and as either five or three may be used as move number to produce an eight-harness sateen, it must be decided which num- ber will give the proper arrangement to suit the other require- ments. Using three as a move number, and counting off from the first point already selected, the next binding point would come where the fourth back pick crosses the fifth face thread, and as this point is surrounded by risers of both face and back weaves, it is obviously incorrect for this system of binding. Then using five instead of three as a move number, the next point would 149 138 TEXTILE DESIGN. come where the sixth back pick crosses the fifth face thread, and as this point is a good one in all respects five may be accepted as a move number for the sateen, as it will distribute the binding points in correct positions all over the design, as shown by circles in Fig. 204. Fig. 185 should be bound with the same motive as Fig. 184; Fig. 186 may be bound in a similar manner to Fig. 184, using instead of the one up and three down binding motive, the one up and five down, commencing at a similar point; Fig. 187 could not be suitably bound without a further extension, as there are only two back threads ; Fig. 190 could be bound with the same motive as Fig. 186 ; and Fig. 192 with the same motive as Fig. 184. Any changes made in the design by inserting or removing risers for binding purposes will, of course, necessitate a corresponding change in the drawing-in draft and chain. ■nan ■ ■ ■ m ■nnc ■ ■ ■ ■ ■nnc ■nna ■ ■ ■ HDBCDBDn ■ ■ ■ ■ ■ 11 1 ■ ■ ■ ■ ■ ■ m ■ ■ ■nn ■■ ■ ■ ■CD ■ ■ p ■rnc ■ ■ i ■ ■ ■ ■ ■ ■■ ■ ■ ■ ■ ■ p ■ 1 ■ ■ ■ L_ ■ &< I 1 ^ I M E^ m XE ETC K^ XX ^K ~d E El ^K ii Fig. 205. Fig. 206. It will be noticed that the last three examples are arranged in the proportion of two threads of face to one of back. With designs arranged in this manner, the first system of binding is always preferable because the addition of binding points would be likely to so complicate the face weave as to necessitate the use of more harnesses. .With the design arranged one of face and one of back, there would be no choice of binding systems, except in a case where the face weave were a fancy one with a plain or simple twill back. Then the binding should be done by the second system, as it would not increase the number of harnesses required, because the face weave would probably occupy a greater number of harnesses than the back. Suppose for example the face weave is an eight- harness fancy twill and is to be backed by a four-harness twill, the binding motive to be au eight-havnegs sateeu, If the binding 16Q TEXTILE DESIGN. 139 were done by the first system, it would require eight back threads to repeat the binding, and as the back weave would repeat on four, it would prevent any reduction of the number of harnesses for the back weave. If the binding were done by the second system, as the face is composed of eight face threads, the binding would not increase ; the number of harnesses would then be reduced to four. As a further illustration of weaves and binding, suppose that Fig. 205 is to form the face fabric, and that there must be a back cloth woven upon it, and also suppose that the cassimere twill in Fig. 206 is the back weave, and that there are two threads and picks of face to one each of back. What would be the relations of the two weaves to each other? The face pattern occupies twelve threads and the back weave occupies only four threads, consequently, there being two of face to one of back, when the face pattern is complete there would be six threads, or one repeat and a half of the back weave, so that to make the whole complete the face must be repeated and the back continued until there are twenty-four of the face and twelve of the back, as shown in Fig. 207. When this is done, it must be evident that the relations of the two weaves must be different in the first half and the second half respectively. Now suppose that in the design given in Fig. 207, a binding point were found as indicated on the second face pick and first back thread ; the corresponding point in one repetition would not bear the same relation to the face and back respectively, as is shown on the seventh back thread and second face pick, by the hollow diamond. The correct arrangement is shown fully carried out in the design, but not in the chain and draft. It will be seen that at the point of binding when the back filling is over one of the threads of its own cloth, and the next pick of the face following immediately upon it is passing under the same thread, there is a great probability of one showing through to the surface of the other. In binding two cloths together, there must be some attention paid to the distribution of the bindings, exac'tlj^ as mere is when backing with warp or filling only, and this may materially affect the number of harnesses employed. If the binding is to be don^ by the second system, then in all probability there would be no 151 140 TEXTILE DESIGN. necessity to increase the number of harnesses employed, because at the point of binding any one of the harnesses carrying the warp thread selected for binding could be left down at the desired point for the back filling to pass over, and the distribution could be arranged according to the character of the design ; if, however, the first system is used, then for the purpose of obtaining the desired distribution there must be more backing harnesses employed. ■llliDDIIIIDBIIll ■■IIIIDDIIIIBDIIIIDaillODIIIOWIIIHH 1 Oqi!! mUOB ■iiiinDiiiinwHD: ::aiiiiiinDlllln liDniiliDiiiiiJiic] 1 InUllllbbJIiji ■! iinniiiiDHi inniimDiiiQi IDDIIIIDHIIIIDDIIinu: .lUWIli ■ K f * ■ m s ■ ■ 1 j- ■ m '^ »i ■ p ■ ■ ■ n 1. C i!!i 1 ■ ■ ■ _ _! ■ u. ■ ■ ■ -J ■ ■ ■ ■ 1 ■ m ■ 1 m ■ • ■ ■ I ■ ■ "1 ■ i IIDDIIIIHDII lawiiiDDiiiDiiin IDDIIIIS. inWIIIDDIIIIDHII iiii ■ ■' • 'iTsinr HI ipn * ■ ■, 1 s ■ nil ■ inniiiinBiJiinniii nn: : in: ■ ■ ■ ■ ~ m 9 9 *: »l 9i • •, m « • s ■ ■ ■ ■ 1 1 1 ■ ■ ■ ■ a ■ ■i ■ ■ ■ ■ ■ p ■ 1 1 ■ >■ . ■ ■ ■ • C :::: m r-.. :: : n '■^^^^ i « ILj *: s ml s ■ HIIIDDIIIIIIDIIIIDIIIIIDDIlin ■ ■ ■ ■ !!U u'liiy i! II! i! !U U! !!!L j'..y ■i!jy U!!!! i_. ■ ■ ■ n ill H = ■ '■ - ■■ 1 '■ ■ ■ ■ ■ ■ III ■ I ■ ■j ■ ■ ■ I ■ 1 ■ ■ m a s ■ s m •-' w» « s ■ ■ ■ ■ ■ 1 m ■ ■' ■ ■ ■ ■ ■ ■ ■ I 1 ■ ■ ■■ ■ ■ ■ « :;;; s— « a ■ 91 m ■m m c! s ■ R IIII ■ ■ ■1 1 1 ■ ■ ■f ■ ■ ■ ■ ■ ■ , ■ ■ J 1 i, ■ =1 ■ 1 = ■ | .. ■ ■ ■ _ W ■ • ■ ■ - iiD ni ilhi iiii ■ ni ■in ■iiii nni llD ni iin iiii — m ■ ■ icniiiiniiiiinni ■ ■ i iinniiiir ■ 9 c I s 9 !« *PE m «i m s- ax s K m ■iiiinaiinDiiiinDi n[:::nBiiiBniiiinni ■t ■ ■ ■ ■ ■ ■ ■ ■ ■ '1 ■ I' ■ ■ ■ ■ ■ i«infi«i«rBiTi»iiiii»i"iiiii¥^ E :« m a V 'v e: C m iniiiiBHiinaiiiiDDiiiiBi::]?.:DBiiiiBoi _-_ _, . ■!■ iU H M ■ Fig. 207. Look for example in Fig. 207, the draft of which is given in Figc 208 and the chain in Fig. 209 ; there are four back harnesses only. There could be no proper distribution of a reasonable char- acter if the binding were done on the back warp threads, therefore there must be an extension. Take for example Fig. 210, which is the same face design with a plain back, with the draft in Fig. 211 and the chain in Fig. 212 ; here it would be absolutely impossible to bind the two cloths together in anything like a reasonable manner with the face filling passing under a backing %S2 TEXTILE DESIGN. 141 warp, because there are only two backing harnesses used, and therefore it could only be on alternate threads. The practical g- :g""~: ■5^ g X - ^ i - K E . _ E K X >?' ■ B ■ III 1 1 ■ n II ■ ■ ■ ■ ■ ■ ill 1 1 M 1 1 ■ ■ ■ ■ ■ ■1 1 1 1 1 ■ ■ ■ ■1 1 1 Fig. 208. 5? ■" 5? "" 7 X ■" ■"" ■ ~ - 7 5* ~ R X X ^ X V V X X J^ X ;«; ■ • • ■ ■ • ■ • ■ • ■ B« ► • B ■ ■ ■ ■ B ■ • ■ • ■ ■ • ■ • eB B4 »B • B B ■ B B • ■ ■ • • m • 1 !■ • B ■ • B 4 »B B • ■ ■ ■ B B ■ • I • ■ • ■ • 1 IB • ' ■• B B4 1 B • B ■ ■ B B nnnHnnnnBnnnnn« B4 »B • B ■ ■ ■ ■ • ■ ■ • ■ • • • B 4 »B B • ■ I B B B • ■ • ■ • ■ • • ■ ■ • B 4 » B • ■ I ■ ■ B B • • ■ ■ • ■ • 1 ■ • ■ ■ • B 4 > •' B ■ ■ B ■ B B ■ D jam DQDBa: :nnD IL ■ ir Z\ , JB HQDIC 1 11 IC ■ ■ nnnc • ■ ■ • B • • B4 »B B • • ■ ■ • ■ • fl f ■ • 1 1 • B ■ • B4 »fl B • • ■ • B • B B — □■■nnnaaBnannBnn _ l< »L ■□nnnaBannn ■DUD Fig. 209. B B ■ |bb an ■ B B Jb' b*-bb * ■ B B BB b|b 1 * • : •• i B BB B B B BB ■i" - " " » =m (•- left : B 1 BiB ' BbI . B IB ■iiiianiiina'': DnillDDIIilDHIIH njiiaMiiiiDDiJii "niiiifflBiffiBi mil 1 a!!iD:.:DiiiiiiiiQn|!iya!!!ig ■ \m B BB B..B B§1 B BB BB 3iir "* ■*ii BB 1 b[b ■ m X — > r ■"" "" "■ ■ — '~ ^ X X X X ^^ < X ♦ X X X > < ^ X X X i ► X B • • B B4 »B • fl • B •'b ■ • B • ■ B< »fl • • Bl !• • B B • bcbduddcb: JUU B • HDDBaBDnnnnBi «B B « B • B B4 1 a • fl B« • • B B • B4 >B • BUDDU[_ • B • fl i »fl B • BGDDnC ■□■■□DL nuuD DBcnnnn DD 3 JDMC nnan DnamnB nn DnBBnnqppinanBnB na HUBBUB DUDBaDDGB Bni innnnaBnancBnan Fig. 210. Fig. 211. coiirse in this case would be to increase the number of backing 153 142 TEXTILE DESIGN. harnesses, so that the distribution could take place in accordance with the requirements of the pattern. To bind this design a ^ motive should be used, starting on the first back thread and second face pick. The complete chain, including the binding, is shown in Fig. 211 and the draw in Fig. 212. TO LAY OUT A DOUBLE-CLOTH DESIGN. First: Obtain complete dimensions and mark off. Second : Shade the back threads and picks with light blue. Third : Place the face weaves on the face threads and picks with black. I I I I I I I I I I I I 1 . 1 per izziiii8iz_zzzl±: X i ■ ■ I ■ m ■ ■ ■ ■ ■ ■ Fig. 212. Fourth: Place the back weaves on the back threads and picks with red. Fifth: Raise all the face threads on the back picks with green. Sixth : Stitch by lifting a back thread between two risers of face and next to a riser of back, indicating witli yfellow ; or Seventh : Stitch by sinking a face thread between two sinkers of back, indicating with a circle. 154 O ^ 6 r ^ ° §• TEXTILE DESIGN. 143 EXERCISES FOR PRACTICE. PLATE A. 1. Stitch plans 1-5 for double cloths, using both warp and weft for this purpose. 2. Complete plans 6-9 for double cloths, using both back- ing warp and weft for stitching. 3. . Make 4 plans for double cloths from the following particulars : Plan of Face Weave, ■ b'h ■ ■ ■ ■ m\dm m ■■■ ■ ■■ ■B ■■■ BBHI ■■■ SB ■■■ BBBB BBI ■B BMB ■«■■ BBB ■ ■ ■■ B ■■■ ■ ■■ ■ X XX XX . XXX XX X XX XXX XX X . XX XXX XX X XX XXX XX X X X XX X X XX : ,s :-ii'i ::,i*: :-il! m ffllH m\\ M •• • •• • • • • « • • e •• • • • 9* f •. Plan of Back Weave. Plan of Back Warp stitch. Plan of Back Weft stitch. 4. Make plans for double cloths with 1 end ^nd pick of face to 1 end and pick of back, using both backing warp and weft for stitching; with plan 10 for face and plan 11 for back; plan 12 for face and plan 12 for back; plan 13 for face and plan 14 for back. PLATE B. 5. Complete plans 1-4 for double cloths, using both back- ing warp and weft for stitching. 6. Complete plans 5-8 for double cloths, using the back- ing warp for stitching. 7. Make plans for double cloths 2 face to 1 back in warp and weft, with plain backs, and weaves 9, 10 and 11 for face. 8. Make plans for double cloths 2 face to 1 back warp and weft, with twill backs, and weaves 12, 13 and 14 for face. 9. Point out any defect in plan 15, and give corrected plan. 10. Analyze plans 16 and 17, and give face and back weaves, stitching and separating plans. 155 144 TEXTILE DESIGN. X X X < X X X X X X i 1 ■ X X X < X I i ■ X X • • I I ■ ■ p • • • • < !• • 1 • 1 « « • •• • • • 1 I* • • • ■ • 1 « • • • • « ■ • i* • » t • « 1 ^ « « • • 1 • • - 1 • « • • • • • t • • • ( • • • 1 • « • • • • • • < • • • • • • 1 « I • • • • • • • < • • a I • • ■ « • • • • • • 1 • • • • 4 s • « « • • • • • • » • • e » t • • • • < • • » • 1 • t 1 • I • • • • » c • • • • r - » • • • • • ■ • • • » 1 • • • * » » « • 4 » i * • * • • • » 1 • • • 1 1 » » 1 • 1 • » • • » • • • • • • • » • » » » • • 1 1 • • • •• « • • • • • • • m • • » 1 • • • » » • i 1 » » • 1 » • • • • • • • • • • • • • • 1 B » • » » • • • • • • i • • • • • • • 1 • » iT ^ • t I • • • • « 1 » ' 1 • • t »< • • t » • • t 1 • • • • < • » t • • » « • • t » • • 1 I • • • • • ( • • • I • 9 • • > » 1 » • I • • • • • • • • • » t • • • • • • » • » • • < » » » • • ( • • • • • » • 1 • > » » » • • • • • • > t » 1 e • • » l< > » • ^ » > » • • »• < • • • • t • < o • 1 > .o 1 » • • » «• • • » • • » • < • » • • » • • • • 9 • • t » f » • • • o • • • • • • • • • • • • ■ ■ ~ ■ ■ • • • 9 ♦ * • • 1 ■ ■ ■ ■ ■ ■ * • • Cl i a ■ ■ ■ ■ • • • * • • * • • ■ ■ ■ ■ ■ ■ f • • • • • • • < • ■ i ■ ■ ■ ■ • • • « ■ i I ■ « * • » ■ * « • • '£ ■ ■ ■ ■ f • • • • • • • 4 I ■ m ■ • • • • • • • • • • • • • • • • » • • • * • • * • • ■ ■ ■ ■ • • • • • • fl • • • I* • ■ i ■ ■ • 1 ■ ■ ■ ■ • 1* B ■ ■ ■ i CM 1 a • a ■ i ■ i • m 1 « * • ■ ■ ■ ■ • • 1 • • • ■ ■ ■ ■ • • • • • la B I B i ■ • * • • • 1 • • • • • • • • • • 00- 1 a 9» ■ ■ ■ ■ • • • * • 5 ■ ■ ■ ■ • • > a • • 1 ■ ■ ■ • • • ,• • la • ■ ■ ■ • • • • • ' • ■ ■ ■ ■ e • • i« 9 1 ■ ■ ■ • • • • • • •4 ■ ■ I ■ • • ■ ■ ■ ■ • « • • • • • B • • • • • i« B • • • • • < • • • • • • • I • • • • i« B • • ■ • • • > 9 Bl • • • • • • I • * • ml • B • • • • • • ■ • • -\ 1 • • a • • (0 • • • • h- • i 1 • • • • • • • • • a • • • ( 1 • • • • • • • • • • • i >• B • • I • • • la a a • • • • • • I • • • • • ( 1 • • • • < 1 B» e • • • • • • 1 r. • • « • • • • • • • • 1* B • • • • • • 1 !• • • • • • • • • • • • • « • • • • B • in ' 1 1 • • i • • • • « • • • • • « • • • • • < I • • * • • • • « • i 1 • • • • « • • « ^ f CJ • i !• S • • • • • • 1 »• • B • • % • ■ • • • • • B 1 1 • ai * % • * « • 4 • « • 1 1 • V • • • • • • • ' 1 _ _ _ _ J J _ _ _ ^ • 1 i: ft- - - u s • ■ * ■hhi - - • »- • • • • • • - ::cacHiDnnanBC 1 1 • BB [^nacnanBaGnnc • • • • • • • • • ■^ • • • • • « • • • • • • • • • • • • • m • • • • • • • ■ _ - • • _ ■ - • ft _ - - - - - -= -- L- ■ ■ n • • • • n I •* • • • - - - ■ i i- ~i • • • * • • • • • • ■ !■ • • • • • : I :innDnB ■ ■ a * • • • 4 • • • • • • « : ;i iL HH !■ ■ • • ■ BB • • ■ :■ '■ ' I : 1 Jiir' ■ IB • • ■ 1 ■ ■ • • • • • ■ 1 B e • ■ 1 ■ ■ ■ ■ ■ ■ 1 ■ ■ ■ • • • • • • ■ 1 ■ ■ ■ ■ ■ ■ ■ ■ a • • c\ I I ■ ■ ■ ■ ■ ■ ■ BB • • • • • • ■ ■ ■ 1 ■ ■ ■ 1 ■ ■ ■ • • ■ ■ ■ 1 ■ ■ ■ ■ ■ 1 ■ • • • • • • 1 i ■ ■ ■ ■ ■ k ■ 1 ■ ■ 1 : ■ ■ ■ 1 ■ ■ ■ ■ 1 IB a I ■ I 1 ■ ■ I ■ ^ii 1 B B a • • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ • • • • • • ■ ■ ■ i ■ ■ 1 ■ = ■ aa • • ■ ■ I ■ ■ ■ ■ ■ ■ I a • • • • • • H ■ 1 I ■ ■ ■ ■ ■ I IB • • ■ ■ ■ 1 ■ ■ 1 IB ■ • • • • • • 1 ■ ■ ■ ■ ■ ■ ■ a • • i i I 1 ■ ■ ■ ■ ■ ■ ■ • • • • • • ■ ■ _ ■ f ■ ■ ■ ■ _J J ML _ ■ a PLATE A. PLATE B. 156 TEXTILE DESIGN. 145 EXERCISES FOR PRACTICE. 1. Plan A is a peg plan for draft B ; work out the design that would be produced, analyze it and describe its construction. 2. Give designs for double cloths, 1 and 1 warp and weft with (1) plan C for face and back, (2) plan D for face and back, also give peg plans to weave them with draft B. r "" -" ~ « '■ • • •• :: '" I <: :: :j ■ LJ l: .1 :: JU • • • •• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • J 6 • • • • • • • • • • • • • • • • • • • • • • • •* • • • • • •* 1^ • • • • • • # • • • • • • i o • _ o • • !• m It • • ~ • • • • • • • • # • • • • • « • . J _^ _ B 3. Make draft and peg plan to weave design E, backing healds to be in front, and give two peg plans for original designs to be woven in the same draft. n p m w\ •] •1 l— — M — H ^ » % n g^ « • 9 • • • • • • ,• • H • « • • • 9 9 9 9 9 • 9 9 • • • • • • • • • 9 • • • • • • • A • ^ 9 • • • 9 9 9 « • • • • 9 • • • • • 1 • • • • • • 9 9 9 9 • • • • • • e • • • • • • • • • • • • • 9 9 9\ 9 • • • o • • • • • • 9 • • • • • • • • • » • ~ • • 9 s ~ m 1 ~ "~ 9 « jS • • • • • • • • • ~ • ~ • • • 9 1 ~ 9 ~^ 9 • • • • • • • • • • • • ~ • » • • • • 9 • 9 ~ • 9 • 9 • 9 • • e • • • • • • • • • • • • • • • • 9 ~ • • • • 9 • ... • 9 • • • • • 9 • • • • 9 • ~ • • • • 9 ~ ~ 9 ' V 9 • • 4 • • • • 9 • • 9, • • • • • f # • 9 9 9 9 • 9 • • 9 • • • 9 • • • • 9 • 9 • • • • 9 • • • • • • • s • 9 9 • • 9 •j • • 9. k 1 _ K. It. H 1 1 4. Put a plain back on plans F, G, H, 2 ends and picks of face to 1 end and pick of back ; give peg plans to weave all in same draft. 5. Make plans for double cloths with weaves K, L, M for face and same for back, 1 end and pick of face to 1 end and pick of back, and make a diagram showing section between 2d and 3d picks of plan M. 157 146 TEXTILE DESIGN. • • i • » • • • • • • • • • * • • • • • • • • • • • • • • e o • • • • • • • • • • • • • • • • • • • • • • • • • • • • 9 • • 9 O o 9 • • • & • • f» • • • • • • • • • • • • * • • • • • • *0 • e o • • • •• ••_•• ••_•• • • •o_ ••_••_ •_•© • 1 I I wwl m * • • f • • • • • • • • • • • f • • " • « • • « « $ f# A 9 • • • • • • • • • •• • • • • • • • • • • • • • • « • C • • • • • • • • • • • • • • • • • • • • • • « 9 « • 90 a • a « • ~9 ~p • • • • • • • • • • o • • • • • • • • • • • • • • • • • • • • • • • • e • • « • 9 LI M H EXERCISES FOR PRACTICE. 1. Make plans for double cloths with plans A, B, C for face and D for back in each case ; 1 end face to 1 end back, and 2 picks face to 1 pick back. • 1 F [*i • - • • • • • • • • • • • • • • ■ • • • • • • • • • LI • • ft • ft • _• m_ • I • • ir • • •*i i* 1 •• • •_ _•* • ••_ • • >• • B 2. Make a double cloth with design E for face and a wadded satin back. 158 TEXTILE DESIGN. 147 3. Give design, draft and peg plan for a double cloth, 2 face to 1 back, "with original check plan for face, and a back which will hide the backing weft as much as possible. riMESi • • • • • • • • • • • • • • • • • • • • • • • • • • • • • # • » • •• • • ■ « • • • fl • • * • • • • « a • • • • « •• • « • • • * •« • •1 1 • 9 • •• • « • • • • • • • « « a «• «• • • • • • •1*1 1 • % • • U • •• 1 1 m m m \_\ L k i L 1*1 3 TIMES 4. Make desimis for double cloths A to G with the follow- ing weaves : 1 thread face to 1 thread back, warp and weft, using extra warp for stitching. G H I ~ ~ ~ n n [•] rn ¥] m **] [— — 1 r-| p n n "^ — - - -1 - ~ - ~ — ~ "• — • • • • • • • • • • • • • • • • • • » • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • m • • • • • • • • • • • • • • • • • • • • • • • • • • • • l*i • • • _ _ • • • • •1? • • • • ^ • _ • _ _ _ • _ ^ _ _ 9 s Face Back Face Back Face Back K Face and Back ••• • • • _••• •• • •• ••_ • •• • • p — =" ■" - • • • • • • a • • • • • • • • • • • • • • • _ — _ _ I* 1*1 1—1 — I — — _ _ _ _ • _• J - • 9 -^ • • • • • • • ■ • • • _ • • Face Back Face Back Face Back 5. Rearrange the double cloth designs F and G with 2 ends and picks of face to 1 end and pick of back, the stitching warp to have the same number of ends as the backing warp. 159 148 TEXTILE DESIGN. 6. Analyze plan H, showing on point paper the face and back weaves, stitching plan, etc. 7. Point out any defect in the plans K and L for double cloths, and give the correct plan in each case. • • BSSSggBaBsiB:gi£yuuyyBs c f • ••••••••• • •••••e • • •• • • • • • • • •••••• • ••••••••• • • • • • • • • • • • ••••••••• • •••9 • • • • • • • • _ • •• • • n • - • • : • • -: - • «• • •• • • * • • • • • • • • • • •• • te|« • • i •• •• _ !• fflf L Itii M N 8. Make a 2 and 2 twill double cloth stitching by means of an extra stitching pick. EXERCISES FOR PRACTICE. 1. Supply 2 single weaves for each of the accompanying designs, 1, 2, 3 and 4 to weave with the isame set and in place of the portions in crosses (X). N 1] ■ - ■ ■ ■1 p n ' ■ M X X p^ ■ ■ ■ ■ ■ ■ ■ ■ m X _ _ X X ■ ■ ■ ■ ■ ■ ■ ■ ■ ^ X X ■ ■ ■ ■^ _j ■ ■ ■1 _ _ [■j m L |x [x] |x _ _ _l XXX XX XXX XX X X XXX X X XXX X X X X X X X X X X X X X y X X X X X X X XXX X X X X XXX X X X xxxx X X X xxx>< XXX xxxx ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■■ ■ ■ ■ II 11 1 ■ hnr DDDI Imnr DDDI ■ ■ DDDnC ■ ■■■ ■ ■ ■■■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ [■] X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ ■ I ■ ■ I ■ ■i" ■ ■ ■■ ■ ■ - ■ ■ ■; ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ L- ■ ■ ■ ■ CO '^■' Doe TEXTILE DESIGN. 149 2. Give color figure produced from design 5, with the fol- lowing warping and wefting : Warp No. 1 Color — .11 . 1 1 I _ »., Weft No. 1 Color— 1 1 1 _ n Warp No. 2 Ground — 213, 2225"""' Weft No. 2 Ground —321] 8 times TWICE TWICE TWICE •] m\ 5] — • • • • • • • • • • • • • • M • « • • • • • • • • • • • • • • • • • • • • • • • • • • 1 • • • • • • • e • • • • • •1 • • • • • • • ^ • • "" • • • • • • • • • • •^ • • • • • • • • • • • • • • • • • • ~ * • • • • • • • • • • • • • • •j _ «, • • •, • • • • • • • • • • • • • _ • _ • 1 • • • ft • • •• • !• !• !• [• ^ 1* [• Li !•. L. 3. With a similar design, make an original color figure. 4. Color design 6, thus showing the effect produced in a eioth woven as follows : ^ w fi- JNo. 1 Ground v,\s White — 17 111\_ Warp and Weft | ^^_ ^ q^^^^. J^^ Light Blue - 1 1 1 1 T " 24 2 — — ~- r«i o • ■" • • • 9 • • • • • • • • • • • • • • • • • • • • - • • • • • • • • • • • "" V • • « • • • • • • « • • • • • • • • • • • • • • • * • • • • • • • • • • • • • • * • • • • • • * • • • • • • • J ft _ 161 150 TEXTILE DESIGN. cloth. EXERCISES FOR PRACTICE. 1. Make plans to imitate plans a, b, c, in a weft-backed • l< • >• • < » • • > 1 ■ « • 1 • a * • ■ « « * * » > >l • < » • • » 1 • • • _ >■ 1 • • • • « 1 • < « • • e • a • « » a » ■ 1 1 • II « 1 ■ I 1 • f ■ ■ e f ■ B ) a a a a a • a B a B II - I 1) n i • • • 1 !• B • • )■ a a 1 • ■ ■ * • ■ a ■ 1 • B • 1 ■ • » • a 11 ■ ■ ■ > II ■ a • » * a B B 1 a » • a • a B • • • • » - B B B B B ■ ■ • ■ » ■ B B B Bl ■ i a • B l< ■ • • a B B< • t • > B ■ B (1 t B • • > • • I B It t B B B B • 1* • a I • I* • • • • 1 • • • • » • l« ■ • • ^ t B t • • • • 1 • ■ • • ■ • • -. D 1 • • • • • » B ■ • • • • • 1 » • » i • B B 1 > a • ■ B ( B • • • • B > B • >• • • B • ■ 1 1 B t B 9 • • • • • • B B • a ( • it • B ( • la • • • • • i • • B It • • • • B t B B B 1 B • » • B 1 B 1 • • t > • i B B B B ( • 1 • • • > • ■ • a B t • 1 a • j: I B • 1* • • • • • • • • • ii i • • t B • • • • • i* * B • • • • a • B • B B • • • > B B t Bl 1 • » a a • • » B ' •• • Bl • • • • B » • B Bl ■ B » X X I X B X X Bl • ■ ■ B B a B 1 • 1 X X X B X X B 1 B ■ I B B ■ I £ • » B X X X X I X I B ■ ■ I B B ■ e • • 1 X ■ X X X I X *l • ■ ■ B ■ B B ■ 1 • • I IX X X n X X • • > B ■ ■ ■ ■ B I a • • • X X ■ X X X B B t B 1 ■ ■ ■ i B B B Bl X ■ X X Bl • 1 ■ B ■ 1 t X X X I e B B ■ B ■ • e 2. Make plans to imitate plans d, e, f, g, in a single cloth. 3. Give backed or double cloths of which plans h, k, 1, ni, n, are imitations. 4. Back plans p and r with warp 1 and 1, and make single cloth weaves to imitate them in the same settings. 5. Point out any defects in the designs 1 to 7 for double cloths, and correct. 6 . Make plans for a double reversible 6 and 6 twill and 8 and 8 twill, stitched as lightly as possible. 7. Analyze the accom- panying plans 8 and 9 for double cloths, giving face a li d back weaves and stitching plans. 8. Describe the construc- tion of design 10 and analyze it, giving separate plans of each component part. 9. In analyzing a double cloth the face weave is found to be plan 11, and the back weave plain ; make peg plan to weave the cloth with a draft separating the back and face healds. 162 TEXTILE DESIGN. 151 • • • • • X* • • • ••••••• ••• • » ••• ir» 1 a • • • * Ai* « • • • ••• ••••••• ••• • _2^ « « • • • • • • • • « 1 • • • • B • i • ••••• ••• • • »•• •• •-- • * • « » • • • • ■ • • • ■ > • ,r, ••• • • • • • • ••• •••• ► ••t«»:^ ••• • • • • • e - •• •• « • ••• ••• • • •• • •••• — m»9 • • • • • • ••• • • • • ••••••• ••• > • •« • • • • • • • • • •• • • • • • • ••• •••••• • ••• • • • • • • t • • •« • • • • • ••• • • o** • • • » • C** • A^ • • • • ••• ! ••• « ••• ••••• • 1 >• ••• ••• • • • • •• • • • • • • ••C«» ••••» • > • « ••• • • * • • • •«• • •• • e ••••• •«•• rr^***** *•• • . ••• • > L2-e«« • « • ••••• •• !•,„ ••• • • • • • • - 1 • '■*X- • s. • • ••• « «•■•• >• « ••••• r • • • • ••• • •» A «»••• • $•••• • •«• • • • • • • •• • ti • •••• • «•••! 1 • • ••! «••*• >• • • * • ••••• • ••! 1* • c • • • • • a • • •I •••• •• ••»• •• •$ • • » • i •• • • • •• ••• • ••• • •«»•••• •• • • • •••• •••» ,o a» •• • • • • -•e«»e«*« •• • • • ••• « •••;!: «• • • # •• •«•• ••_? 9»9**«**«* » • •• • « •• * • _ «••• •••• «• t* • - • •« •• •••••• • • • • • ••• • »•• • • • • • •• •• ••• « • • • 9 • • • •• • • «•••• •• • »•••••• • • • • • • • • » 9 ••• • •• •« •»•• * • ••• • • • • • ••• • • ••••• •• © ••••«•• • • • • • • •w • • ^•••* • •• ^ ••••••• • • • « •• 12. • • « * • a* • ••••• o vo* ••• • • • • • • • • • • • • •i «•••• • ••• •• ••• t • • e* • •• • • • • •• • • •• ••• • ••• • • • • '* • • • ![: • • 1* !•• •• • )• • _• ••• ol* • • * • 163 152 TEXTILE DESIGN. THREE-PLY OR TRIPLE CLOTHS. Having treated with double cloths, the next fabric to be con- sidered is three-ply or triple cloth. Triple cloths are fabrics having three distinct sets of warp and filling, constructed in a similar manner to double cloths. There are three different fab- rics, called the face, middle and back, bound together at certain intervals so as to form one complete fabric. The binding is done by the principles as employed in binding double cloths, and, in fact, any of the principles used in the construction of double cloths apply equally well to the construction of all multiple fab- rics. There is ordinarily an equal proportion of face, middle and back employed, i. e., one thread of face, one thread of middle and one thread of back, with the filling in the same order. Yarus differing greatly in size may not be used for the different fabrics of a three-ply cloth unless the weaves employed are such as will permit of a variation in the diameter of the yarn. For instance, if a plain weave is being used for one fabric, and it is desired to increase the fabric in weight and yet retain the same number of threads per inch, coarser yarn could be used, but the weave would have to be changed to one with longer floats and fewer intersections, so as to accommodate the increased diameter of the yarn. Of course the same number of threads per inch niust be retained so as to correspond with the other two fabrics. The opposite will hold true about changing the weaves, as any radical difference in the weaves used would result in a differ- ence in texture, i. e., making it either closer or more open, accord- ing as to whether the change would be made from a long float weave to one with shorter floats, and a greater number of inter- sections. For this reason either a finer or a coarser yarn would be required to make up for such a difference, unless the number of threads per inch could be changed. In these triple cloths the weaves generally used are the plain weave, simple twills and basket weaves combined in various ways. Different effects in such cloths are usually produced by the coloring, which may vary extensively in different cloths, and sometimes differs entirely on the two surfaces of the same fabric. The face and back fabrics are often of a very similar quality, 164 TEXTILE DESIGN. 153 with an inferior class of material for the middle fabric. In fine- surface lighter weight goods of high quality the middle cloth would probably be of fine worsted warp with a medium woolen filling, but with the cheaper class of goods, where a good surface is also required with a somewhat greater Aveight, a cotton oi* cheap woolen middle warp would be employed, with a coarse and cheap woolen filling. ■iiilliiliiiiiiiiaiilQmBgiiniHilQmaiJ!! eM!!IIIU!>GM!!! nimiiMniiinii Lir..:;i»tJ-::. ;::;lj:.. !!!■□!!!!!!!![ -.iZ V if.ir DM II ■!!!!i|i n ::= ii r^p ii|!!;L ! it □iniiiniuiiiHiiiiiioiiiiiii r^ii-i|i::r^!::!ll IF^:" !!!inii.!!!;! ^r' ^■mf ■ T nnir '1 IM 1 IF iM -I' - HI ■■ i ■n II III ly ii i i III ||;: T^i i* I: -r- — :;:iiiii:r slrii H i L J ■Li lid 4i ■ • h mV l-i- ■ i '» ■iMiiiii: -niiilif ]n|!!i ■i J: ilL ■1 s:^ E m ft lUIIII iiiii:: u nn - !!■ rni ■ 1 ■ im 1 lllilllll 1 ■ 1, ■ m Mr m w 1" *i 1 H='^iiiih ' '".iii! If m • ill:: ■1 !■::: m "'5. lirl IrM ■1 1 ■ W ■lllilllll IJ 1 1 1 ■fi 1 . ■ 11 m m m m ;■ |f -IP' 2J j?::« iiiiiiii iS' 9 1 Ijlls :iii U •in R i ^ 1^1 L j;: smill 1 "f ■ t| 1 n ■L 1 1 ■ 1 lUIII ■ ■ III 1 II I: u J!; ]l!!illl[ Lin n •1' m • ^;!iii • • h 1 ■ i "I 'f 1 1 ■ 1 T ■ " ■ 1 1 II 1 l|'' :• i h\'\ J iiiiiiii ffltti Ml- ■ « III! • iiv ) !:::ir ■llliL T' ^ill « liiif;! ■ij ■ 1 ■ 1 1 iriiiii Ji m niii ■E ■ I'lli J m Fig. 213. Now suppose it is desired to make a three-ply cloth with face and back of an equal quality, with a coarser middle cloth. 2 For the face and back the cassimere twill weave ~ may be used, and for the middle, cloth the six-harness twill may be o employed so as to permit the use of coarser yarn. It may also 1 be the twelve-harness twill 11' Knowing the weaves to be 165 154 TEXTILE DESIGN. ■ ■ ■ ■ ■ ■ ■ ■ + ♦• 4> ■»• 4> i^ ^ i^ fi •llli + + i^ X >^ X X X X X X FACE MIDDLE Fig. 214. BACI\ employed, together with the binding motive, the dimensions of the complete design may now be ascertained. The least common multiple of 4, the face and back weaves, 6, the middle weave, and 12, the binding motive, is 12, and as it is a three-ply cloth, multiplying by 3 will give 36 threads and picks, the dimensions of the complete design. Having found the dimen- sions required, the design paper may be shaded to indicate the different sets of threads and picks, as was done with double cloths; but, as in this case there are three different sets of threads, two different kinds of shading must be used, one for mid- dle and one for back, the face being left unshaded. For the middle a light wash of yellow may be used, and for the back a light wash of blue; or the middle may be shaded with broken fine lines, a n d the back with unbroken line lines, as shown in Fig. 213. By the use of either of these methods, confusion is avoided. Next place the different weaves on the shaded paper, indicating the face weave with full squares, the middle weave with straight crosses and the back weave with oblique crosses, as shown in Fig. 214. This being done, the weaves for the different fabrics are all indicated, but nothing has been done to separate the three fabrics, i. e., to prevent the filling intended for one cloth interweaving with the other warps. When the face filling is being interwoven, the middle and back warps must be left down, and as these warps have not been raised on the face pick, no change is necessary on that pick. When the middle pick is being interwoven, the face warp must all be lifted and the back warp must all be left down, so on this pick the face warp is lifted, as shown by the round marks in Fig. 213. When the back pick is being inserted, both the face and middle warps must be lifted out of the way of the back filling, and this is done as indicated by the round marks on the back pick in Fig. 213. Now all the weaves are indicated, and the lifters which separate the three cloths are also indicated, the binding only being necessary to complete the design, because the design without the bmding would produce three distinctly sepa- rate cloths not joined together at any point. 166 TEXTILE DESIGN. 155 The best results in binding three-ply cloths are obtained by using a combination of the two methods employed for double cloths in such a manner as to bring all the binding on the middle threads. This is accomplished by lifting a middle thread over a face pick at a suitable point, thus binding the face and middle oloths together, and by binding the middle and back together, by. sinking a middle thread under a back pick at a suitable point. The rules given for selecting binding points hold good with three- ply, the same as with double cloths. Occasionally a three-ply fabric is bound directly through from face to back, or viee versa, but unless this is made necessary by some particular reason, it should not be done. Now to bind the design above : first bind X X X X X X X X X X X X 4 P*- ■^ + 4- fr + -t- -f 1- t f ■ a m ■ H ■ ■ ■ B ■ ■ —J 1 B Fig. 215. the face and middle together by lifting a middle thread over a face pick. Referring, to the design, it will be seen that on the first face pick there is but one point which answers the require- ments necessary to produce a perfect binding. This point is where the first face pick crosses the first middle thread, and it will be noticed that the face thread on each side of this point is lifted, and also the middle thread is lifted over the middle pick preceding and the middle pick following this point, thus making it a perfect binding point in every way. This may be taken as the first point, and as the face and middle weaves are regular twills, the binding motive also being a regular twill, the consecutive binding points will come at positions governed by the same conditions, 167 156 TEXTILE DESIGN. i. e., at the point where the second face pick crosses the third middle thread, etc. These points are indicated by the diamond- shaped marks in Fig. 213, making the binding of the face and middle complete. To complete the design, it is onl}'- necessary to bind the middle and back fabrics together by sinking a middle thread under a back pick. As all the middle threads have been lifted over the back picks by the circular marks in the same design, it is necessary to remove one of these marks wherever the binding makes it necessary, or such point may be indicated with a circle, this circle to indicate a sinker. This binding point must conie where the back filling crosses the middle warp, with a sinker of back on each side and a sinker of middle both on the preced- ing middle pick and on the middle pick following. X ~ ^ — — ^ X — — > < ~ X X X X X X X X X X, X ^ X i <. ?^ • 4- * • ^ s • « + + i »4- • • * • « ^ • • • + »+ • 4- • f • • * • ^ • * • • »4> • 4- • • • c • + • 4 •> • 1 • + • • + •4- • o • t • • 4- ► • « • t I* + • • o * • ^ 4^ i » • • • 4' 9* 4> • 4 • • ^ ^ ►♦ • • • • + • t • + • • O 4- ►t • ^ • f • • 4 « X * 4- * * i* * A * 4- • • • • i^ • + • ^ • D • 4^ • • + •+ • • * ■» « r • ■I- 1 O • • ■f •^ + • • • • y • + 4- » • o • 4> CGDcnnnG ■cnHcnnu [^nnnHcnB nnnnnDDG innii GGBcnnnc nuuBanHG nncaannB nnanGnnc dggb GGIOGBGC DGGDUGBG GBGCDDnD QnBGGBDG DGGD nGDGGBGn ■nnnnnnnr 'i»wi"i*i*i I' Fiff. 216. Referring to the design, it will be seen that there is but one point answering this description on the first back pick, and that is where it crosses the last middle thread. This point has a sinker of back on each side of it, and a sinker of middle preceding and following it, answering fully the required conditions. Taking this point as the first, indicate it with a circle, as shown, and fol- lowing out the binding points in consecutive order the next comes where the second back pick crosses the first middle thread, etc., continuing until all the points are indicated by these circles. The design is now fully completed, the three different weaves being indicated, also the face lifters on the middle picks, and the 168 TEXTILE DESIGN. 157 face and middle lifters on the back picks, the three fabrics thus being bound together. The drawing-in draft for the above design is given at Fig. 215, vi^ith the chain-draft at Fig. 216, and a cut section of the first three picks at Fig. 217. Fig. 218 is a design composed of the same three foundation weaves as before, and is like Fig. 213 in eYSYj way but the binding. In this case the binding is done by lifting a middle thread over a face pick to bind the middle and face together, and by lifting a back thread over a middle pick. The bindinsr motive is a twelve-harness twill and the t ^ 11 binding is indicated in the design by the diamond-shaped marks. Fig. 218. Thc' threads are numbered underneath the design in the order of the drawing-in draft, and as this design would re- quire twenty-eight harnesses as compared with twenty for tlie previous example, it shows clearly the advantage of doing all the Fig. 217. binding with the middle warp as in Fig. 213. The difference of eight harnesses is often the difference between a design which may be practicably woven and one which may not, and in this case may be truly said to be so. In many mills cloths are woven which have two fillings interwoven with three warps, the middle warp being employed only for the purpose of binding the face and back fabric together. This warp, which is called the stitching or binding warp, would, in the finer class of goods, probably be made of fine worsted, and in the cheaper class cf goods be made of cotton. The advantage o^ using this middle warp is that a double- face cloth using such a warp is usually of a much softer and fuller texture than a double cloth in which the two fabrics are bound directly together, and there is less danger of the colors of one cloth showing through the face of the other. The superior texture of a eloth made with a binding warp is due to the shrink- M9 158 TEXTILE DESIGN. age of the wool in the face and back fabrics during the fulling process, which affects the worsted very little, or the cotton not at all, thus causing the worsted or cotton warp to kink enough to allow the face and back fabrics to separate slightly, and in this way cause the extra softness, where in the ordinary double cloth the two fabrics would be firmly felted together. 5 17 Z 6 18 5 7 19 4 8 20 I 9 21 Z \OZZ 3 1 1 23 4 1224 I 13 25 Z 1426 3 lip 4 16 Pig. 218. A design for this kind of fabric is given at Fig. 219, where the face and back weaves are both the four-harness cassimere twill 2 ^ bound together by first lifting the middle thread over a face pick, and then sinking it under a back pick at such points as meet the proper requirements, at other points it merely floating between the face and back fabrics. The binding motive is an eight-harness sateen, as indicated by the diamond-shaped marks where the binding tln^eads are lifted 170 TEXTILE DESIGN 159 over the face picks, and by the circles where they are sunk under the back picks. Other multiple cloths may be made in .the same manner as those already described, in varying proportions, as two warps with two or three fillings ; three warps Avith two, three or four fillings ;• four warps with three, four or five fillings, etc. For fabrics used for clothing anything over three-ply is rarely made, but as a matter of experiment, fabrics have been woven up to eight-ply. I 5I3|2 6!l4|3 7115 4 8| Fig. 219. TO LAY OUT A TRIPLE CLOTH DESIGN. First : Obtain complete dimensions and mark off. Second: Shade the middle threads and picks with light wash of yellow. Third : Shade the back threads and picks with light blue. Fourth : Place the face weave on the face threads and picks with black. Fifth: Place the middle weave on the middle threads and picks with blue. Sixth : Place the back weave on the back threads and picks with red. Seventh : Raise all the face threads on the middle picks, and all the face threads on the back picks, mth green. Eighth: Stitch by lifting a middle or back thread between two risers of face or middle, and next to a riser of middle or back, indicating with yellow ; or 171 160 TEXTILE DESIGN. Ninth : Stitch by sinking a face or middle thread between two sinkers of middle or back, indicating with a circle Tenth: In some triple cloths where an extra heavy middle cloth is used to gain weight, the back thread should be lifted right through >to the face to pievent any possibility of the stitching showing, as would be likely if the middle warp were used for that purpose. EXERCISES FOR PRACTICE. 1. ^ Make a design for a three-fold cloth with a 2 and 2 twill for face and hopsack back. 2. Make a design for a cloth with 4 warps and 3 wefts, with a prunelle twill for face and back. 3. Analyze the design A, giving diagram of a section of the cloth weft way. •_• •••••• • ••_••_ ••_• ••_• •••••••_• •_••_• • •_• ••••_• ••• •_• • ••_ • • • • • • • •' 9 • • • • • • • • • • • • • f • • • • # 4 • • • • • • • • * • • • • • • • • • • • • • • • A • • • • • • • • • • • • • • • m • u. i_ L_ L. _ • • 4. Describe the construction of the designs B and C, and mark the ends in the plan which you would put on the same beam. 5. Make a design for a double 3 and 3 twill, same face as back, with a third warp in the middle, having half the number of threads of the face warp. 6. Make plans for 3-fold cloths with designs D and E for face and back, and with a plain cloth in the middle. • ••_• i ••_• •• illillll ft» «• •_••• ft ••• •• ••!! •• •• -••illli •••_• •• •• • • 9 9 ■" • • • • • • • . • • • • 9 # • • • • • • • • • * • • * t • •. # « 172 ^ CO 2 h -I ;2; § TEXTILE DESIGN PART IV DOUBLE PLAIN "Double plain," as the name implies, means a double fabric com- posed of two warps and two fillings, the face warp and filling weaving plain, and the back warp and filling weaving plain. This class of weaves is chiefly used to produce fancy effects by combining or inter- changing the single cloths. If one color of yarn is used for both face and back cloths, two fabrics of the same color and construction will be produced.; while if the odd-numbered threads and picks are one color and the even-numbered threads and picks are a second color, two separate cloths of different colors will result. Assuming that the first color is black and the second color is red, the fabric will have a black face with a red back or lining. It will not be difficult to understand that if the face and back cloths are interchanged; i. e., if the black face yarn is woven on the back, and the red back yarn is woven on the face, at predetermined intervals, a variety of stripes and figures may be formed. It is on this principle that the characteristic double plain patterns are made. Construction. Designs of this class differ from the usual double and triple cloth designs chiefly in the manner of binding the cloths. Where a twill, hopsack, or some other weave with floats of two or more threads, is used for the face cloth, it is a very simple matter to pro- duce perfect binding by lowering a face thread under a back pick, or by raising a back thread over a face pick. These methods are imprac- ticable in constructing double plain designs, because the plain weave, one up, one down, does not contain floats of two threads, consequently the plan of binding would be plainly visible on the face of the fabric. This would be especially true when different colors of yarns were used for the face and back cloths. However, the manner of stitching the cloth is of secondary consideration, for when the face and back fabrics are interchanged, they are, of course, bound together. 175 162 TEXTILE DESIGN ~ ■ ; ; = " =3 = ~" "■ ~ ; = j = ~ "■ X \ X |X ;x| II' ■ ■ ■ ■ H -B — : = = = '- = : s ! 5S ;;J i-& i ■ ■ ri ■ \s M ^ : = = = = i X 3g ■& ■ ■ ■ ■ ■ 1 ■ ■ 1 =1 :: = = = I = t X X ^ iSs 1 ■ ■ ■ ll ■ 1 ■ ■ 12345676 The first step in laying out a design is to shade the back threads and picks, then placing the face and back weaves on their respective threads, and raising the face threads on the back picks. This is plainly shown in Fig. 219, which gives the successive steps in laying Fig. 219. out a simple double plain design. If this design were woven with one shuttle, two separate cloths bound only at the selvedges would be woven. If two shuttles were used, two cloths, independent of each other in every way, would be produced. The diagram. Fig. 220, shows the threads interlaced in regular plain order and gives the relative positions of the face and back cloths. It also emphasizes the statement made above to the effect that a double plain design does not permit of perfect binding by the methods used on the usual ply fabrics. By careful attention to Fig. 221 it will be seen that the face and back cloths may readily be woven in solid colors with- out interfering with each other in any way. This figure shows a cut section of the first four picks, and represents two plain cloths one over the other. The foregoing explains the principle of double plain construction, but, excepting in the manufacture of seamless bags and pock- ets, it is not used to any extent. It is used ^sfes here to illustrate the possibilities of double plain designs and the impossibility of obtain- ing good results by attempting to bind them by ordinary stitching. With these points clearly understood, those that follow will present few difficulties. The simplest pattern that may be produced is the "Hairline" or very fine stripe effect in solid colors, the effect being produced by the face and back cloths interchanging. To explain how this is done, it will be best to select a pattern and illustrate the successive steps si 11 W^ ~'/' — pi — YA — I I — YA — r ^ w z z y. i £ TT ssss s^ i H Fig. 220. 176 TEXTILE DESIGN 163 necessary for its production. For example, assume that a pattern must be made with alternate stripes of black and red on the face, the black stripe to be six threads wide and the red stripe to occupy two threads. When the cloth is turned over, the color effect will be re- versed, showing six threads of red and two threads of black. Referring to Fig. 222, it will be noted that 16 x 8 squares have been marked off, and the first twelve threads shaded in the usual way to produce double plain cloth. These threads give the black stripe on £^3rd. Pick Fig 221. the face of the cloth and the red stripe on the back. So far no change has been made from the method pursued in Fig. 219, but it is evident that something must be done to reverse this order and make the red stripe appear on the face. This is accomplished as follows: Those picks and threads that were shaded for the back cloth are now used for face, and vice versa. The warp being dressed one black, one red, the opposite color will be raised to the face. The even numbered threads and picks are now the face threads and face picks, and therefore a solid red stripe is formed at this section of the design. — I : = : ■ :: n a 7 6 = f) .„ ~ i : i ; 3 4. 3 2 \ x. m x M m g I ^ ■gfflilll I ■ ] p ' _ e m W ^ ^^ X X H ip ■■ 1 hi :gii] 1 11 M nr' 1 _ lE^K I'g ■ ri 1 Hi :■ ' fflife \\x 1234 5678910111213141516 Fig. 222. The complete design also is shown in Fig. 222. After the threads are shaded, the design is completed by putting the plain weave on both face and back ends and picks, and raising the face warp on the back picks in the usual manner. The cut section in Fig. 223 shows the first four picks. It will be noted that the odd picks, which are black, interlace only with the odd- numbered threads, while the even-numbered picks, which are red, interlace only with the same color of warp. The cloths are bound together at the point where the interchanging takes place, which in 177 164 TEXTILE DESIGN this design is at threads 11, 12, 13, and 14. If the design were carried out one more repeat, it would, of course, be bound at threads 1, 2, 15, and 16, as the black face cloth returns to its normal position. For a further example of double plain stripe patterns, refer to Fig. 224, The warp for this design is dressed one black, one red; and the filling pattern also is one black, one red. When woven, the face Fig. 223. pattern of the cloth will be six black, two red, two black, two red. .Of course, the under surface of the cloth will be the reverse, or six red, two black, two red, two black. The chief object of this design is to show how the face cloth is returned to the face of the fabric after weaving on the back. Examples of stripe patterns formed on this principle could be multiplied, but the principle is the same in all. The important points to be remembered are to shade the threads and picks as in the case of double cloth, interchanging the cloths by bringing two back or two face threads together. Check patterns are made by extending the principles used in the production of stripe effects. This is illustrated by the shaded design paper shown at Fig. 225. It will be noted that not only do two face and two back threads come together, as at BB and FF, but two face _lMffl_I"l_ll]K^i^_lninH^ii ■ni_]iiii_]i[iffl_lfflgS^i]B_liMgii iiii?iii?iiHlI_IG«si^fflI_li ■ 1 In»Fl tltBilf ak^sain itlalsSs Fig. 224. and two back picks adjoin as at bb and //, reversing the cloths at these points which, of course, are the binding points of the fabric. To better explain the construction of check patterns it will be best to work out from the beginning a design of this class. The first step is to select a suitable pattern, which in this case is a black and white checkerboard effect to repeat on twenty-four threads 17» TEXTILE DESIGN 165 and twenty-four picks. The warp will be dressed one black, and one white, and the filling will be woven one black, one white. After determining the area the design is to occupy the ends must be shaded and the face weave placed on the face threads and picks. This is shown at Fig. 226. The plain weave must now be placed on the back threads and picks, and risers be filled in to lift the face warp over the back picks. The complete design is shown at Fig. 227, and if woven the effect would be alter- nate squares of black and white, each square occupying six threads and six picks. . Spot effects or floral designs may be produced upon the same principle by allowing the back cloth to weave on the face to form the required spot or floral effect. SPOT WEAVES This class of weaves is used to a large extent in manufacturing cotton and worsted fabrics, as the nature of spot weaves makes them Fig. 225. ;; ■ ;;; ■ : ■ 1 ■ i ■ J = ■ ■ ■ : : : = M = ^ =J i = =1 = ■ ■ ■ ■ ■ ¥ V- 1 i ¥ :t = ¥ ¥ ¥ 1 ¥ ¥ ¥ ■ ¥ ¥ ¥ ■ 1 1 ¥ ¥ ■ ■ ■ ■ ■ ■ ■ . ■ ■ B a ■ B B B B ■ i ¥ = = = = B B B = ■ ^ ■ = ■ : ; ■ ■ B = ■ ■ ■ ffi g 11 I B B B^ ffi gl^fflgggg^p Ifa B 1 H[B|]| at g^gitgSsggg j x xw ^fc itggg¥ | ii n|{¥]|| ||Ib|]| n] \ l lllhlllll l ll l h lii lil' ^ ^i^ffi^i^S^ffl i x tfvM |p Sg|ig~ |n B[n^ [y'ln t[B n B m |||B|]| ai g^sBgigi|gS g v xm ^^ pgS3gB |n miBni |][Bn| [y II ||)| |b|j] || I I I IIb Ii yjB ^ g ife Sgigggi s x. MKM fe s^i|g~ | T | B|||[ |nBn| |T|B|n i|bh b I I|b]]| ^J g^gSgggitgS i y i ".'!'w.^:^PT^ 8^g^ !j[pii tnfii ibi hi g| i ilx|ii|x i| | | |x i gigiiiniigii-iiiiro-]iii njB pTH j HI 'l^i ^ ^m^i^i^ g Ex' xi ^ ^ gggl] Tra ||T" lm B|T| THbII " I I f 'Hi Itl ff^ ffi ^ B^ffi^if^ffi^ g x»x p» xggl]ll]~|ffB| Tn iHbIn ]||b Hb b |||B||T^g|t^ B g|tgBsgg g Wx Mi ^m gggffl|}[]Bffl iffl BlTl iBTff * HI 'Hi HI w ^ ffi^ ^ ^ffi^if^w^ g xii x M tsigij iTr m maf !■ a I " I'ni^^fi ^ ^ii^s^if^ a a ant Tttifegm^igSgicg^g Fig. 226. Fig. 227. especially adapted to the production of large varieties of neat effects. It will be readily understood that it is necessary to have some of the yarn float on the face of the cloth where it is desired to form a spot; 178 166 TEXTILE DESIGN also that the manner in which the yarn is allowed to float determines the shape and appearance of the figure. Spot effects may be produced in three ways; first, by forming the spot of the same yarn that forms the body or ground work of the cloth; second, by employing an extra warp which does not in any way affect the ground weave, but is brought to the face at regular intervals to form the figure; third, by the use of an extra filling which, like the extra warp, floats on the back of the cloth when not weaving on the face to make the pattern. The first method limits the pattern to the colors used in the ground, while the second and third methods permit the use of different ma- terial of any color desired. It is unnecessary to take up the first method very fully as it is similar to many of the simple weaves already explained, and also be- cause it is taken up on a larger scale under the heading "Jacquard Designing." It will be sufficient to state that spots formed by the yarn that composes the body of the cloth are produced by introducing, at the point where a spot is desired, a second method of interlacing X Fig. 228. X X X X X X 1x1 ^ ~ [X] "x X ~ Ixl ~' X —\ X X X X X X X X X X X X X ■ ■ X X X X X ■ ■ X X X X ■ ■ ■ ef X X X ■ ■ ■ ■ X X X X ■ ■ X X X X X ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ X X X X X ■ ■ X X X X ■ ■ ■ ■ X X X ■ ■ ■ ■ X X X X ■ ■ X X X X X ■ ■ X X X X L _ _ y _ M _ y _ l>< >$ X X X X X Fig. 229. Fig. 230. the threads. For instance assume that a diamond spot is required on a plain ground (that is, the ground to be woven with a plain weave), the spots to be arranged in plain order, and the full design to repeat on twelve threads and twelve picks. The first step is to mark off the extent of the design or the area it is to occupy, and as the spots are to be arranged in plain order, to divide it into four equal parts, each containing six threads and six picks. This is shown at Fig. 228. As the spots must have the same relative position it will be helpful to mark one of the small squares that the 180 TEXTILE DESIGN 167 spots may be filled in with relation to these squares. This also is shown at Fig. 228. The next step is to fill in the spots and place the ground weave around them as shown at Fig. 229. Careful attention must be given to the arrangement of the figures and the manner of filling in the ground weave, otherwise the effect shown at Fig. 230 will be produced. ■ ■ ■ ■ ■ ■ B „ llBlUJI" S TT — 1 ' ■{ !■ U n ■ ■ I"i ti ' ■ i »■ ■ ■ ■ HI ■ n ■ ■ ■ ■ g ■ k If • B =1 g ■ ■ ■ ~ V ■ n ■ ■ ~ ■ ■ g ■ . ,. ■ ,.,. ■ ~ ■ Ji ■ g 5 1 a ■ _ . ■ - . ■ ■ ~ ■ ~" ■ i IB G U M H Hi s _ an liiU ^ Fig. 231. Fig. 232. A careful study of Fig. 230 in connection with Fig. 229 will emphasize the value of a careful disposition of the spots with regard to facilitating the work of adding the ground weave. Note how the clear cut ap- pearance produced by Fig. 229 is destroyed by the ground weave being run into the figure as at Fig. 230. The second method of making spot designs, i. e., by the use of extra warp threads to form the figure, presents no difficult features to those who have mastered warp-backed cloth designs for it is similar in every detail. Assume that a design is being laid out for back cloth, ^^ ^^ ^^ ^^ ^^ ^ .C^^ Fig. 233. but that the backing threads are silk or fine quality cotton or worsted, and instead of being carefully stitched so that they will not show on the face they are floated on the face to form spots. This clearly explains the construction of spot designs by this method. Attention must be given to the disposition of the spots, as regards the distance they are placed from each other, and the order in which they are arranged, such as plain, sateen, etc. For an example of this method see Figs. 231 and 232. The small figure in Fig. 231 represents 181 168 TEXTILE DESIGN the spot which is to be superimposed upon a plain ground. The first operation is to shade the extra threads, or those which represent the extra warp threads, and fill in the plain weave oil the ground threads. This is shown at Fig. 231. The figure must now be placed on the shaded threads and the design is complete as shown at Fig. 232. Fig. 233 shows a cut section of the first and second threads interlacing with the filling. This pattern, when woven, will not have the appearance suggested by Fig. 232 as the ground threads will, of course, close over the spaces which represent the extra threads and they will be en- ^^" ■ tirely hidden from view. It must not be supposed that the ground effect is limited to the plain weave for any of the simple weaves such as twill, sateen, etc., may be used. These figures are not given because of their value as designs but to illustrate the principles on which these effects are laid out. As a further example of the spot effect produced by extra warp, and one which is of a more practical nature, refer to Figs. 234 and 235. ■ I I ■ I ~ ■ ■1 >B ■ I I ■ J ■1 >! ■ I I 1 - - - 11 li ■ I ■ ■ ■ ■ ::, ■IL JB ■ ■1 II II 1 annnn ■nnnn n^ M ■ ■nnc "(■■ ■1 ■ 1 I r r r ■ ■1 IB I 1 1 ■ c 1 ■ ■1 ■ ■ ■ ■ ■ -1 ■ ■ H u ■ ■ ■ ■ ■ ■ ■ ■m ■ ■ B ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ' ■ ■ ■ ' ■ ■ ■ ■ ■ 4 ■ ■ ■ ■ B ■ B ■ B ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ a ■ ■ B ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ B ■ ■ ■ ■ ■ B ■ ' ■ ■ B a ■ ■ ff ■ ■ ■ a ■ ! ■ ■ ■ r m ■ |>: i ' ■ ■ m B B [ ■ ■ ■ B a a ■ ■ ■ f ■ a ■ ■ ■ 1 ■ ■ m ■ g ■ ■ 1 11 ■ ' B ■ ■ ■ m ■ a . Fig. 235. Fig. 234 represents a spot which must be produced on a cassimere twill ground, once every twenty-four picks. The ground warp and filling are red and the extra warp is white mercerized cotton. The ground cloth counts forty threads to the inch and there must be one- half inch between the rows of spots. 18S TEXTILE DESIGN 169 As in the previous example the extra threads are shaded and the ground weave, which in this case is the cassimere twill, is placed on the ground threads. The next step is to place the figure on the extra threads. Apparently the design is now complete, and in fact it would produce good cloth. However, a designer should seek means to pro- duce the best that is possible and in this case something more may be done to improve the design. The first and last extra threads are interlaced once in twenty-four picks, or in the full repeat of the design. This means that they will float on the back of the cloth for twenty- three consecutive picks if some method is not devised to prevent it. For this reason the extra threads are stitched at convenient places as shown in Fig. 235. As the ground yarn is red and the spot or extra threads are white, it must be understood that care should be exercised in the selection of binding places or the stitch will spoil the face effect. The rule given "^ — ■~ ~ "^ "■ ~" "~ X X X X X X X X X X X X X X X X X X X X y X X X X X X X X X X X X X y X X X _ ^ __ Fig. 236. for stitching backed fabrics applies equally well here and is as follows : The extra thread must be raised over a pick of the face filling at a point where the threads on each side of it are raised. The drawing in draft and harness chain for Fig. 235 are given at Figs. 236 and 237. These are made in the manner common to backed and ply-cloths, the ground threads being drawn in on the front harness- es as they are so greatly in excess of the extra threads. This facilitates the operation of weaving the cloth as, there being so many more ground threads, there will be more breakage among them and they may be more readily tied up if drawn in on the front harnesses. The formation of spot designs by the use of extra filling is the third and last method in our classification. It is exactly the reverse of the second method and the principles involved are very similar to 183 170 TEXTILE DESIGN ■ "" > ♦ ♦ ♦ ♦ ♦ t ♦ f f X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ X Fig. 237. those employed when constructing filling backed fabrics. It is not difficult to understand that the blank squares on the shaded picks in Fig. 238 will make a filling spot of the same character as the small figure at the left of the design. Of course, the crosses represent that the other threads will be raised so that the extra pick, which may be of a radically different color from the ground, will not show on that part of the cloth. If the distance between the figure is so great that the extra filling will float loosely on the back of the cloth, it may be stitched in the same manner that the back filling is fastened to the face cloth in a filling backed design, i. e., by lowering a ground thread under it between the two floats of the ground filling. To explain the meaning of arranging spots in sateen order Figs. 239 and 240 have been prepared. It should be understood that although this design is of the extra fill- ing class the arrangement of spots secured may be obtained equally well on both the other methods. The small figure at the left of Fig. 239 represents the spot which it is desired to produce in five harness sateen order on a three harness twill ground, the spots to be placed as close together as practicable. Fig. 239 shows the design laid out with the spot figure arranged on the extra filling picks, and Fig. 240 shows th3 design complete, with the ground weave filled in on the ground picks. Fig. 241 shows a cut section of the first and second picks interlacing with the warp. In all spot designs the ground vv^eave must repeat on the extent of the design, or the arrangement of the figures must be changed to occupy a number of threads and picks which is a multiple of the - ^ X X X X X X "x ^ X X X X ■ ■ ■ ■ ■ ■ ri ■ X X X X X X X X X X X ■ ■ ■ ■ ■ ■ ■ ■ X X X X X X X X X X X ■ ■ ■ ■ ■ ■ i ■ X X X X X X X X X X X X X ■ ■ ■ ■ ■ ■ m ■ ■ ■ ■ p ■ ■ ■ ■ m ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ , e ■ ■ a ■ Fig. 238 184 TEXTILE DESIGN 171 threads and picks occupied by the weaves. Take for example Fig. 240 which repeats on fifteen threads. If the plain weave were used for the ground in this design, the first and fifteenth threads would be the same, ■ ■ ■ "' ,.., — ~ — ~" ~ ~ X X X X X X X X X X X X X X X X X X X X K X X X ■ ■ ■ ■ ■ ■ m ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ ■ ■ ■ ri H ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ ■ ■ ■ ■ m ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ ■ ■ ■ ■ p ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X ~ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ X X X X X X X X X X X X X X X X X X X XX X X X ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X XX X ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ X X X >^ X X X X X X X X X X X X X X X X X X X X ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ X X X X X X X X X X X X X X X X X X X X X X X X s ■ ■ ■ ■ ■ ■ ■ ■ ■ Fig. 239. Fig. 240. and when the design is repeated would come together to form a double thread. This would be a serious defect, and would make the design practically valueless. PILE OR PLUSH Fabrics made by this class of weaves differ both in structure and appearance from all others as their surface presents a series of short threads- which issue from the body of the cloth. These loops formed by the yarn are termed pile. Plushes may be divided into two classes, i. e., warp pile and filling pile. The former is cloth in which the loop is formed by the Fig. 241. warp, while in the latter the loop is formed by the filling These two classes may be subdivided into cut and uncut, or cut and loop pile. 18fi 172 TEXTILE DESIGN Filling Plush. This is the. simplest of all pile fabrics. As sug- gested by the name, the cloth is formed by a series of filling threads floating on the surface. The operation consists of weaving a ground cloth, plain or otherwise, and weaving a filling floating loosely over the surface and bound into the ground at certain regular intervals. This surface filling is then cut as nearly as possible in the center of the float, and stands up from the body of the cloth, thus forming a cut pile. The diagram shown at Fig. 242, is a cut section of a common velveteen, the weave being shown at Fig. 243. Two picks are shown in the diagram, one of ground and one of pile. The ground filling, B, in conjutiction with the warp forms quite a plain fabric, while the pile filling, A, passes under one warp thread and over five. The letter C shows the pile filling cut at one of the floats. An examination of Fig. 243, will show that the ground weave is plain while the pile picks are bound down once every six threads, there being three picks of pile filling to one pick of ground. The pile picks are marked P, and the ground picks are marked G. The structure of the cloth must be carefully considered in order to determine the best method of binding the pile into the cloth^ and also the best distribution of the pile over the surface of the fabrics. If the pile is not firmly bound it will not permit of its being cut, and if it were cut the yarn would constantly be pulling out in wearing as there would be no power to resist friction. The firmness of the binding is dependent upon the compactness of the fabric and the manner in which the pile filling is interwoven with the ground, and in the case of Fig. 243, where the pile filling passes around but one warp thread, it makes little difference how the binding point is distributed, because it will have to depend entirely upon the pressure of the ground picks on each side to secure it firmly in the fabric. In the design shown in Fig. 244, the pile filling interweaves with three warp threads, which, of course, increases the holding power of the ground cloth. The ground picks are marked G and the pile picks are marked P. As in Fig. 243, there are three picks of pile filling to one pick of ground, however, in this design the pile filling floats over nine consecutive threads, making a longer loop. The diagram at Fig. 245 shows a cut section of two picks in this pattern and has been prepared 166 EMBROIDERY LOOM DESIGNED TO WEAVE A RAISED FIGDRE OF ANY DESIRED PATTERN Crompton & Knowles Loom Works TEXTILE DESIGN 173 to show the increased holding power of this method of binding. The pick marked P interweaves with the fifth, sixth and seventh threads. In this instance the ground filhng would not have to be beaten up so firmly to produce a good cloth. It is sometimes found difficult to obtain the requisite weight of texture in plushes made with a plain ground weave, or sometimes for Fig. 242. other reasons the construction must be changed. At such times the ground may be twill instead of plain and the same plan of distribution followed. However, great care niust be exercised in arranging the binding, so as to make it firm. The diagram at Fig. 245 shows a method of binding into more than one thread upon a plain ground. The same rule will apply to twill grounds, but instead of interweaving with three threads it would be necessary to use four or more as shown in Fig. 246. In all the examples given there have been three picks of pile to one pick of ground. In order that the impression may not be given G_l_a_ir ii | I H l l a G l iBl lal !■ ! ! ■ ! ! ■ ! ! ■ ! P ■ ■_ P ■ H PI 1 Pilllllliiiii Gi_i_f_a_a_a_ gb h ■ ■ ■ ■ p____" ■_ p i-i- P 1 B p- «-! ' — Pl"l I M I ■ pi~B Fig. 243. Fig. 244. that this is the only construction that may be used, Fig. 247 has been prepared with five picks of pile filling to one pick of ground. This of course gives a much denser pile. It will also be noted that in this design every warp thread is used to bind the pile filling, this being necessary where a large number of pile picks are used to give a dense fabric. Corduroy. In addition to being distributed equally over the face of the cloth, piles are made in stripe or cord form which are termed corduroy when they run in the direction of the warp. The binding differs from that of plushes in that it is confined to a few ends, 187 174 TEXTILE DESIGN the object being to present the appearance of ribbed cloth, the rib to stand out very prominently. Referring to Fig. 248, and comparing it closely with Figs. 243 and 244, it will be readily noted that there is no difference between ^velvet- Fig. 245. eens and corduroys, except in the manner of binding the pile filling; the object in the former being to distribute it as evenly as possible over the entire surface of the cloth, and in the latter to confine it to a QC^^ Fig. 246. few threads that it may run in lines and thus form cords. There are two picks of pile to one of ground and the binding is done by the first, second, sixth and seventh threads. Another corduroy weave is shown at Fig. 249. In this plan it will be noted that there are eight warp threads, and the four harness cassi- mere twill is used for the ground. Of these eight threads only two are interwoven with the pile filling, leaving threads one, two, three, four, seven and eight, to form the space between the pile after the filling is cut. The special feature of this pattern is that but one pick of pile is used for one pick of ground. This is due to the fact that the cassimere twill is used for ground, which allows a much larger num- ber of picks to be beaten in than the plain weave would under similar circiraistances. Fig. 250 represents still another corduroy weave. The ground weave is a three harness twill, two up, one down, and there are three picks of pile filling to one of ground. The binding is done on the first, second, eighth, and ninth threads. In all these examples of corduroy weaves, the two loops corre- spond to two cords in the cloth in each repeat of the pattern. In Fig. 250 the first, third, sixth, ninth, and eleventh picks of pile filling float over seven threads for the first cord, and then over three picks for the G ■_l_l_l_l P~ ■_! P~ B_l pli :i p ■_■ p_i_i GB ■ ■_■_■_ PlII 1_1_ P I_l PI I- P 1_1 P« ■ Fig. 247. 1«8 TEXTILE DESIGN 175 GM_1 ■ ■ P« i P_« i~ G_Bli~"i~ PI i P ■ ■ Fig. 248. second cord, while at picks two, five, etc., the pile filling floats over five threads for each cord. This, in addition to facilitating the binding, gives a rounded cord which is much desired. There is very little art in making designs for filling plushes and corduroys. The chief objects to be kept in view are, in the former, to produce a firm binding to fasten the pile to the ground and a proper distri- bution of the binding positions over the surface, while in the latter the binding must be as firm as possible and must be confined to such threads that it will make a prominent cord. However, very frequently figured patterns are made with filling piles by allowing the filling to float on the surface for the space required to form the flgure and then binding it into the cloth after the manner of fancy ordinary weaving. Warp Plush. The principles involved in the formation of pile of this description are sunilar to those in filling pile, yet the treatment and method of constructing the design are different. In the con- struction of the latter two fillings and one warp ■ 11 ■■ 1 1 11 1 IZllZZii ■ ■■ ■■ are employed, while in the former two warps and Fig. 249. one filling are used. The filling pile is woven in the same manner as an ordinary fabric, and when it is to be cut this operation is performed after the cloth leaves the loom. Warp pile is both woven and cut on the loom. Having defined the similarities and differences of these two fabrics, it will be easy to understand how warp pile is made. Warp pile fabrics are constructed by raising the pile threads and inserting a wire, then low- ering the pile threads and interlacing them with the ground weave. The loops formed by the yarn passing over the wire may be cut to form common velvet, or may be left uncut for Terry cloth. If the velvet effect is desired, the wire over which the warp passes, is ec[uipped at one end with a knife which cuts the pile as it is with- drawn. If Terry is desired, a plain wire is used which, when with- drawn, leaves the loops standing. It will be understood that if velvet is to be produced the loops are cut, while if Terry is desired, the *_li_ii ■■ 1 1 1_ ~ _■ ■ 1 illl lillllli 1 ■ _1 1 iIIIIIZ~i _1 ■ ir ■ Fig. 250. 186 176 TEXTILE DESIGN ■■ ■ ■ ■ ■ _■ ■ ■ ■_ ■ ■ ■ ■ ■ ■ ■ ■ _■ ■ ■ ■_ ■ ■ Fig. 251. loops are left intact. Fig. 251 represents a weave for a Terry fabric. Fig. 252 shows a velvet weave and that this principle may be thoroughly understood it will be analyzed in conjunction with the cut section shown at Fig„ 253. Referring to Fig. 252, it will be noted that there is one pile thread for every two ground threads and a wire for every two ground picks. One-half of the pile warp is lifted over the first wire that is inserted, the other half being lifted over the second wire, and so on. The object of raising one-half of the pile warp at a time is that if all the warp were raised it would cause rows of pile, which would be visible as lines across the cloth. The object of velvet being to produce a perfectly even face, this, of course, would be a defect. As shown in the cut section the pile warp is raised from and returns to the cloth between two ground picks which are in the same shed. It then passes over two picks which are in the same shed (and between which the other half of the pile is raised) and being lowered under the next pick, is again lifted over a wire. This constitutes the principle of weaving warp pile. When a number of the wires have been woven into the cloth the first one put in is withdrawn (cutting the loops) and inserted again, then the second is withdrawn in the same manner and inserted again. The third follows in like manner and so on, this cycle of movement being continued as long as the loom is operated. In many cases all the pile warp is lifted over one wire as shown in Fig. 254, but as stated above, this to some extent gives the pile the appearance of being in rows which is overcome by raising one-half the pile waip over each wire. The pile must be bound into the ground as firmly as possible. It will be understood that owing to the loops being formed wholly by the pile warp, it takes up much faster than the ground, consequently the pile warp must be woven from a separate beam to which very little tension is applied. There are other methods of forming pile which are more or less important. One of these is the method of manufacturing Turkish towels, the pile being formed by a cotton warp which is formed into loops on the surface of the cloth. This is done without the assistance GGPGGP XN ■ ■ ■ ■ 1 ■ ■ X \ ■ 1 ■ ■ ■ ■ ■ xs ■ ■ ■ ■ 1 IB X > ■ I ■ ■ ■■ w Fig. 252. 190 TEXTILE DESIGN 177 of wires by having a special device attached to the reed, which allows the filling to be beaten up to a point some distance from the cloth for several picks and then beating up these picks over the intervening space to the cloth, thus causing the loose pile warp to rise and form a loop. The distance between the binding picks and the cloth, before they are beaten together, determines the length of the loop. This kind of pile presents a very irregular appearance; the loops Fig. 253. do not stand up well, are of various lengths, and intermixed to a great extent. For these reasons this method cannot be used for better grades of goods. Another form of pile is the one used in the.manufacture of Brussels carpets. In this case the pile warp weaves in the ground when not required on the face to form the pattern, the required color being Fig. -254. brought to the surface over wires in the order required to form the pattern. If the pile is cut it forms a Wilton carpet, as Wilton bears the same relation to Brussels that velvet bears to Terry cloth. CHINCHILLA This cloth derives its name from a small animal native to South America, whose fur it is supposed to imitate. Chinchilla is a very heavy fabric with a long nap on the surface which is rolled into curls in the finishing operation, by the use of what is known as a chinchilla machine. The cloth is used chiefly for heavy cloaks or overcoats being much too heavy for other articles of clothing. Construction. There are several grades of chinchilla cloth, the construction depending upon the quality desired. The following constructions are in common use: a, one warp and one filling; b, one warp and two fillings; c, two warps and two fillings; d, two warps and three fillings; e, two warps and four fillings. When more than one warp is used as at c, cZ and e, the different threads are designated as 191 178 TEXTILE DESIGN face threads and back threads. When four fillings are used as at e, the various sets are designated as pile filling, ground filling, stuffing filling and back filling. The purpose of the pile filling is to form the face of the goods and it gives the long nap necessary for the chinchilla finish. For this reason it is interwoven with the face warp by means of a weave that will give a long filling float on the face of the goods. The pile filling is generally a soft spun thread of fine stock. The ground filling is to give the fabric the required firmness. It, of course, interlaces with the face warp by means of a much closer weave than is used for the pile filling. The stuffing filling, sometimes known as the wadding fillin^;^, enters the fabric between the face and back warps, not interweavin.--^ with either, its purpose being to add weight and bulk to the fabric. The back filling interlaces with the back warp by means of weaves X X X X X X X X X X X x_x_x x_x_x x_x x_ X x_x I x_x_x _x_x_x Zlx_x_x XXI X x_ X Ground WecLve Pile Weave Fig. 255. Back Weave which are either even-sided or which present a filling effect on the back. These facts being understood a chinchilla Vv^eave will be con- structed, every operation being explained in its turn. As in many other classes of fabrics the principles of double cloth construction are used, being extended or modified as required by the peculiarities of the cloth under consideration. In this instance every step from shading the design paper to binding the cloths together can be easily traced to the double cloth principle, and if looked upon in this light will make the construction of chinchillas very simple indeed. The three weaves shown at Fig. 255 are to be used in the con- struction of a chinchilla design. For the purpose of simplifying the explanation they will be termed ground weave, pile weave, and back weave. (Note that the pile weave has long filling floats as explained in the explanation given above.) These weaves are to be used to form a design having two face warp threads to one back warp thread on the 19S TEXTILE DESIGN 179 one face, one back, one face system. The filling is to be arranged as follows; one pile, one back, and one ground. Fig. 256 shows the design paper of the area required, with the pile and back picks and the back warp threads shaded. It also shows the pile weave on the face warp threads and pile picks. At Fig. 257 is given the ground weave on the face threads and ground picks. A little study at this point will reveal a departure from double cloth principles. In double cloth the face weave is placed on the face threads and the face filling is the only yarn that interweaves with this warp (excepting the binding points). In chinchillas the pile filling is an extra set of threads superimposed upon the ground cloth in much the same manner as the extra filling is added to the back of a filling FBFFBFFBFFBFFBFFBF E i 3 = = = = = ^b ?: a [p |l ;: ■-- -- z- - : : ^ =1 J ~ = = = = = Kr: "~i =_- 1 = ; £ = ■■ ■u _x . m = ■ J = = 1 = = = = = H n ■ Tf -_ = - = = = --- = ■ -^ = = = 3 = = :i ~- -j^ t"- ■ ■£ ■ ■ -- ■ : - ^ = = = = = = ; = r^ F. ~j = £■■ r- = ■ -H ■ ri ■ = s = ^ = = = s ?; U .-_ ■ ■ ?; 5 = : ■ = ? : = = = = = = = = = i;. - -3. = ■ = H B E = ; : ; 1 = i s ^ m 1=^ P % i i f: o o O O o o o o o ; = = ■ ^ = = a -■- E" E^ r ;; ; - 5 --- -- O 9] O g o o o o o ;; = = s = f = :| = ; = -=i z: = : = C-- 1 t- Iff £ t; M o o O O o o o 1 o o ; EE f = EE M = = H ^ m = i 1= T~Z Tl ; s 3 -- i= -_ ; = r2 ; = . = ■ ■- o _ o : o g o 1 g g :: g. g fi '^ ;? ^ f 1 =r ^ ■ ;t ^ n ^ ^^ 3 [ g g d g g o, _ .. g g o i V = = ; ~ = f = '■■■■ f= t T ?: = o o o o o o o ': = = ;ft = = ; = P= . :: ^: : = Ef :■ z- :-j ~ Fi - £ ■ = ■■■■ E ; : V o o o o o 9 o o O '.:': = = ; I ;: = = ; = = : : = -- -- r =- - = - : - = ■ = o o o o o o o o lO \\ = = ; = = ;; ;; = : t = '-'= ■■■ i= ^ : ^" ^ J F d ,: i- ; ;; ^ = V ' .= Fig. 266. Fig. 257. backed cloth. Foi> this reason neither the pile nor ground filling is referred to as face filling, for it might cause some confusion, it being much simpler to give them their proper terms. Before proceeding further the relation of the pile and ground picks must be thoroughly understood. The statement that both weaves are on the same set of warp threads but on different picks explains this fully and Figs. 256 and 257 should be carefully studied until this is firmly fixed in mind. The design at Fig. 258 shows the back weave placed on the back threads and picks, and Fig. 259 shows Figs. 256, 257 and 258 combined, with the risers added to raise the face warp on the back picks, and the binders to stitch the ground filling to the back warp. The dia- 193 180 TEXTILE DESIGN mond shaped dots represent risers for lifting the face warp over back picks, and the binding places are indicated by the upright crosses. Fig. 260 represents a cut section of the first three picks of Fig. 259 and illustrates very clearly the relative positions of the different sets of threads. It also gives especial prominence to the long filling float of the pile filling. The points marked H show the binding places of the cloth and correspond to the upright crosses on the third pick of Fig. 259. To explain the use of the stuffing or wadding filling and the method of procedure when the ground filling is omitted another ex- ample will be worked out. In this instance a twelve harness double sateen is used for the pile weave, and the back weave is a cassimere FBFFBFFBFFBFFBFFBF 1 1 1 |:| i i t = = = == = = J = == = : = = = -- =■ -" ri i = i ^ i ii m _ =^ f ^: 1 W: 3. 1 ■ s 3 fi =1' T: i; 1 = : m p i|s § • i _ _ -J _ 1 - ^ =-r^ — ^ ^ t- ~ ~ -_t| ^ --[($3 i; p_ i JP P k = : i -U 1 — _ _ _ _ _ 1 _ f = = ]> F= :^ ^ W- 'fl o o ||o o o ~Tj S o o 4 K i K a A rT ■-^«1« .:: :j C^:. :- - -- o o o o o flo o o jo t t « « * f: [I i 1 i - r_ - : 1 --■ m =: !■ P ". o o o o Q , 9 o Q I niniSGiiiiSSnilSEiilieaiiliSGIIiiS £!!iiS5;i;i€S;i!;3S=i;;[jS!i!lGeiiilG SIIIISHIIllSBIIIIBBElllSBIIIISailllS Fie. 258. Fig. 259. twill. The two cloths are to be stitched in twelve harness sateen order. The warp arrangement is one face, one back, and the filling is arranged with one double pick of pile, one stuffing or wadding pick, and one back pick. It should be stated that in binding chinchilla cloths the same method is pursued as in binding double cloths, that is, by raising a back thread over a ground pick or pile pick, between two risers on the face warp and next to a riser on a back warp. In this particular instance the binding is accomplished by raising a back thread over one of the stuffing picks. The weaves to be used are shown at Fig. 261, and it should be noted that the pile weave has the long filling floats as in the previous example. The first step is to shade, on the design paper, every even 194 TEXTILE DESIGN 181 numbered warp thread for back, and to shade the picks for two pile, one stuffing, one back. The pile weave is then placed on the face threads and the back weave is placed on the back threads. Fig. 262 shows the operation up to this point. The letters at the left indicate Ground pick Pile pick. Back pick H H H • Fig. 260, to which set each pick belongs, P meaning pile; S, stuffing; and B, back. In completing the design there is one thing that must be done which was not met in the previous example. Reference is made to the stuffing pick which should be put in the cloth when all the face warp is raised and all the back warp is down, as it i-s not interwoven in any manner with either set of threads. This is accom- plished in exactly the same manner as raising all the face warp when a back pick is placed in the back cloth, except that in the latter instance some of the bade warp also is raised, while in the former no interlacing is desired, so every thread of the face warp is raised and every thread of the back warp is down. The complete design is shown at Fig. 263. The letters at the left of the design are the same as at Fig. 262, being used to designate to which class each pick belongs. The upright crosses, on the first of each pair of stuffing picks, indicate the binding points. PIQUE This is a cotton fabric but the principles upon which it is con- structed are applicable to Matellasse and other worsted and silk fabrics which require raised patterns. The chief characteristic of this class of cloth is its embossed effect, the pattern being in relief, the stitching forming the outline of the figure. In all the double cloth fabrics explained heretofore, the necessity X 2 c X X X - X X BACK WEAVE "' n "^ X X " X X X X X >^ X X X X X X X X X X X X X X X X X X X X X X X X X X X X ^ X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X ■ X X X ~ |xj 2!!■ ■ s . ! ii A ■ ■ 1 I ,W nil 1 ■ ■ ■ ' ■i a ■ 1 ■ ■ * 1 B ■ ' m ■ 1 ■ VAm ■ ■ ■ ■ ■ B ' ':" ; ^ ^ ;! ' : mi : ^1 Hi? « « ^i ^ » ft r ^:::: ' ' 4 ^ 1 ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ Kb ■ ■ ■ ■ ; :":' ' ■ ":: ^ ^ " ■ ' ':":' ' 4 ' « 4 : :: ■ ■ • (i r l": ft ^ 1 ■ ■ ■ ■ U ■ II ■ ' ■ ■ U I ■ ■ ■ ■ 11 ■ ■ ■ j ^ . .; ;. ^ ^ . ";■ k iilrik . # . :::: ■ ' ' ' ^ ^ ft • w ■ ' ft: •■ : 1 ■ *\i ■ ■ ■ m ■ i:: m ■ ■ ■ ■ ■ ■ 11 :i ■ ■ ■ ■ i :# ■■lii: if ^ ^ ' ":;: i: . » i;..!L. . ^ ^ : ; ■ ■ .■ iii ' ■ 1 ^ ■ " I i Ml L ■ !_ 91 L UlllL i _ ■ Hi ^ L ■llll _ ■ Fig. 273. be a trifle larger, or to be exact, as much larger as the number of wadding picks. The design paper is shaded in the regular manner for one face, one back, one face, in both warp and filling and the plain 201 188 TEXTILE DESIGN weave put on both systems of threads. The risers are now put in to Hft the face warp on back picks.. All that has been done so far would be done in the same manner on several other kinds of cloth, but the next step is peculiar to this class of fabrics. Reference is met to the binding from a motive. The rule which applies in this case is as follows: Raise a back warp thread over a face pick on each side of the backing pick and next to a riser on the back warp. The upright crosses in Fig. 273 show this rule put into effect. In this example a wadding pick is not used but one could be inserted between any of the two face picks, and the same principles would apply as in making plain pique. JACQUARD DESIGNING In all the classes of designing explained up to this point it has been necessary to limit the designs to those that could be woven on the ordinary shedding or harness motion. In almost every instance, they repeat on from two to twenty-four or thirty threads, and when they exceed this number a drawing-in draft can be arranged to weave them on a practical number of harnesses. Jacquard design- ing includes those designs which are too large to be woven on the ordinary harness motion. Before attempting to make jacquard designs, it is necessary to form a clear idea of the principles on which the jacquard machine operates. Figure 274 represents a section of a jacquard machine, showing the mechanism for lifting the warp threads. To each of the upright hooks A is attached a neck cord, which takes the place of the harness in an ordinary loom, and from each neck cord are suspended the harness cords through which the warp" threads are drawn. A weight is attached to the bottom of the harness cord for the purpose of bringing the harness cord, and thus the neck cord and hook A, to its original position after being lifted. The position of the hooks (whether raised or lowered) on each pick is determined by the action of the cards upon the needles or wires B.. As this is the fundamental principle of jacquard weav- ing, it should be thoroughly mastered. To make this principle clear, Figs. 275 and 276 have been prepared. Fig. 275 shows a card 202 TEXTILE DESIGN 189 Oil which one pick of the design is cut, just as one pick of an ordinary design is placed on one bar of the harness chain. This card passes over the cylinder, shown in Fig. 276, in much the same manner as a bar in the ordinary harness chain passes over the chain barrel. The cylinder has a reciprocating movement, coming in con- i Fig. 274 tact with the ends of the needles B; the ends of the needles entering the holes in the cylinder. Now, if a blank card is placed on the cylinder, the holes will be covered and all the needles will be pressed back, carrying their upright hooks out of the path of the 203 190 -TEXTILE DESIGN griffe C, as shown by the dotted line in Fig. 274. The griff e con- sists of a number of iron bars which have a vertical reciprocating movement and are the direct means of forming the shed. If a card on which the pattern has been cut, such as the one shown at Fig. 275, is placed on the cylinder, those needles which correspond with the holes in the card, will not be pressed back, and the griffe in its upward movement will lift the upright hooks. The springs D force the needles and hooks back to their orig- inal position after the pressure of the cylinder is removed. The above are the principles of Jacquard machines. A hole in the card always represents a oy'ser, as its corresponding hook will be raised and, through the connections, will raise the warp thread. The usual practice in tying up the harnesses is to take ^oo o oo oo ^ oo o oo •oo ^ oo oo oo oo oo oo 08° oo o • oo oo o o oo o 8°0 • oo oo oo oo oo oo "^ooo o o o o^ o o ooo ^ ooo o o O Op. ooo^ ooo ooo Fig. 275. the first hook in the row nearest the cylinder head and count that the first hook in the machine. The other hooks in the same row will be counted as the second, third, fourth, fifth, sixth, seventh, and eighth hooks. The next row follows on consecutively; the first hook being counted the ninth. This is continued until the full extent of the machine is reached. This arrangement of the machine necessitates, for the con- venience of the card cutter, as well as for the designer, a special arrangement of the design paper. Each small square of the design paper represents one of the upright hooks (A in Fig. 274) and consequently the warp threads which are actuated by that hook. These small squares are divided by a heavier line, according to the number of hooks in one row of the machine. Thus, the number of small squares contained in each large square represents the number of hooks in each row. 204 TEXTILE DESIGN 191 A thorough understanding of the above is very essential to ensure a knowledge in the use of the design paper. As an example, take a machine that has eight hooks in a row (and so is necessarily tied up in rows of eight) and design paper which has eight small squares in each direction between the large squares; in other words 8x8 paper. Beginning at the left, the first small square represents the first hook, the next square represents the second hook, and so on to the extent of the eight hooks which form the first row of the cylinder and the first eight squares of the design paper. A heavy line follows the eighth small square, and is in turn followed by eight more small squares in a horizontal line; these represent the second row of hooks in the machine. The small squares between the third and fourth heavy lines rep- resent the third row of needles, and so on till the full extent of the z: )00 00 00000000 00 00000000 0© 50000000000000000000000000 ) 0000 00 00 000 000 00000 000000 J 0000 000 00 00 00000 000 000000 f->^:=^ ) 0000 0000 000 00000000000000 ^^^ff^^^^ 3 000 000 0000 00000000 000000 3 0000 00©©00©©000©000 0000 00 5O©O©©@0©@©©©©©©©©©OO€3O©©@ Fig. 276. machine is reached. It will be understood that -each division of the horizontal lines and small squares represents one row of upright hooks in the jacquard machine, and the number of small squares between the heavy dividing lines correspond with the number of upright hooks in each row. Tliis arrangement is for the benefit of the card cutter, each division representing a row of holes on the card and the keys in the cutting machine. To make this clearer, an expla- nation of card cutting is given. Card Cutting. In designing jacquard designs, the same con- dition is necessary which is common to all branches of textile designing, i. e., the design must join correctly on all four sides, so that, w^hen repeated, the pattern will be continuous and perfect. But in this instance, there is one essential condition which is not necessary in designing for harness looms. That is, the pattern must be repeated a sufficient number of times to begin and end 205 192 TEXTILE DESIGN with full squares. This is primarily for the convenience of the card cutter. In Fig. 277 is shown a design which occupies one full square and six extra threads. It will be inconvenient and very impracticable to work from this. It has been explained that the reason for dividing the paper by means of heavy lines, is to make each division of squares corre- spond with a row of hooks in the jacquard machine, and the holes in the cylinder, therefore, it is apparent that when work- ing on a machine that has eight hooks in a row, the card cutter, after cutting the first row in Fig. 277, would read for the second row and find only six threads, or two less than the number required. This would necessitate taking two threads from the beginning of the design to complete the second row, consequently there would be four threads short on completing the fourth row; and so on. This would result in a great deal of confusion and perhaps a large number of mistakes. To obviate this difficulty, the design is carried out until it repeats on even sets of eight threads, as shown at Fig. 278. The rule for determining the number of squares on which a design will repeat evenly is as follows: Find the least common mul- ■ B X ■ A ■ ■ X ■ ■ X X ■ ■ ■ X X X X ■ ■ X X X X X ■ ■ X X X X ■ B fe X X X ■ ■ ■ ■ X y X ■ ■ ■ X ■ ■ X ■ ■ X ■ ■ X X ■ X ■ X X X ■ ■ ■ X X X X ■ ■ ■ X X X X ■ 8 ■ X ■ X X ■ ■ ■ X ta a a X ■ ■ ■ ■ X m ■ ■ ■ ■ X B ■ ■ X ■ i ■ ■ B X ■ H B X m ■ ■ ■ ■ ■ ■ ■ X m ■ B ■ ■ X ■ ■ X X ■ ■ ■ ■ ■ X ■ X X ■ ■ ti 1 * X ■ X X ■ ■ ■ ■ ■ X ■ X X ■ ■ ■ ■ ■ X X X X ■ ■ ■ ■ ■ X X X X ■ ■ 1 ■ ■ X X X X ■ ■ ■ ■ ■ X X X X ■ ■ ■ ■ ■ X X X X X I ■ ■ i ■ X X X / X ■ I I ■ ■ X X X X ■ ■ ■ ■ t X X X X ■ ■ ■ ■ ■ X X X X ■ ■ ■ n ■ X X X X * ■ ■ ■ ■ X X X X ■ ■ I ■ ■ y X X X ■ ■ ■ ■ ■ ■ X X ■ X ■ f m ■ ■ X X ■ X I ■ ■ ■ ■ X X ■ X ■ I ■ ■ ■ X X i X ■ ■ ■ ■ ■ ■ X ■ ■ ■ X u ■ ■ ■ ■ X B ■ ■ X ■ i ■ ■ ■ X ■ ■ ■ X ■ ■ ■ ■ ■ X ■ ■ ■ X ■ ■ ■ ■ X ■ ■ ■ f I X ■ R ■ X ■ ■ 11 a ■ X ■ ■ ■ X ■ ■ ■ ■ X ■ ■ ■ X ■ ■ ■ ■ X ■ ■ X ■ ■ ■ ■ ■ X X ■ X II ■ ■ B ■ X X ■ X ■ ■ ■ ■ X X ■ X A ■ ■ ■ X X ■ >^ ■ ■ ■ ■ ■ X X X X ■ ■ ■ ■ ■ X X X X t I ■ I ^ X X X ■ ■ ■ ■ X X X ■ ■ ■ ■ ■ X X X X ■ ■ ■ ■ ■ X X X X ■ p I ■ X X X X ■ ■ ■ ■ X X X X ■ ■ ■ ■ ■ X X X X ■ ■ ■ ■ ■ X X X X k ■ I I X ^ X X ■ ■ ■ ■ X X X X ■ ■ ■ ■ X ■ X X ■ ■ ■ ■ ■ X ■ X X ■ a I ■ ■ X li X X ■ ■ a ■ ■ X ■ X X ■ y G u ■ a ■ u u u ■ ^ ■ u u U u u ■ □ ■ u u u ■ a ■ u u u u u ■ a ■ LI U U ■ a ■ u u u u u ■ a ■ U u U ■ a ■ J ■ Fig. 278. tiple of the number of threads occupied by the design and the number of hooks in each row on the cylinder; (or the number of squares in each division of the design paper.) It is not necessary to carry out the design in the direction of the filling until it repeats on even squares, and in the cas? under 806 TEXTILE DESIGN 193 discussion, there would be only fourteen cards required, as there are but fourteen picks in one repeat of the design. Another example of this nature is shown at Fig. 279. One repeat of the design occupies eighteen threads and eighteen picks. This, of course, must be extended until it repeats on even squares of 8 x 8 paper, as the machine on which it is to be woven has eight hooks in a row. The completed design, as shown at Fig. 280, occupies seventy-two threads, this num- ber being the least common multiple of eight and eighteen. Another point in connection with design paper that should be thoroughly mastered is the proportion the number of squares in one direction bears to the number of squares in the other direction, and its influence upon the fabric. If the design is made upon paper which is ruled square, that is, 8 X 8, or 12 X 12, the cloth should have the same propor- tion of warp and filling. But suppose that it is necessary to change the construction of the cloth so that the fiUing is reduced in the pro- portion of eight warp threads to six fiUing threads, and the design for this construction is placed on 8 x 8 paper. It would, of course, ■ ■ X X ■ ■ ■ ■ ■ p p< ~ 1*1 ■ X ^ X ■ I ■ X X X X X X X ■ ■ X K X X X X ■ y X X X X X ■ Jf g X X X X X X X m [x X X X ■ X m ■ ■ X X X m ■ X g m ■ ■ ■ X X ■ m ■ ■ X 1 m ■ m X X ■ ■ ■ X X m ■ X X ■ ■ X X X ■ X X ■ X X X X X ■ X X X X X X X X X X y X ■ X X X X X ■ ■ X X X X X X ■ ■ X X ■ X X X ■ ■ ■ lai ■[ ■ 1 xl X ■ ■ ■ X X Fig. 279. ■ ■ X . X- ■ ■ ■ ■ I X X ■ ■ ■ ^ X' B ■ ■ ■ Xi X D B □ x: X ■ ■ ■ ■ ■ X k " ■ ■ ■ ~ "X B R T~ p? X ■ ■ >S X x u X u a S a ■ X X e X < < n ■ m X -* X X ■ ■ ■ ■ J< X IX X " X X X, X X X a fl « ■ X X X X X ■ '• A A «. X. " ■ ■ ■ ■ ^ X X X ^ X X X ■ • ■ ■ ■ > X X < y IB X ■ X X X X X X X X ^ ■ ■ X X X X X . " X X X X X ■ ■ ■ ■ ■ X X < < y BBB _ ^ _ i 1^ i - 2S ■ u &, - 1 1 - ^ - ^ ^ - ^ ^ i X X i. _ X [§ L >i a ■ ■ ■ ■ _ X X X ->L I x ■ ::■■ ■ ■ ^ "x ^ >< 1 ii u X " i m ■ i ■ X X ■ ■ ■ ■ m K ■ ■ W a i X X ■ ■ H ? >? - ■ ■ ■ ■ ■ ^ ? -5 ~m ■ S- IB ■ X X ■ ■ ■ ■ ^ ■ X ■ ■ ■ ■ >^ X ■ ■ • X X ■ ■ ■ X <■ la n X ^ ■ ■ ■ ■ X X !■ X X ■ ■ X _.x ^ ■ X X ■ ■ ■ ■ ■ X ^ X ■ X ■ V -X ■ X _ ! >< „ A _ X. _ X ^ ■ _ _ _ _ y X X X X X ■ ■ 1 ■ ■ X X X _ - t. _ ^ il _ ii _ Hi. __ b. s i * ^ ii J ki. _ _ X ^ X ■ 1 ■ X X X _ 5 ■ ■ ■ _ ii i _ ii - '-^ — ii. - ■ 5, ! s, - li — ^ ii ^ — . ^ - _ a ■ r X _ 2. X X X ■ ■ X X _ • ^ _ ^ ^ C: _ li — _ * 5, s 1 _ ^ li. ii, ~l * _ _ s pi X X |X X X ^ X E ■ ■ ■ X J< Is X X X X X X X ■ ■ ■ ■ X X ■ X X X ■ ■ ■ ■ V ■ y Is Is L li Is L \^ u B. £ H s Li L ^ N u A x| ■1 si ^ Ja ■J ■ a ■ > > ■ •« X X ■■ Fig. 280. be out of proportion, the figure being elongated by the reduction in the number of picks per inch. If the original design on 8 x 8 paper occupied eighty threads in each direction, and the cloth contained that number of threads and picks per inch, the design would be one inch square; but if the same cloth were constructed with eighty threads and sixty picks 207 194 TEXTILE DESIGN per inch, the design would be one inch wide and 1^ inches long. To overcome this difficulty, the design must be drawn dispropor- tionately, or the design paper must be ruled similar to the con- struction of the cloth. The latter alternative is the better. In the instance mentioned above, where eighty warp threads and sixty picks are used per inch, the heavy lines would be ruled square, but instead of eight small squares being ruled in each direc- tion, there would be eight squares in a horizontal direction and six squares arranged vertically. This is shown at Fig. 281. It is sometimes necessary to construct a cloth with a larger number of picks than warp threads. In this instance, it will be necessary to have more squares in the direction of the filling, or vertically. If the proportion is ten to eight, or one hundred picks to eighty warp threads, the design paper would be ruled as shown at Fig. 282. EXAMPLES FOR PRACTICE 1. Continue Fig. 283 on 8x8 design- paper until it repeats on even squares. 2. Determine a method of calculating the number of squares on which a design would be complete. 3. What design paper would you use for a cloth constructed with seventy-two threads per inch and fifty-four picks per inch, if the design were to be woven on a jacquard machine which has eight . hooks in a row ? 4. What design paper would you use if the above cloth were woven on a jacquard machine which had twelve hooks in a row? 5. When it is decided to raise a thread on a specified pick, how is this brought about? Casting Out. Casting out means omitting some of the hooks and harness cords from the calculations, when arranging a pattern to be woven on the jacquard machine. The hooks are not actually cast out of the machine, and in fact, the harness cords hang from these hooks the same as if they were in use, but no warp is drawn through them. To make this condition clear, assume that a loom is weaving a pattern on eighteen harnesses, and it is desired to weave a pattern on sixteen harnesses. Ordinarily the two extra harnesses would SOS TEXTILE DESIGN 195 be removed. But suppose these two harnesses are fixtures in the loom and cannot be removed. The only thing that can be done in such a case is to withdraw the warp from the heddles, allowing the harnesses to hang idle in the loom. The foregoing is exactly parallel to the condition found in the jacquard machine when some of the hooks are not used, or ''cast out." As previously explained, the hooks in the jacquard machine represent a number of harnesses or their ecjuivalent, and from the nature of the machine the hooks which are not required cannot be removed. However, the presence of hooks and harness cords does 1 J Fig. 281. Fig. 282. not make it necessary to use them, any more than the presence of the two extra harnesses in the ordinary loom makes it necessary to draw in the warp on them. In both cases the extra hooks or the extra harnesses are treated as having no existence. The necessity for casting out, or leaving a portion of the machine idle, may be brought about by two causes. If the number of threads occupied by the pattern is one which will not divide into the num- ber of hooks which the machine contains, without a remainder, a number of hooks as large as the remainder must be cast out or left idle. What is known as the "three hundred" jacquard machine con- tains three hundred four hooks, or thirty-eight rows with eight hooks in each row. The "four hundred" jacquard machine contains four hundred eight hooks. The "six hundred" jacquard machine con- tains six hundred eight, or six hundred twelve hooks, according to whether there are eight or twelve hooks in each row. In the former there are seventy-six rows and in the latter fifty-one rows, 208 196 TEXTILE DESIGN ■ ■ ti ■ ■ ■ ■ a ■ k ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ B ■ ■ ■ Ficr. 283. which make this machine equal to two "three hundred" jac- quards. When one of these machines is tied up to its full capacity (that is, every hook having neck and harness cords attached) and the pattern designed to be woven occupies twenty threads, some of the hooks would have to be cast out, as twenty will not divide evenly into the total number of hooks. If the machine contained three hundred four hooks, there would be four hooks cast out, as three hundred four divided by twenty equals fifteen with four remaining. (304 h- 20 = 15/^.) If the four hundred eight machine were used, eight hooks would be cast out; and so on. In many cases, however, the number to be cast out would not be so small as four or eight hooks. The pat- tern may occupy eighteen threads and have to be woven on a machine that has three hundred four hooks In this instance, it would be necessary to cast out sixteen hooks. If these hooks were not cast out an imperfect pattern would be formed at every division of the harness ; or at every three hundred four threads. If the eighteen thread pattern had to be woven on a four hundred machine, there would be twelve threads left over. It will be understood that only com- plete patterns, or as many hooks as will work a number of complete patterns, must be employed. There is another object in casting out, in addition to adapt- ing a machine to weave complete repeats of a design. When a jacquard machine is tied up; i. e., when the harness cords are arranged in the machine; it is arranged for a certain number of threads per inch. When all the hooks are employed the number of threads cannot be increased, but it may be reduced by having some of the hooks remain idle. To make this clear, assume that a loom is working with four ordinary harnesses on each of which there are fifteen heddles per inch, or a total of sixty heddles per inch for the four harnesses. If only fifty-two threads per inch were required, two heddles per inch on each harness would be taken off. If it were impossible to remove the extra heddles, the same result could be obtained by not drawing the warp threads through them. The latter method is the one adopted on the jacquard 210 TEXTILE DESIGN 197 machines. The cords hang idle in the loom, no warp thread being drawn through them, consequently the ''sett" or number of threads per inch is reduced.. The whole matter may be readily summarized as follows: If the full number of hooks contained in the machine are not em- ployed, the number of threads per inch is reduced, but there is a consequent limitation of the pattern producing power, in extent, of the machine. Casting out is resorted to for two purposes: f.rst, when the number of threads occupied by the pattern cannot be divided evenly ■ ■ ~ B ■ fl 'B a B ^ B a ■ B a a a a ■ ■ ■ 1 IB B B B a a a a ■ B B B B ■ fl fl ■ a fl ri 1 B ■ ■ ■ a ■ k m ll ■ ■ a fl a a B i a ■ ■ a ■ ■ B . ■ fl a k 1 ta ■ 1 B a a fl a a ■ ■ IBI ri B fl a a a a k k es B a a . a fl ■ fl • a ■ fl fl i li ■ a 1 ip ■ ■ ■ a P i i P k B ■ 1 ■ B fl a B B p ■ fl la ■ B B fl fl a a ■ ; □ m B • a ■ a a fl ■ B a fl a a ■ a ■ 1 ■ a B □ ll B B fl ■ B a ■ ■ B a fl 1 a a Bl i S "" ■ ■ fl ■ B fl ■ ■! ■ ■ fl a a fl fl ■ a i ■ fl a ■ fl ■ fl fl ■ a ■ a • B ■ a ■ ■ a fl a a ■ B ■ 1 fl a B fl a -»- B B a ■ ■ ■ a ^1 m4 B B B a a 1 fl B a ■ ■ fl a fl ■ ■ ■ ■ ■ ■ a ■ a a ■ fl B ■ fl fl ■ ■ ■ fl ■ ■ B a ■ B a fl fl ■ I 1 a ■ a B ■ ■ ■ ■ IB ■ a fl BB ■ ■ B B a B fl ■ a a 1 ■ B B a ■ a a fl 1 a ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ B ■ ■ B ■ ■ B 1 ■ ■ B ■ a B B ■ a a fl a Fig. 284. into the machine, and, second, when it is desired to reduce the sett or number of threads per inch carried by the harnesses. The first has the disadvantage of reducing the sett when this may not be necessary nor advisable. The second has the disadvantage of reducing the pattern producing power of the machine. However, these difficulties are part of jacquard designing and must be over- come, as it is impracticable to tie up the machine every time a new pattern is made. To calculate the effect of casting out and thus enable the designer ail 198 TEXTILE DESIGN to obtain correct conclusions as to the sett and number of hooks available for the production of patterns, it is necessary to find a rule which will give the exact number of threads per inch, and the num- ber of hooks that may be used. The question is one of simple pro- portion, for when there must be casting out to suit the pattern, the threads per inch are reduced in direct ratio. For an example, suppose a machine contains three hundred four hooks, and is tied up for sixty threads per inch, sixteen of the hooks being idle. Three hundred four minus sixteen equals ■ - H B ■ ■ — ■" "" 1 ■ ~~ — B — ■ T '~ H ■ H B i ■ ■ B H B I a H B fl a B B B B I B a fl B B ■ ■ B a a fl B ■ B H fl ■ ■ B B ■ ■ B « ■ a n B a a ■ a H 10 B fl B fl B B ■ BA B B ■ B B i B B ■ SB 1 B ■ H ■ ■ a 9 B 1 ■ B a a B n B m B B S B B B B B 1 ■ B ■ B - H B H i * B « B B m S B a B ■ & B B ■ ■ a ■ B B a H B m B B B a ■ ■ B B fl fl B ■ E 1 B B ■ a n m B B m E B ■ a a a ■ B H B B B B H B fl a a B a ■ H fl - B m ■ B B a B a i a ■ B 8 ■ 9 a a Bl II ■ n a fl A ■ 1 fl a Bl 1 a ■ a fl a m a fl a B B B a a fl fl B B 1 a B ■ B a fl ■ 1 s a B a ■ a m a ■ ■ H ■ ■ 1 1 B fl B B fl ■ fl I ■ B B a 9 B i m B S. B ■ a 1 B B a B H B ■ fl 1 ■ fl ■ a s B ■ ■ I II ■ H ■ B fl B ■ ■ I ■ II a a a m B B ■ ■ ■ ■ _, ■ a B B ■ 1 I I H 1 wi ■ ■ ■ ■ ■ B a 1 B ■ ■ B ■ 1 ■ I ■ 1 1 ■ 1 B a B ■ ■ I B 1 s I a fl ■ ■ ■ ■ ■ i B b4 a B E B 1 B 1 1 ■ !■ a a ■ ■ ■ fl ■ Fig. 285. two hundred eighty-eight. (304-16=288.) This means that there are two hundred eighty-eight harness cords, of the three hun- dred four, available for actual work, and if the full number gives sixty threads per inch, the required number must give less, in the proportion of three hundred four to two hundred eighty eight : or 304 : 288 : : 60 : 56 y%\. Consequently the only cloth that could be woven would be one with approximately fifty-seven threads per inch. 812 TEXTILE DESIGN 199 This of course would not be a serious matter, if the dravvino- amounted in the aggregate to a portion of an inch or any other small amount, but if multiplied, as it would be in most cases, it would become quite serious and for this reason the designer must pay careful attention to this question. To emphasize the results of casting out and the methods and calculations involved, we will take Fig. 284 and find how many ■ ri m B a ' n "' B n a R ■ ■ ■ B a ■ B a a a ■ B U M ■ a a a a a ■ B u B 9 B a a fl ■ ■ B B B B m B m a a ■ ■ ■ a B a B a a n ■ ■ ■ B H fl B a fl fl B B a B a a B a n ii B ■ B B ■ m B a ■ at D ■ ■ a ■ a a a a M E ■ B ■ B B a n a Bl ■ B a a a a B n a a B B B B B ■ a a a ■ ■ ■ B a B a fl a a a n ■ B ■ a a a a a a B B ■ B B B ■ B a n H ■ B B B B ■ B B B B B B a B fl B a fl B n ■ B B B B B fl a a B B m a B ■ a fl B a n B ■ a a a a fS a a ■ B B B ■ fl n B ■ B ■ ■ B a B B fl a m w B B ■ B B fl B fl a ■ ■ B a B B fl fl a SB m ■ B B B a a B ■ B fl B B a B a a a fl a B ■ B ■ B a B fl B a fl B a ■ a fl a fl a fl m I B B B ■ B a a fl B ■ B a a 1 m fl a a B B B U 1 m B H a M B m B a 5 s s fi H H B ■ ■ B m a a a m a B Fig. 286. hooks must be cast out to weave it on the different machines, and the result upon the number of threads per inch which may be woven in the cloth. The design shown at Fig. 284 repeats on thirty-five threads, so to weave this on a machine containing three hundred four hooks, it will be necessary to cast out twenty-four hooks; (304 ^ 35 = 8 and 24 remainder). If the machine were tied up for eighty threads per inch, a smaller number of threads must be used on account of some of the hooks, and consequently the harness cords, being cast out. The num- ber of threads per inch which could be used bears the same pro- portion to the number for which the machine was tied up, as the number of hooks in use bears to the total number of hooks in the 213 200 TEXTILE DESIGN ■ ■ r- ■ m m ■ ■ ■ ■ ■ ■ ■ m ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ B ■ m ■ B a m ■ ■ ■ a ■ ■ ■ ■ ■ ■ ■ ■ ■ n ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ a ■ ■ m m ■ B Fio-. 287. machine. Substituting the numbers and letting X mean the re- quired number, the calculation would be as follows: 304 : 280 :: 80 : X. It will be found that X equals approximately 73f threads, which means that that number of threads could be used in each inch of cloth. If a machine with four hundred and eight hooks were used, it would be necessary to- cast out twenty-three hooks (408 ^ 35 = 11 and 23 remainder). If this machine also were tied up for eighty threads per inch, it would be possible to have between seventy-five and seventy- six threads per inch in the cloth (408 : 385 :: 80 : 75^). Distribution of Pattern. Having dealt with problems of adapting the machine to the pattern, both in extent and texture, it is necessary to deal with the arrange- ment and distribution of patterns and their arrangement upon- the design paper. In preparing the design upon the design paper, the first con- sideration must be as to how the figure is to be formed. In the explanations "of various kinds of designs previously given, it is explained that there are many ways of changing the order of interweaving the warp and filling threads, which will produce a variety of figures upon the fabric ; also that in many cases this production of figures necessitates a change in the structure of the ground cloth. The design shown at Fig. 287 is an illustration of a simple style of figure prepared for jacquard work. This design could be woven on a dobby loom or head motion, as only sixteen harnesses are required, but it will answer the purpose of illustrating a simple explanation of the subject. There are two important points to be considered in dealing with a design of this kind: first, the nature of the ground fabric; and second, the arrangement and disposition of the figures, and the determination of the areas they may occupy. It will be best first to consider the influence of the ground weave and its probable interference with the figure. It should be understood that the figure is formed by either the filling floating 914 TEXTILE DESIGN 201 loosely over the warp, or vice versa. In the illustration shown at Fig. 287, the blank squares represent the area occupied by the ground weave and the squares which are blocked in represent the figure. It is apparent that if the filling floats under the squares which are blocked in, and over the blank spaces, as is usually the case in twilled fabrics, the cloth will be very loose in texture, unless very bulky yarn is employed or a large number of threads per inch in each direction are used. Even these would not always meet the requirements of the case, for a light cloth" could not be made under these conditions; and furthermore, the figure would not have that ■ ■ X ~ X -X X 1 B ■ ■ ■ X X X R ■ ■ B ■ ■ X X ■ ■ ■ ■ ■ ■ X X X ■ ■ X X X X ■ h X X X X ■ X X ■ X >i ■ X X ■ ■ X X X ■ ■ X X X X ■ ■ M ■ X X ■ ■ ■ ■ • ■ X X X ■ ■ X X X ■ X X X X X ■ ■ X X ■ X X ■ X X ■ ■ ■ X X X >^ ■ ■ ■ ■ ■ X ~ X ■ "" B a i] ■ HB X X B a a a ■ ■ B B X B B B a ■ B a X X a a a a X X X a a a ■ X X a B a X ■ X X B a X ■ B X x B X ■ B X X a B X X B a a ■ a X X B a a B X X X ■ ■ X X X a ■ X X ■ X X ■ X X B B B ■ 2S X X .. X B B B B Fig. 288. Fig. 289. degree of prominence which is so desirable. Therefore, there should be a ground weave, and this must be varied according to the character or weave of the cloth to be produced. For the purpose of making this matter clearer refer to Figs. 288 and 289. In Fig. 288 the ground weave is plain, as indi- cated by the crosses, and it works around the figure in such a manner as not to interfere with it, but rather to give it additional prominence. Of course, the blocked -in squares and the crosses, in the illustration, both represent risers and are merely varied in form to show clearly which is the true figure and which is the ground. It is perfectly clear that the ground or plain weave never comes in contact with the figure, but works around it with- out interference, so that the outlines of the figure will be clearly defined and the pattern will be perfect. To appreciate the significance of the above remarks, refer to Fig.. 289. In this design the ground is shown to be a three har- 915 202 TEXTILE DESIGN ness twill, and it will be seen at once that the figure interferes with the clear formation of the main figure, so there could not possibly be that sharp, definite form as at Fig. 288. If this pattern were made with a four harness cassimere twill for ground, the result would be even more disastrous to the prominence which should be given the figure. From the above, it will be understood that the designer must pay particular attention to the ground weave; also that if the design is one which is loose in the order of interweaving, there should be more material, or the cloth should be finer. In all cases, the ground weave must be arranged around the figure in the best possible manner considering the size of the figure and the form required. EXAMPLES FOR PRACTICE 1. State generally the reasons why casting out in jacquards is resorted to and its effect upon the strucl;ure of cloth which may be woven. 2. Determine on which machine Fig. 285 could be woven by casting out the smallest number of hooks. Assume that the machine was tied up for ninety threads per inch and find the num- ber of threads which could be used per inch. 3. Find how many hooks would have to be cast out of a "four hundred" machine to weave the pattern shown at Fig. 286, and the number of threads which could be woven per inch if the machine were tied up for sixty threads per inch. 4. Work out a design similar to that given at Fig. 287, using a plain weave for the ground. 5. Make an original design in which a twill may be used for the ground without interfering, to any extent, with the figure. Areas. Special attention should now be given to the dis- tribution of the main figures and the areas occupied by them. The design shown at Fig, 287 represents two parallelograms placed side by side in such a position that thej form a square. These are placed at right angles to each other in such a manner that they form diagonal lines in both directions. (These lines would be much more pronounced if the design were repeated several times.) 016 TEXTILE DESIGN 203 For many purposes, and more especially for this form of fig- ure, this arrangement is an admirable one, but for other purposes and other figures this arrangement is not at all suitable. More- over, the number of threads occupied by the complete design may not be suitable for the number of hooks in a jacquard machine, or for the number of hooks being used. For example suppose that the design shown at Fig. 288 was to be worked with three hundred hooks instead of with three hundred four hooks, which would be the case if the ground were a three harness twill as shown at Fig. 289. The figure, occupying sixteen threads, is not a factor of three hundred; that is, it cannot be divided into three hundred with- out leaving a remainder, therefore some change would have to be made. If the ground weave was a five harness sateen, the same rule would apply. There is still another difficulty to be overcome; the design occupies sixteen threads in each direction and the twill ground weave repeats on three threads, which is not a factor of sixteen. Therefore the design shown at Fig. 289 cannot be repeated on less than forty-eight threads. This creates another difficulty, as forty- eight will not divide evenly into three hundred. Having conjured up all the difficulties possible, we shall en- deavor to explain how easily they may be overcome. It will be understood that some change must be made, but ordinarily all these difficulties could be met by a slight alteration in the cast out. In this instance, however, it will be assumed that the change in the distribution of the figures is for the purpose of changing their positions in relation to each other. The first matter to be taken up is the order of distribution, and the next is the space to be allotted. The latter will be depend- ent upon the character of the cloth, and the former upon the posi- tion in which it is desired to place the figures in relation to each other. The form of the figures will in many cases affect their relative positions. The most useful methods of distribution and those most commonly resorted to are based upon sateen orders. To make the foregoing clear, all other considerations should be set aside and several methods of distributing the same figure should be worked so as to ascertain the effects produced, and to determine the methods of procedure. In all probabiHty the 217 204 TEXTILE DESIGN altered arrangement would require that the same area should be allowed to each figure; that is, there should be the same space sur- rounding each figure as there is in the original. Taking this as a basis, the number of threads upon which to work must be ascer- tained. In the design shown at Fig. 287 there are two figures occupy- ing sixteen threads and sixteen picks. Sixteen times sixteen equals two hundred fifty-six (16 X 16 = 256), therefore the two figures occupy two hundred fifty-six small squares, which gives an area of one hundred twenty-eight small squares to each figure. Assume . , 1 .^ . iiziiiiiiiiiiziiziiizziiz ZZZZZZZZZZZZZZZZZZZZZZIZZ ZZZZZZZZZZZZiZZZZZZZZZZZI I 2 3 A 5 Fig. 290. now that five figures are to be distributed in sateen order. Then, five times one hundred twenty-eight equals six hundred forty (5 X 128 = 640), or six hundred forty squares will be required for five figures similar to those shown at Fig 287. As the original is on a square space, the new distribution will be arranged in a square, so to find the number of threads and picks the design will occupy the square root of 640 should be extracted. This being 25, a space upon the design paper of twenty-five squares in each direction is marked off. This is the area required for five figures similar to those given at Fig. 287 to be arranged in five harness sateen order. Before placing the figures upon this space, it must be divided into five parts in each direction, and when so divided the divisions on one side should be numbered in sateen order and the divisions on the 218 TEXTILE DESIGN 205 bottom numbered in consecutive order. Then suppose eacb of these divisions to have lines enclosing a square at the intersection' corresponding to the numbers. The process worked up to this point is shov^n at Fig. 290. From this point the most convenient method of procedure is to find the center of the figure or some point as near the center as possible. A mark should now be placed at any point within the enclosed square and used to represent the center of the intended figure, (shown at Fig. 290). Care should be used that whatever ~ ~ — ~ "1 ■ ■ ■ ■ ■ '1 - ;J - - - ■ -1 - - ■ 1 ■ r * 2 3 4 5 6 7 8 Fig. 291. position is used for the first figure a corresponding position must be selected for each of the others. The figures are now formed around this mark. The example shown in Fig. 290 serves as a simple illustration of the methods employed in determining the area, but it would be rather difficult as a first example of the methods employed in arranging the order of figures. For this reason, M-e w^ill use the same figure as in the previous example and distribute eight figures in eight harness sateen order. Referring back to the previous example, it is found that one figure occupies one hundred twenty-eight squares, so eight figures 218 206 TEXTILE DESIGN will occupy 8 X 128 or 1024 squares. Tiie square root of 1024 ■~ ■ ■ ■ ■BUaaBBBBBDDDDaiDDDDGBBBI ■ ■DDDDDBBBBBDaaDDBDDDBBBBl ■ ■■■■■ ■■■■■ ■ I ■■ ■■PBI XaiBB ■ ■ ■ ■■■. ■■■■■ ■■■ ■■ ■ ■ ■■■■ ■■■ ■ ■■■ ■ ■■■■■ ■ Biap ■ ■ XBBBB B BBBBB ■ ■ ■ BBB BBS BBBBB ■ ■ ■ B BBBBB BBB B rii BBBBB B B BB ■ BBBBB BBB XBB ■ ■ ■ BBBBB BBBBB BB ■ ■ ■ ■B BBB BBBBB B ■ ■ ■ BBB B BBBBB DDDBDDnnnBBBBBQDDDDBBBBBDBBBBI ■DUDDDHDDDDDBHBBHDDDaHBHHDDDaBHI ■ ■ ■ ■ BBB B BBBBB ■ ■ ■ ■ B B BBBBB X ■ BB B BBB BBBBB ■ ■ 3BBBBBnnnBBBBBnnnnnBnanni ■BBBBaDDDDBBBBBnDDDnBDnnl BBBBB B BBBBB B ■ BBBBB BBB XBBBB ■ ■ BBBBB BBBBB BBB ■ ■ ■ ■ BBB BBBBB B ■ ■ ■ ■ ■ B BBBBB ■ ■ ■ ■ ■ XBBBB B B ■ ■ ■ ■ ■ a BBB BBB BB ■ ■ ■ ■ ■ ■ a BBBBB B ■ ■ ■ P ■ B BBBBB X ■ ■ ■ ■ B BBBBBBBB Fig. 292. X ■ ■ ■ X X BBB X X BBBBB BBBBB X X ■ X X BBBBB X X BBBBB BBB X X X X X X B BBBBB X X BBBBB B X X X X ^ ;x ■ BB BBBBB X X BBBBP X X ■ X X ■ ■ BBB BBBBB X X BBB X X BB m X X ■ BBBB BBB \ X X B X X BBB y X BBBBB B X >? X X X X BBBB ■ ■ X X BBBBB X y B X X >< BBBBB ■ ■ ■ X X BBB X X BBB >? X BBBBB ■ ■ X X X B X X BBBBB X X BBB B I ■ X X X X X X BBBBB B X* >? a BB ■ X X XXX BBBBB BBB X X BBB X X B X X BBBBB BBBBP X X BB X X ■ BB X X BBB BBBBB X X X B y X ■ BBB X X B BBBBB X X X X X ■ ■ BBBB X X BBBBB X X B 'X X X ■ < ■ BBBBB X X BBB X X BBB X X ■ ■ BBB X X X B X X BBBBB X X X ■ BBXXXXXXBBBBBB X X BB' X X B X X X BBB BBBBB ■ X X B X X BBB X X BBBBifl PBBB X X X F X X BBBBB X X BBBBB BBB X X X X X X BBBBB B X X BBBBB B X X X X BBBBB BBB X X BBBBB X X ■ ■ X X BBBBB BBBBB X X BBB X ■ ■ t X X BBB BBBBB X X X B X X ■ ■ ■ p XXB BBBBB XXX XXX ■ ■ ■ ■ ■ X X BBBBB X X B X X X B ■ ■ ■ ■ m ■ X X BBB X X BBB X X BB ■ ■ ■ m ■ ^ X X ■ X X BBBBB >S X B ■ ■ ■ ■ m X X X. X XXB BBBIB X X ■ ■ ■ ■ >< X B S< X X BBB BBBBB X X Fig. 293. is 32, 60 that the area will be 32 X 32 squares. Marking off this area and dividing it into eight spaces (as there are eight figures), 220 TEXTILE DESIGN 207 and numbering these diviblons in consecutive and sateen order we have Fig. 291. The points around which each figure must be filled in are also shown in Fig. 291. Fig. 29^ shows the figures filled in with relation to the start- ■DuuuDDnannnB nnannnnnnnnnn S8BBHBBBSBra ■annnnnnnnnn- ■naannaDnnnn nnnnnnnnn nnnnnnn A ■ hi ■ ■ ■ ■ " □nnannnaaai: j : aaaannnann:: 2 : □nnnnnnnnnc: u i BB a a B a a a a a a ■DDnDDDai a a a a a B a a iHaaannnanc a a a a B a lUUUUUUUUUUL a a a a MlalBlBlBlBMBlBlBia 1 :aaananc ic: : : 1 :nnnannc :c: : : IBBBBBBaaBBa a a ■ ■ innnaaDnaanc UDDDD ■■□□aaaaDDDi ■□□□DDD ■ ■nnnnnnnB DDDDDDD a a a ■DDDDDDD DDDDDDDn nnnnnnDn nannnnDD ■ ■ !■ IB ■ a a a BiBlalBlalalal □nannnni DDDDDDD iHaannnDnnni ■DDDDDD innnnnnnnnnc ■□DDDD aaaalaalalBlBlBM ■ ■ ■ ■annnocH Dannnc ■nnnnnnn nnnnnr ■annaaan ^DDnnE WDDDI iDcnaaanannai 1 innnnDai incnnnD U n :]Gnni I 1 DDDC DDE : D Dnaan in ■ : DDDC jnc : nn ■nann inn r DDDC JUL : DDl ■DDD f : XIDDDDC : DDD 1 r Dancnat: : nan f : janc ddc : jod z Dane DDE : nai B B ■ C DDDC DDE : Dni a B a B a a B 1 lanc inr : nai jaaDDDDaai ■ !■■■ ■ 1 IB innnnnnnnnr ■ ■ ■ B|B|a|B|B|l|fl|B|B^|a 1 1 Fig. 294. ing points; and in Fig. 293 the design is shown completed with the plain weave added for the ground weave. Fig. 294 shows another design with the spots arranged in very- good order. A, is the spot which must be developed in five end sateen order (shown at B) on 40 X 40 squares. Following the methods outlined above the design is worked out as shown at C. 22] 208 TEXTILE DESIGN A number of ground weaves might be used with good success in this design, but to get the best effects a filling flush weave should be used, as this would give a greater contrast with the warp figure. Arrangement, of Figure. Following the questions of distri- bution and the methods of determining the areas, attention must be directed to the arrangements most suitable for figures of differ- ent forms, for, as suggested, these affect the appearance of the pat- tern to a more or less extent, according to the form of the figure. When the figure forms a perfect square and is placed diao-- onally upon the paper, as was the case in Fig. 287, there is little " "" m m a ■~ ■ a R — — "" m re fa Pii "((^ m ■ ■ ■ N ^ R ■ ■ fl B B a B B I ■ a ■ ■ ■ ■ a a ■ ■ ■ ■ a a I B ■ ■ ■ ■ ■ ■ a a a ■ a a ■ ■ ■ ■ 1 B a a a a ■ ■ ■ ■ 1 ■ ■ ■ a a a a a ■ ■ ■ 1 1 u a a a a a ■ ■ ■ B m a a B a a a a ■ IB ■ ■ a a a ri a ■ ■ 1 IB ■ I ■ a B B a a a B ■ ■ 1 1 m a ■ a a a a a a a 1 ■ ■ ■ ■ m a m ■ B B a a a a ■ ■ ■ ■ ■ ■ ■ a a a fl a BB ■ ■ ■ ■ ■ ■ B 1 aa ■ ■ a ■ ■ ■ ■ B Bl ■ a a ■ B a a ■ ■ B II B a a a a ■ a a a B i BB ■ B a a ■ ■ a Bl 1 B ■ m ■ ■ ■ ■ a a a a a Bl la ■ ■ ■ ■ ■ ■ ■ a ■ a a a a 1 ' ■ ■ ■ ■ ■ ■ a B a a a B a B ■ ■ ■ ■ ■ ■ a B B a a a a a ■ ■ ■ ■ 1 1 B a a a a ■ ■ ■ ■ 1 IB a a a a a a ■ ■ ■ 1 u a a a a a ■ ■ ■ ■ B ■ a a a a B a ■ 1 ■ ■ ■ a ■ a fl B ■ ■ 1 ■ I B B a a a B B B a ■ ■ 1 B ■ ■ ■ ■ ■ a a a a a p ■ ■ ■ ■ ■ ■ B a a ■ ■ a a ■ ■ B ■ a a a ri a B ■ JUUB ■ ■ a a B a a 1 ■ ■ ■ B a a B ■ ■ n ■r ■ B a a a a ■ ■ ■ ■ ■ ■ B a a a BB Oi ■ ■ ■ ■ _ a ai 1. ■_ Fig. 295. difficulty in forming a suitable arrangement, as almost any form will make a very good appearance. Of course, some methods would give better results than others, but the ordinary purchaser would probably not notice such a small difference. This, however, is not the case when dealing with other forms of figures, as in many cases the result would be practically valueless as a design. For instance, if we find the number of threads and picks which would be required for five figures (similar to those shown at Fig. 222 TEXTILE DESIGN 209 ■ ■ IT ~ "I Bl •■r innn ■■DDnn ■ ■ 1 IBI 1 ■ juyHun a BB Bl IB J DDgnqyl ■ ' ■ Bl 1 1 DMoanBl ■ ■ B Bl IB a ■ ■T ■ ■ ■ B a a 1 a !■■ ■ ■ ■1 1 1 a aa ■■<■ ■ ■ ff" ■ ■ 1 IB BB a a ■ ■ 1 IB B ■ 1 IB B a IB ■ ■ 1 IB ■ BB B B B ■ ■ ■ ■ 1 B BBI 1 B ■ ■i"; ■ it BB Bl IB a BBB ■ B BB ■ 1 1 ■ BB la'a IB B ■ BB a bb;bi mi ■ B B a B a a ■ a *:■ 1 B BB IB a a ■ ■iBl a B Bl IB a a aa a ■■ BBI 1 a BB a aala a B a a B a BBB a a I B ■ ■ a i aa BB a a BB a a BB B 1 ■ BB B ■ BB B BB a IB a ■ B ■ BB 1 B BB f~B| 1 ■ ■ Bl B ■ BB BBB a ■ 1 ■ ■ ■!■ a B ■ BBI 1 a a 1 II ■ B B ■ B a a ■ i"i ■ ■ ■ ■ ■ B 1 ■ B a a a, a ■ ■ 1 ■ ■ '■1 a aa 1 a ■ ■ 1 HB B BB aa a BB » I ■ 1 IIB 1 a _ ll a Fiff. 296. ■ B a ■ ■ ■ ■ m m m m a a a ■ B a a B B a m « i a a a a a a B a B a a a a a a a ■ a a a B a B a a a a a a a a a a ■ a a B a a a a a a a a a a ■ ■ a a a a a a a a a a a a a a a B a a a a ■ B a a B a a a a a a a a a a ■ a a a a ■ a a a ■ a a a a ■ Vi a a a ■ a B a a a a a I a a ■ ■ i a B a ■ ■ a B a a a a a a B a a a a B B a a B a B B a a a a a a a a a a a a a a a a a a a a B a a a a B a a a a B a B B a a a B a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a ■ a B B a a a a a a a a a a a a a I a a a B a a a a a a a a a a a a a a a a a a a ■ ■ a a a a a a a a a a a a a a a a a a a a a a a a a a P a a a a a a a a a a B a a a a a B a a a a B a a ■ ■ B ■ a a a B a a a a a a a a a ■ a « B ■ ■ a ■ ■ ■ ■ a a B a a a a I a a a a a a a a a I a a B a a a i a a B a a a B a a a a a a a a a a a a i a a a a a a a a a a a a a I a a a a a a a a ■ B ■ ■ ■ a a a ■ ■ a a a a a ■ B ■ B B B a ■ a a a B a a ■ a a a ■ a a ■ a a a a a a a ■ B B a a a a a a a a ■ ■ ■ ■ ■ B a a a a B a a a a H a ■ a a a a a a a a a a ■ a a a a a a a a a a a a ■ a a ■ B I a ■ a a a a a ■ a B _ _ _ _ a a ■ a a a _ _] a a a Fig. 297. 210 TEXTILE DESIGN 295), allowing each figure the same area as is given in Fig. 295 and using the same order of distribution, some of the figures will overlap each other if their positions are reversed, consequently this is an impracticable arrangement. The arrangement at Fig. 296 shows six figures placed in the best possible order of a broken sateen. Of course, the sateen order for six figures must be irregular, but it is very useful for some pur- poses. In this case, the figures are almost touching each other. Compare this carefully with Fig. 295 in which there is ample space ■ ■ ■ "~ t» i ■ ' — m ■" D a a a ■ ■ ■ ■ ■ a ■ ■ ■ ■ ■ ■ ■ I ■ ■ ■ ■ ■ ■ a ■ ■ ■ ■ ■ ■ ■ a a a a a a ■ ■ ^ ■ ■ ■ ■ ■ ■ a a a a ■ ■ ■ ■ ■ ■ ■ ■ ■ a a B Cil ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ a a 3 ■ ■ ■ ' ■ ■ ■ ■ ■ a ■ ■ ■ ■ ■ ■ ■ ■ B a B a a B ■ ■ ■ ■ ■ B B a a a a El ■ ■ ■ ■ B a a a a a a a B ■ B a ■ ■ ■ ■ a a B a ■ a a a a a a a a a a ■ ■ ■ ■ B B a ■ a a a a a ■ ■ ■ ■ ■ B a a a a a ■ ■ ■ ■ ■ ■ ■ ■ ■ a a a ■ ■ ■ ■ ■ ■ ■ a ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ a ■ ■ ■ ■ ■ ■ ■ a a a m ■ ■ ■ ■ ■ B B a a a fl ■ ■ ■ ■ ■ a a a a a a ■ ■ ■ ■ ■ ■ a a a a B a ■ ■ m n B B a a a a a ■ ■ a B a a a a a B ■ ■ B B a B a a a ■ a ■ ■ ■ B a a a ■ ■ a Q ■ ■ ■ ■ ■ ■ B B a a a B a ■ ■ ■ ■ ■ ■ B ■ a a ^ ■ ■ ■ ■ ■ ■ ■ ■ ■ B B B a a ■ ■ ■ ■ ■ ■ ■ ■ ■ a ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ a ■ ■ ■ ■ ■ ■ ■ ■ ■ a a a a ■ ■ ■ ■ ■ a a a a a a ■ ■ ■ ■ ■ a ■ a a a ■ ■ ■ ■ B • B ■ a a B B __^ ■ Fig. 298. all around the figures, yet the area allowed in each case is practi- cally the same. Note also that the plain weave could not be used for the ground in Fig. 296 unless every alternate figure were moved one thread, so as to prevent interference with the ground weave. No arrangement could be made which would be satisfactory, so this arrangement may be condemned as impracticable. Now study the arrangement given at Fig. 297, which con- sists of ten figures in sateen order, and contrast this arrangement with the previous example. This arrangement is excellent but it presents a very different appearance to the one given at Fig. 295. ?24 TEXTILE DESIGN 211 The figures are closer together at their extremities and enclose a larger square of ground cloth. It would, of course, be a matter of consideration which of the two would be best suited to the pur- pose for which it might be intended, but it is quite clear that neither one could be substituted for the other as the appearance of the two patterns is so totally different. Still another arrangement is given at Fig. 298. It will be noted that this consists of eight figures in sateen order. This arrange- ment more nearly approaches in appearance Fig. 295. The area is distributed in almost the same proportions and one might al- most be substituted for the other. There is, however, the same fault here as regards the plain weave as at Fig. 296, which arises from the manner in which the total space must be divided. The area occupied is 36 x 36 squares, which, of course, cannot be divided evenly by eight (which is necessary on account of there being eight figures), so the divisions must contain four and five squares alter- nately. This, of course, makes an irregularity which prevents interference. The question must be considered as to whether the number of threads occupied is suitable for the number of hooks employed in a jacquard machine. Figs. 295, 296, 297, and 298 occupy such widely different numbers, with the exception of Figs. 295 and 298, that they could not be worked on the same machine, so the designer would have to take this into consideration in determining which of the arrangements it would be best to adopt. EXAMPLES FOR PRACTICE 1. If two figures occupy three hundred thirty small squares, what is the area of each figure? 2. Make an original design with five figures arranged so that a plain ground weave may be used. 3. Make designs for five, eight, and ten figures, using a figure similar to the one in Fig. 294. 4. How would you proceed to distribute figures in sateen order? 5. Why should a filling flush ground weave be used in a design where the figure is formed by the warp? 8g5 212 TEXTILE DESIGN Figures Formed With Both Warp and Filling, Attention must now be directed to another feature which is always present in the arrangement of small figures, and for the purpose of explain- ing this thoroughly the figures given represent the most difficult type of patterns. In designing figured goods, it is quite common to have figures formed with both warp and filling at the same time, and not with but one material, as is the case in all previous examples. In this case it is essential that the figures be so arranged that there will be no possibility of the pattern forming stripes in any direction; in other words, that there shall be perfect distribution. Take for ■ X o X ■ ■ ■ o g ■ ■ X X ■ ■ ■ ■ ■ ■ o X ■ ■ ■ ■ o o o X ■ ■ o o o o o X X o o o o o o o X X X o o o o o o X ■ X o o o o o o o X ■ ■ X o o o o o o Q X ri ■ ■ ■ X o o o o o o X ■ * ■ ■ o o o o o o X ■ ■ ■ X o o o X ■ ■ X o - X ■ ■ X X ■ ■ X o ■ ■ X o o o ■ X o o o o o X X o o o o o o o X X X o o o o o o o X ■ X o o o o o o o X ■ X X o o o o o o o X ■ * ■ X o o o o o o o ■ ■ ■ ■ ■ X o o o o o X ■ ■ ■ ■ ■ 2< _ o o o X ■ ■ ■ ■ ■ Fig. 299. example Fig. 299, and assume that the warp' and filling are differ- ent colors, say black and white, and that the solid black squares of the design represent where the warp comes to the surface, while the circles represent where the filling comes to the surface. It will be noted at once that were cloth woven from this, design, the result would be alternate stripes of black and red run- ning in the direction of the warp. The form of the figure J;ends to make this defect more prominent. It must be assumed that the filling figure and the warp figure are placed at right angles to each other and must always be in the same relative position to form one figure. For the purpose of alternately placing the fig- ures in reversed positions, and following the plan adopted in pre- vious lessons, the whole figure may be supposed to be contained in TEXTILE DESIGN 213 a parallelogram, as shown by the crosses. If this is done and the figures are turned upon their centers, the two figures are appar- ently placed in their proper positions; however, this is not the case as the filling figures will overlap each other to a large extent, while the warp figures also will overlap slightly. The cause of this is at once apparent from the form and posi- Fig. 300. tion of the two portions of the figure in their relation to the par- allelogfam. Thus it will be seen that the arrangement of the fig- ures is very imperfect, while the forjn of the figure also may be improved. In this arrangement of the two figures the parallelo- grams are placed as near to each other as possible, thus tending to increase the difficulties when other orders of arrangement are re- sorted to. We will now take up the suitabiHty of other orders of ar- ?37 214 TEXTILE DESIGN rangement. In Fig. 300 the arrangement consists of five spots in sateen order, which is repeated four times, so as to obtain the best order of reversing the figures. This arrangement is far superior to the one shown at Fig. 299, and for many designs of this class is very suitable, but it is not perfect, as indeed no order of arrange- ment could be with this type of figure. It will be noted that the filling portion of the figures, which are indicated by crosses, come together in pairs. This in itself is not necessarily objectionable, in faict, in some cases it gives a good effect to the pattern, but on examining the design closely the Fig. 301. appearance suggests the formation of a diagonal pattern. This might be considered an objectionable feature and must carefully be kept in view. It need not in all cases be looked upon as a defect, but should be guarded against in such cases where it might be con- sidered defective. The design shown at Fig. 301 shows an arrangement of eight figures alternated in pairs. The result of this arrangement is to form groups of three figures, with the filling portions coming together, and two figures which are isolated from the groups. It requires but a glance to see that in this design a distinct stripe would be formed in the cloth, as at some points only the warp cpm^s to the surface over Si, nuniber of threads, and at other points 2^ TEXTILE DESIGN 215 there is a great preponderance of filling. Other orders of arrange- ment of eight figures might be adopted, but there would be faults of one kind or another, and most likely stripes would be formed. If an attempt be made to arrange ten figures in sateen order in a small area, the figures will overlap each other, but if the area be increased, good arrangements may be made. As previously stated, the areas in these examples have been reduced to the lowest possible point, so as to increase the 'difliculties and thereby assist in making clear the defects which are inseparable from this class of designs. A slight increase in the area would remove many of the difiiculties, but they would still exist to some extent. am ■ ■ ■ ■ ■ ■ ■ ■ ■■ ■■ ■1 ■1 s ■■DDDnanDDaDDBDIII iOBDC DHnnnnyiinnD ni ~i I ■ I n ■FT ■■ ■1 IB ■■SBC 100000800001 ■n 1 1 ■ 1 I ?^l ■■ ■1 ■■ ■BBr SBC DC Jl IBL JDJO J nr -^ ^ 1 1 I ■I ■■ ■1 !■ ■BBI IDC IC Mill !!-!-!y ■ nr " ■^ ■ T< I ■I ■■ ■1 K< IBBI IBCDC IQDC JUJB . nr - I 1 1 z< ■I ■■ ■!>' :m TiBBI IBBOi none ■!UF,N _ nr I ^ n ^ I -1^1 ■■ m II l«BI IBBBE IQDC :boo . ni - - - ■I Mf:- IB ■BE3I BBBI Bill 'UMW . ■r ~ "^ - 1 ■1 f:m ■1 II ■BBI :bbbi am IBUU - ■■ r ~ 1 I ■h? ■■ ■1 II :OBBI me.4 IBBU 1 ■I ■ n 1 1 !:^n ■■DDiinnnDDH BB^ 1 ■I ►: 1 1 T ■ddd: iBDnnnni BBI ■f: I 1 ■ -: I III dbdd: ininnnBC BBI 1 ►M I I DHnnnnnHnnnnnanHEai BBI 1 ■■ ■nnnBnnnnaBnnnnc IBQBI BBI IBBI >1 ■■a DnnnBDDnnnBnnpc lOBBI RS! !SBB ■ ■E3I ::!nnnninnnnnBnD[ BBBI ►I^Bl IBBI 1 F:^ar Hnc r 1 II ■1 II II DDDHn BBBI ma\ IBBI I ■1 II QHC 1 II 1 ■! II DDBQI BBBtl BBB :«Bi >::i nni I II !■ 1 II m DBE2» BBQI BBB M«l 1 ■nr ■1 II 1 laai !SB!B BCBI BBB ■S^R I ■■r nni ■■1 ■■■ SIHH DCGI BBU iBB^: I ■■■ GBI HI ■■(1^1 ■■■■■ DDDC IBUU JBBB a Fig. 302. Figures Not Square. In the previous examples, the number of threads and picks have been equal, but there are some forms of figures which should not occupy a square space. If the figure shown at Eig, 302 were placed on the same number of threads and picks, the result would be most unsatisfactory, as will be shown later. When the form of the figure is such that when laid upon design paper more threads than picks are occupied, or vice versa/ and when two figures alternate in the manner shown at Fig. 302, the space occupied by each figure should be a parallelogram of the character shown in the illustration. If this were not so, the fig- ures would overlap at the ends, or there would be a clear blank space between them, caused by one terminating before the other commenced. If this rule applies to the space occupied by two figures, it 25?3 216 TEXTILE DESIGN should also apply for any number of figures. This shows the neces- sity of a rule to calculate the area for any other number of figures than two, and to determine the respective number of threads and picks to be occupied. There are two methods which might be adopted for ascertain- ing these particulars. The first one is to find the total number of small squares occupied, in the same manner as if the area were to be a small space. To illustrate this, take Fig. 302 as an example. There are thirty threads and twenty-four picks occupied by two Fig. 303. figures. Multiplying these together we find that 720 small squares are required for two figures, which is equivalent to 360 squares for each figure. If five figures were to be distributed 1800 small squares would be required (360 X 5 = 1800). ■ To find the number of threads and picks required it would be necessary to treat the matter as a problem in proportion, as follows: 30 : 24 : : 1800 : 1440. Tlie square root of 1440 is 38, so there will be 38 picks required. To find the number of warp threads the problem would be 24: 30:: 1800 : 2250. The square root of 2250 is 48, so there would be 48 threads required. To prove the above, the number of warp and filling threads may be multiplied together. 38 X 48 = 1824, the slight difference being due to the use of full numbers instea'''-' of fractions. ?3p TEXTILE DESIGN 217 The second method is to square each set of threads separately- and treat the problem in the manner shown on Page 203. Follow- ing this method the threads would be: 30 X 30 = 900 ~- 2 = 450. For five figures, 450 X 5 = 2250, which when the square root is extracted gives 48 warp threads. The picks would be fouud in the same manner 24 X 24 = 576 -^- 2 = 288. For five figures, 288 X 5 = 1440, the square root of which is 38, the sa,me as obtained by the first method. A design for eight figures is shown at Fig. 303. The design is extended in the same manner as in previous lessons, so as to Fig. 304. alternate the figures. Fig, 304 shows a design of ten figures car- ried out in the same manner. A feature of these designs is the different order of arrange- ment. This must be studied in order to master the principles of making designs of this nature. It will be excellent practice for the student to use the figure shown in these illustrations to form a design on a square space, comparing the results obtained with these illustrations. Diagonals. With a view to dealing with patterns which run all over the cloth it will be helpful to consider the arrangement of 2S1 218 TEXTILE DESIGN figures which run in a diagonal direction, as in /nost cases this class of patterns has some definite order of arrangoroent as its base. The illustration at Fig. 305 shows a simple diagonal design which repeats on thirty threads and thirty picks. In a design of this kind, the tir^t matter which requires attention is the deter- mination of a complete pattern. This is governed by the relation-- ship of the figure running between the diagonals and the total num- ber of threads occupied by the diagonal. A diagonal pattern run- ning across the paper at an angle of forty-five degrees must occupy exactly the same number of threads in each direction, and if ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ 1 ■" ■" ' ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ p ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■■ ■ ■ ■ ■ ■ ■ I ■ 'fl ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ riitei ■ I ■ ■ ■ B ■ ■ ■ I ■ ■ ■ ■ ■ ■■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ I ■ ■ ■ ■ ■nnDBDnnnDBnaai ■ ■ ■ ■ ■■nnnBaDDDDBaac ■ ■ ■ ■ ■ n ■ ■ ■ ■ ■ ■ ■1 ■ ■:■ ■ ■ ■ n I ■ ■ ■ ■ ■ ■ ■ ■ ■ ■■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■■ ■ ■ ■ ■ ■ I ■ ■ ■ ■ ■ ■!■ ■ ■ ■ ■ ■ ■ ■ ■ ■ DDDBC DDIDBDCni ■ ■ ■ ■DDDI Hn: DDBCDCBB ■ ■ ■ ■ ■nnnBnDoanBnnDB ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■iBi Eja.aj ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■■ ■■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■!■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ii ■ ■ ■!■!■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ U ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ CDDBC i ■ ■ ■ ■ ■ ■ ■ ■ ■ CDDDl ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ CDDD Bnac ■ ■ ■ ■ ■ ■ ■ ■DDDDDBDEDI ■ ■ 1 1 ■ ■ ■ ■ ■ nBnoDnnBDDi: ■ ■ ■ ■ ■ ■ ■ s PI MBla^liL li|i ■ _. ■ ■ W ■ ■ , ■ Fig. 305. extended beyond the number of threads necessary for a repeat, there must be a complete repetition or the pattern will not join properly. It is just as essential that the figure also should join perfectly. There is one point here to which particular attention is called, so as to facilitate a thorough understanding of the reasons which will be given for determining the completion of the patterns. Knowing that the diagonal must occupy a square space, it is quite immaterial whether the threads are counted in a horizontal, ver- tical, or diagonal direction, but with the fancy figures running between the diagonal lines, this is not the case, as it is repeated 282 TEXTILE DESIGN 219 continuously in a diagonal direction only, therefore, it can be counted only in the direction in which it runs. Referring to Fig. 306, it will be readily seen that there is no Fig. 806. possibility of counting the distance from one figure to another, except in a diagonal line, because there is no repetition in either a horizontal or vertical direction, until the whole design is com- pleted. It should be understood that the moaning of the distance from one figure to another, in a diagonal direction, does not mean 233 220 TEXTILE DESIGN the open space between one figure and the next, but it does mean the distance from any point in one pattern to the same relative point in the next repeat of the pattern. This is indicated by the diamond shaped space in the figure. If the design shown at Fig. 305 be counted, it will be found to occupy fifteen threads from the center of one diamond shaped figure to the center of the next similar figure, and as the diagonal occupies thirty threads each way, and as fifteen is half of that number, the figure is repeated twice within the square occupied by the diag- onal, consequently there is no difiiculty. But a reference to Fig. 306 will show that the figure occupies twelve threads, and as twelve will not divide "evenly into thirty, the design must be car- ried to a greater extent before arriving at a point where the figure is complete. Referring back to the statement made above to the effect that if the diagonal is carried beyond one complete pattern it must be carried to another complete pattern, it will be understood why the design does not repeat on a smaller area. In this instance, the design must be extended to occupy sixty squares in one direction or the other. The foregoing may be stated in this form: Both the figure and the diagonal must be continued until a number of squares has ■been reached into which both the number of squares occupied by the diagonal and the number of squares occupied by the figure will divide without leaving a remainder. In this case when the diag- onal has been repeated twice, the number of picks occupied will be sixty, and as twelve will divide into sixty, the design is complete on- that number. Assuming that the number of threads from a point in the one figure to a similar point in the next figure was fourteen instead of twelve, it would be necessary to carry the design to the extent of two hundred ten squares in one direction and thirty squares in the other. If the distance between similar points was tliirteen threads, the design would require three hundred ninety squares in one direction. 234 MASON DOBBY WITH CAPACITY FOR 24 HARNESSES Mason Machine Co. TEXTILE DESIGN PART V GAUZE AND LENO The principle of crossing one set of warp threads over a second set of warp threads — or cross-weaving, as it is commonly termed — represents the last and perhaps the highest type of woven-fabric structure. Cross-woven fabrics may easily be distinguished from fabrics belonging to other divisions of woven cloth by their charac- teristic lace-like texture; in fact, they are termed the connecting link between ordinary woven cloth and lace. In order to avoid confusion, the whole range of fabrics in which one or more of the warp threads are crossed will be classified as cross- woven fabrics; and this general heading will be subdivided into 'plain gauze, full gauze, and leno fabrics. PLAIN GAUZE Construction. The simplest kind of gauze or cross- weaving is termed "plain gauze." Fig. 307 shows the manner in which the threads interlace, the upper diagram being a plan of the cloth, and the lower diagram showing a sectional cut. It will readily be seen that there are two sets of warp threads and one set of filHng threads. The warp threads marked A are termed ground threads, and those marked B are crossing threads. The filling threads are marked H. The straight warp thread A is always under the filling, while the crossing thread B is raised over every pick of filling. The crossing thread passes under the straight warp thread between every two picks; being interwoven on the right side of the straight or ground thread at one pick, and on the left side at the next pick. As the plain gauce weave repeats on two picks, the third and fourth picks are a repetition of the first and second. To produce this effect, a special arrangement of harnesses and heddles is required. The ground thread A will, of course, require one harness, while the crossing thread B will require a harness to lift 237 222 TEXTILE DESIGN it on one side of the ground thread and a standard and doup to lift it on the other side of the ground thr-j'ad. The standard and doup are shown in Fig. 308; and for comparison, a regular heddle — such as is used on the harness for the ground thread — is shown in Fig. 309. The standard and doup is a combination of a regular harness and a half- harness. Standard and Doup. The doup is a silk or linen cord made in the form of a loop and attached to the lower frame of a harness shaft. Referring to Fig. 308, it will be noted that one end of the cord is BA BA BA Fig. 307. fastened to the frame at 3, while the other end is passed through the eye of the standard heddle at 4. It is then passed back through the space 5, which is above the eye, and fastened to the frame at 3. The crossing thread is drawn through the doup as shown by the sectional cut 6. Fig. 310 shows the threads drawn through the harnesses and illustrates the method of crossing the thread B to the doup and stand- ard harness. Two ground harnesses and a standard and doup are required to weave plain gauze. The warp is first drawn in on the two harnesses marked 1 and 2, then the crossing thread B is passed under the ground thread A and through the loop formed by the doup and standard harness. The two threads are then drawn in the same dent in the reed. This operation is repeated for every pair of threads in the warp. As the method of drawing in the warp threads is the fundamental 238 TEXTILE DESIGN 223 principle of cross weaving, it is essential that it be thoroughly under- stood before any designs can be made ; therefore, it will be explained in a different manner, as follows: There are two sets of harnesses. The back set consists of two regular harnesses through which the warp is drawn as required for plain cloth. These are marked 1 and 2. The front set consists of a standard harness S, which is the same in every way as an ordinary harness, and a skeleton or doup harness D. The first thread A is a ground thread and is drawn through the harness 1, while the second thread B is a crossing thread and is drawn -R r '^^ 4^^ /" ■t++ ^ '^ 1 - ' 1 Fig. 308. Fig. 309. through the harness 2. ' The second thread B is then passed under the first thread A and drawn through the doup, the two threads being drawn in through the same dent in the reed. Therefore, all the odd- numbered threads are ground threads, and all the even-numbered threads are crossing threads. Too much emphasis cannot be laid on t'-^e statement that each pair of threads should be drawn in the same dent in the reed, for it is evident that if they are crossed behind the reed and drawn through different dents, the crossing could not take place in the cloth. 289 224 TEXTILE DESIGN It follows that with the arrangement given above the crossing thread B is capable of receiving movement at two places; i. e., at C and at E. If lifted at E, by raising the standard and doup, the thread will be drawn on one side of the ground thread A, while if lifted at C by the harness 2, it will be lifted on the other side of A, or parallel to it. But it will be understood that if C is raised, the crossing thread must raise at E, or in other words, it must be released at E, to form the shed for the shuttle to pass through. This is shown at Fig. 311. The crossing thread B is lifted by the harness 2, and the doup also is lifted, which allows E to slide up through the standard hed- dle with the result that the crossing thread B is parallel to the ground thread A, instead of being crossed un- der it. H shows the filling which was put into the cloth when the threads were crossed. The formation of the cross shed (the one in which pick H is placed in Fig. 311) is shown at Fig. 312. It has already been explained that the standard and doup must be raised to cross the threads. The harnesses 1 and 2 are down and the crossing thread B is raised at the point E. These two movements represent the whole principle of cross weaving and if thoroughly understood will make the explanations of the more generally used and more useful leno fabrics, which are given later on, seem very simple indeed. As may be seen by referring to Fig. 312 there is a great strain on the crossing thread B when the standard and doup are lifted, by reason of its being passed under the ground thread A. To ease this strain there is an attachment placed on the loom for "easing" the crossing Fig. 310. 240 TEXTILE DESIGN 225 threads on this pick, but as this work does not assume to cover the processes of weaving we shall not take up any more of that subject than is necessary for a thorough explanation of cloth construction and designing. The harness chain and the drawing in draft for plain gauze is shown at Fig. 313. Letters D and S and numbers 1 and 2 illustrate Fig. 311. the harnesses shown in Figs. 310, 311, and 312, and the crosses indicate which harnesses the threads are drawn through. The ground thread A is drawn through the harness 1 (also shown in Figs. 310, 311, and 312), as indicated by the cross, and the crossing thread B is drawn through the back harness 2, then crossed under the thread A and drawn through the doup. 24} 226 TEXTILE DESIGN For the first pick the doup harness and the crossing harness (or No. 2 in the diagrams) are raised, so the ground and crossing threads lie in a parallel position. On the second pick the doup and standard harnesses are raised, so, of course, the crossing thread is drawn under the ground thread to the other side. The third pick is the same as the first, and the fourth pick is like the second. FULL GAUZE Construction. In plain gauze, all the crossing threads work in the same direction; every crossing thread is exactly like every other crossing thread, the pattern repeating on one ground thread and one crossing thread. In full BA BA BA a CD D<00 ohotq: O(/30O 4™PICK oRD „ pND ■;; ~* -) -) Fig. 313. gauze, two crossing threads and two ground threads are required for a repeat; ojie crossing thread being drawn to the left of the ground thread and the other be- ing drawn to the right. The ground threads weave in the same manner as in plain gauze. The illustration in Fig. 314 is a plan of full gauze, and by com- paring it with Fig. 307 the difference between the two cloths may be observed. In plain gauze all the crossing threads pass under the ground threads to the right on the same pick, and pass back to the left of the ground thread on the next pick. In full gauze the first crossing thread passes under the ground thread to the left, while the e A Fig. 312. 242 TEXTILE DESIGN 227 second crossing thread passes under the next ground thread to the right, on the same pick. On the next pick both crossing threads return to their original positions. The illustration shown in Fig. 315 represents the drawing-in or harness draft, harness chain, and the manner of crossing the crossing thread under the ground thread to the doup, also the plan of a full gauze cloth. The first thread is a ground thread and is drawn in on the ground har- -- -^ ^- ^^ ness G. The second thread is a crossing thread and is drawn in on the back harness C, which is the crossing harness. The second thread is then passed under the first thread to the left, and drawn through the doup, D. The third thread also is a cross- ing thread so is drawn through the back har- ness C. The fourth thread is a ground thread so is drawn in on the ground harness G. The third thread is then passed under the fourth thread to the right and drawn through the doup. This is a full repeat of the draft. When drawing the threads through the reed it will, of course, be necessary to draw the first and second threads in one dent, and to draw the third and fourth threads in another dent, or, as explained in Plain Gauze, no crossing can take place. The effect of this cloth is that one crossing thread crosses to the right and the other to the left on one pick, and this order is reversed on the next pick. This style of weaving is more effective if heavy, or rather coarse, filling is used. Different sizes of warp used alternately or in any systematic method is also very useful in the production of many fancy effects on this weave. The harness chain shows how the harnesses are lifted to give the effect. For the first pick the crossing threads are on the doup side of the ground threads so the standard and doup are lifted. For the second pick the crossing threads are parallel to the ground threads, so the back or crossing harness and the doup are lifted. The third pick is like the first, and the fourth is like the second. This is exactly the same as the previous example, except that in the plain gauze figure the plan commences with the crossing thread 243 228 TEXTILE DESIGN parallel to the ground thread. Thus the only difference between plain gauze and full gauze is that in the latter the threads cross in opposite directions. This result is caused by having the doup and standard at the left of every alternate ground thread and at the right of the other ground threads. LENO DESIGNS The combination of gauze and other methods of interweaving is perhaps where the greatest value of cross weaving lies. If plain gauze and full gauze are thoroughly mastered, their combination with Q o SZm gpac fi H ■ MM mT m ■I 4;;picK^ Xnd fsT 1. 2-H U ) K H W1 n r )-( Fig 315. Other weaves to form leno effects will not prove a difficult subject. The illustration shown in Fig. 316 has been selected as an example of a simple leno effect. Comparing Figs. 313 and 316 the following similarities and differences between plain gauze and leno may be noted : The same number and order of harnesses are used, and the method of drawing in the warp threads and crossing them is practically the same. In Fig. 316 the crossing threads have been crossed to the left, but this is not a serious difference as the crossing threads in Fig. 313 could be crossed in the same manner. Thus the same arrangement of threads and method of drawing-in is used-. The plan of the cloth, however, is different, so the method of lifting the harnesses also must be different. The harness chain shows that the standard and doup are raised for the first pick, which of course raises the crossing thread over the first pick of filling and on the doup side of the ground thread. On the second pick the ground harness only is hfted, and the crossing thread passes under the filling while the ground thread passes ov§r it, On 944 TEXTILE DESIGN 229 the third pick the standard and doup are again Uf ted ; thus raising the crossing thread over the filhng. The crossing and ground threads have thus woven plain cloth for the first three picks. On the fourth pick the crossing harness and doup are raised which draws the. crossing thread under the ground thread to the other side, where it passes over the filling. The next ■ ! ■ 1 1_ ■ 1 ■ ■ lill i_ ■■ PICK 0.000 A— 3— 2— I — 4 — 3— 2 — f n pi-)-)— )4)-)4) Fig. 316. four picks are repeats of the first four. The crossing thread is on the right side of the ground thread for only one pick, and weaves plain on the left side for the remaining three picks; thus forming a leno design by combining plain weaving with plain gauze. Attention is called to the fact that the crossing thread passes over picks 3 and 1, which are on each side of pick 4, where the crossing takes place. If this were not done the gauze crossing would not be so clear and decisive. It may be taken as a general rule for leno designs that to have an uneven number of picks for plain work between the gauze crossings is convenient as it will allow the crossing thread to be raised over the picks on each side of the gauze crossings. This is not absolutely necessary and may not be followed in all cases, but it is a safe rule to follow for the. present. The illustrations shown in Figs. 317 and 318 are variations of the principle of combining the plain weave with gauze. In Fig. 317 the usual arrangement of harnesses is used and the crossing threads are passed under the ground threads to the left, and drawn through the doups in the usual manner, 245 230 TEXTILE DESIGN f 0(/)00 ■ ■ ■ « ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ -> 15 14 13 12 II 10- 9 6 7 6 5 3- 2- I -)- ■(J \ -)- ■l- f C-(— -> Referring to the harness chain, the first pick shows that the crossing and doup harnesses are raised, which of course weaves the crossing thread on the right of the ground thread. On the second pick the standard and doup are raised, which weaves the crossing thread on the left or doup side of the ground thread. The third and fourth picks are the same as the first and second, while the fifth also is hke the first. On the sixth pick the ground harness only is raised, so the crossing thread is under the filling. The seventh and ninth picks are the same as the first and the eighth is like the sixth. Up to this point there have been four gauze crossings, and five picks on which the threads have woven plain. The tenth, eleventh, twelfth, and thirteenth picks show crossings, and the plain weave effect is given on the remaining five picks, but the crossing thread is on the left of the ground thread. Fig. 318 shows the crossing threads weaving plain on the left of the ground thread for three picks and then changing over to the right for three picks, the pattern repeat- ing on six picks. The pattern chain shows how this is accomplished. The explanation will not be re- peated for this design as it is the same as in Figs. 316 and 317. The next question is the power of producing a variety of designs upon the harnesses employed, and with as little trouble as possible by using one doup. It is very clear that if a crossing can be produced so readily, that is, if a gauze crossing can be obtained by the simple lifting of the doup once on each side of the ground thread, there must be a wide field for varying the design, and that the characteristic openness of gauze and leno fabrics can be infinitely varied. \ -Hii Fig. 317. 946 TEXTILE DESIGN 231 f QCOOO ■ 1 1_ 1 1 ■ 1 1_ ■ ■ 4 — 3 — 2 — I — r -1- -j-j n -j- f- The designs explained up to this point have been ones that would make stripes of plain and gauze across the cloth only. This will be varied and the designs produced which will make patterns in the direction of the warp. Fancy Leno Designs. There are two methods of forming fancy leno designs, which are as follows; first,wheTe the figure is formed by gauze on a plain ground; and second, where the figure is formed by plain on a gauze ground. This, however, important as it is, must be considered secondary to the ar- rangement of patterns for as few doups as possible. The signifi- cance of this statement is at once apparent when it is remembered that, among other complications, each doup must have an easing arrangement to reduce the strain caused by the raised position of the standard and doup. The illustration shown in Fig. 319 represents a design that forms a diagonal pattern of gauze across the fabric; and also shows the drawing-in draft and harness chain. The usual method of allowing each thread to work in its normal position, when plain cloth is desired, is adopted, and the crossing thread is lifted by the standard and doup when the gauze crossing is required. By using this method, four doups and four standards are used with eight ground and crossing harnesses. This seems a large number of harnesses for a simple pattern, especially as there are more harnesses than there are threads in one repeat of the pattern. The number of harnesses, doups, and easing rods would be much more formidable than the pattern, but they are all required to produce the actual effect shown in the figure, because each pair of threads works independently and in no case do two threads cross at the same time. The first doup and standard marked D^ and S^ and the first crossing and ground harnesses marked C^ and G^ may be referred to independently of the remainder of the chain and it will be a simple matter to see how the harnesses are raised for the first pair of threads. Fig. 318. 247 232 .TEXTILE DESIGN On the first pick the first standard and doup are lifted and the first crossing and ground harnesses are down, which, of course, crosses the thread to the doup side of the ground thread. Reference to the plan will show this to be the case for the first crossing thread is crossed to the right side of the first ground thread on the first pick. On the second pick the doup and crossing harness are raised, which changes the crossing thread to the left again, as explained in previous examples. So each pair of threads may be followed in the plan and in the harness chain independent of the other threads. Examining the standard and doup S^ and D^ in conjunction with the crossing and ground harnesses C^ and G^, the manner of lifting the harnesses for the second pair of threads may be followed. Each CuOQ (/) Q CO Q to O CD O OOCDOCD ■_l_M_M_l_o_l_l_ IZiZlZlIiZiZilll 11 ■_■ 1 ■_1_1_1_I_ ■_!_■_ ■■ ■ ■_! ■■ ^ B ■ ■ ^ ^^ ¥ r 3|« ¥" ^ ^ ^- ^ ) \ Is 6—^ J J -(— 6 s ) A- - 3 2 l — )- 7 ( ) G4 C4 G3 C3 G2 C2 G1 CI S4 D4 S3 D3 32 D2 SI Dl Fig. 319. of the remaining two pairs of threads may be followed in the same manner by considering them the only threads in the pattern, and their respective harnesses the only ones in the harness chain for the time being. It will be understood that in this pattern each pair of threads requires its individual doup, standard, crossing, and ground harnesses, just as the first example of leno required them. To show how an effect which is practically the same and which is certainly as good, may be produced with one doup and standard. Fig. 320 has been prepared. 248 TEXTILE DESIGN 233 A hasty comparison of Figs. 319 and 320 might not show any difference in the two designs ; both have the standard and doup lifted over the odd-numbered picks, and the gauze crossings form a sort of diagonal running from left to right. The plain weave is used on all the threads and picks, except where the crossings take place, as may be proved by examining the picks. On the first pick all the threads are working plain — i. e., one up, one down — ^except the first pair. All the threads are working plain O(/?0O0tf0cP0(!) ■ ■ ■ i_i_ii_ ■ 1 nz ■ ■_ii__i ■ ■ ■ ■■ i_i ■■~r JE G * C -3|(— G 3|< oe: w Q Cd f5 2S s w TEXTILE DESIGN 235 The second pick weaves plain, passing over every ground thread and under every crossing thread. Reference to the second pick of the chain shows that the standard and doup are lifted and all the ground and crossing harnesses are down. In the explanation of plain gauze, a statement is made to the effect that where the standard ' and doup are lifted, the crossing threads are raised over the fiUing, and .on the doup side of the ground thread. The plan of the cloth shows this to be the case. DSDSDSDSCGCGCGCG 8 ■ ■ ■ ■ ■ ■ ■ ■ 7 ■ ■ ■ ■ ■ ■ 6 ■ ■ ■ ■ ■ ■ ■ 5 ■ ■ ■ ■ ■ ■ 4 ■ ■ ■ ■ ■ ■ ■ 3 ■ ■ ■ ■ ■ a ■ ■ ■ ■ ■ ■ ■ 1 ■ ■ ■ ■ ■ ■ 8- 7- 6- 5-- 4 3 r Fig. 321. f- l- -(- <- <- -)4)- -)-)— > (] On the third pick the first ground thread is raised and the first crossing thread is down. The second pair of threads forms a gauze crossing in the same manner as the first pair of threads formed a crossing on the first pick. The third and fourth pairs of threads are weaving plain. Reference to the third pick of the chain shows that the doup, first ground harness, second crossing harness, third ground harness, and fourth ground harness are raised. A careful study will reveal that the gauze crossing is made by the same method explained in connection with the crossing on the first pick and also in Plain 251 236 TEXTILE DESIGN Gauze; i. e., the crossing harness and doup being raised, raises the crossing thread on the side that the crossing harness is on. The fourth pick is the same as the second, passing over every ground thread and under every crossing thread, the standard and doup being the only harnesses that are raised. The third and fourth pairs of threads form gauze crossings on the fifth and seventh picks respectively, by having their crossing harnesses raised in conjunction with the doup, in the same manner as DSCGCGCGCG ■ ■ I ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ -\ ■ ■ e— 7 6 5 4 3-C- s — •-C- tC- ■c- -) c- -G 1 Fig. 322. explained in connection with the first and second pairs of threads. The sixth and eighth picks are plain. Summarizing the above, every even-numbered pick weaves plain with the warp threads, and on the odd-numbered picks gauze crossings are made in progressive order. The crossing threads are always on the right or doup side of the ground threads when weaving plain and cross to the crossing thread side, or what was termed the 'position •parallel to the ground thread in the simple explanation used in the Plain Gauze. 252 TEXTILE DESIGN 237 To establish more forcibly the possibility of reducing the number of harnesses employed for an effect, when apparently the number of harnesses cannot be reduced, Figs. 321 and 322 have been prepared. This is almost a parallel case to the one just explained. Fig. 321 occupies sixteen harnesses, and practically the same effect is shown in Fig. 322 on ten harnesses. Both effects are the same, except that the threads weave plain with the crossing thread on the right or doup side in Fig. 322, while they weave plain with the crossing thread on the crossing harness side in Fig. 321. It will be unnecessary to go into the details of these two designs, as the comparison may be made by the same method used on the two previous figures. Examples of this kind might be multiplied, but in the estimation of the writer this method has been made very clear by these explanations. Further examples will be made with as few doups and standards as possible, as in practical use the doups are a source of considerable expense for repairs, and complicate the weaving operation. EXAMPLES FOR PRACTICE 1. How do cross- woven fabrics differ from ordinary woven cloths? 2. Describe the interlacings.of the warp threads in both plain gauze and full gauze. 3. How are the crossings of the warp threads held in place, or bound into the fabric? 4. Write a description of the doup including the following features: Of what material is it made? How is it connected with the standard harness? Why could not an ordinary heddle be used in its place? 5. Make a sketch illustrative of the method of drawing in the crossing and ground harnesses for full gauze. 6. When reeding a warp, what must receive special attention? Why is this necessary? 7. What effect is produced by lowering the crossing thread and lifting the standard and doup? 8. Make from memory enlarged diagrams of plain gauze and of full gauze. 9. By what is the power of producing fancy patterns limited? 253 238 TEXTILE DESIGN 10. In plain work between gauze crossing, should an odd or an even number of picks be used? Diamond Patterns, The diagonal pattern, formed by the use of one doup and standard, does not limit the variety of fancy effects possible on this arrangement, for with the possibilities of one doup and standard in mind, one may lay out a practically unlimited number of patterns. The structure of the cloth is limited to plain gauze and the regular plain weave, and it is necessary to lift the standard and doup on every alternate pick and to Hft the doup on the other picks so that gauze or plain may be formed, as desired, by lifting either the crossing or ground harness of each pair of threads in conjunction with the doup. Particular attention is called to this, so that the student will not think that the range of patterns made with one doup and standard is unlimited. Extensive and elaborate designs may be made, as shown in the illustrations, but they bear a marked similarity to each other, compared to the infinite number of leno effects that may be made on more complicated arrangements of the harnesses. For instance, one of the most valuable methods adopted by the leno designer to get special fancy effects, is to have more than one pick in the same shed. This cannot be done in the one-doup-one-standard arrangement. There are innumerable other characteristic features of cross weaving thatare not practical on the present arrangement; therefore, it may be stated that the number of patterns, which are possible on one doup and one standard combined with any number of ground and crossing harnesses, is practically unlimited, yet the construction of the cloth must be confined to plain gauze and plain cloth, and composed of a warp or filling figure, if a figure is desired. If a filHng figure were being produced, a special arrangement must be made, such as weaving the cloth wrong side up. This is often resorted to, yet in some cases the doup is reversed to weave the pattern right side up. By reversing the doup is meant to have the cord hanging down from a harness placed above the yarn instead of below, as is the common custom. Perhaps the simplest form of figure next to those of the diagonal character, are the ones in which a diamond outhne in gauze is formed. An example of this effect is shown in Fig. 323. The gauze cloth runs diagonally in each direction, and encloses a diamond-shaped space of plain cloth. Of course, if the design were repeated a number of 394 m TEXTILE DESIGN 239 T 24- 23- 22- 21- 20- 19- 18- 17- 16- 15- 14- 13- 12- I I- 10- I. 8- 7- 6- 5- 4- 3- 2- 1- J- ir, ■c- J 4 -i^ -) -) 4l. -)- ^ «^^^^- (- ^i' e -J|) ■C<1 >i — jf^ H- -) ^1 5^J "I -")— Fig. 323. 255 240 TEXTILE DESIGN times, the figure would be more plainly visible, but little difficulty will be experienced in recognizing the outline of the figure. The design repeats on twenty-four threads and twenty-four picks. The method of producing these diamond effects is very simple, being a further utilization of the principles employed in Figs. 319 and 320. The ground threads are drawn in on the ground harnesses and the crossing threads are drawn in on the crossing harnesses, as indi- cated by the crosses. Each crossing thread is then passed under its DSCGCGCGCGCG CGGG CGCGCGCGCG ?4 o o B a a a a B ■ ■ ■ ?3 ■ PP \ o o ■ ■ ■ ■ ■ ■ ■ o o ?l ■ ?n o O ■ ■ ■ ■ ■ o o 1 19 ■ ■ ift IB o o ■ ■ ■ o o 1 1 17 ■ tfi ■ ■ o O ■ O ■ 1 1 15 P ■ 14 ■ ■ ■ o o o ■ ■ I 1 13 ■ 1? ■ > ■ o o ■ ■ 1 1' 11 ■ 10 ■ ■ o o ■ O ■ 1 I 9 ■ fl ■ o o ■ ■ ■ ■ 1 1 7 ■ e o o ■ ■ ■ ■ ■ o 1 ■ 5 ■ 4 o ■ ■ ■ ■ ■ ■ ■ o o 3 ■ ? o o ■ ■ ■ a B ■ ■ I ■ o I ■ Fig. 324. companion ground thread (to the right in this instance) and drawn through the doup. Each pair of threads is then drawn through the same dent as previously explained. The harness chain is shown in Fig. 324. The doup, standard, crossing, and ground harnesses are marked in the manner adopted for previous examples, and the picks in the chain correspond to the picks in the plan. The circles are always on the crossing harnesses' and indicate where a gauze crossing takes place. On every pick where a circle is found the doup also is lifted, so the crossing thread crosses over to the left of the ground thread. A careful examination of the disposition of the circles will show an outline like that formed in the plan by the gauze crossings. Analyzing the harness chain in Fig. 324 in conjunction with the plan in Fig. 323, the following particulars are found. On the first pick of the chain the standard and doup are lifted, which, of course, 256 TEXTILE DESIGN 241 raises the crossing threads over the fiUing and on the doup side of the ground thread. None of the ground harnesses is hfted so the first pick is perfectly plain, passing over every ground thread and under every crossing thread. On the second pick of the chain, the doup is lifted, also the first, second, arid twelfth crossing harnesses. This, of course, draws those threads to the left of the ground threads and over the filling. In the remaining pairs of threads: i. e., the third to eleventh, inclusive, the ground threads pass over the filling and the crossing threads pass under it. Reference to the chain shows that the ground harness in each of these pairs is raised, and that the crossing harness is down ; therefore, there are three gauze crossings (made by three crossings harnesses and the doup being Hfted) and nine pairs or eighteen threads weav- ing plain, on the second pick. On the third pick the standard and doup only are lifted, the same as in the first pick, and of course with the same result; the fiUing passing over every ground thread and under every crossing thread, and the crossing threads being on the doup side of the ground thread. The fourth pick shows gauze crossings on the second, third, eleventh, and twelfth pairs of threads, the remaining threads weaving plain. Reference to the chain shows that the second and third, and eleventh and twelfth crossing harnesses are lifted in conjunction with the doup, which of course forms gauze crossings. The first, and the fourth to the tenth, inclusive, ground harnesses are raised, so the filling passes over the crossing threads and under the ground threads at this part of the design. The fifth pick is the same as the first and third, the standard and doup being the only harnesses lifted. It is so simple to compare each pick in the plan with the corre- sponding pick irt the harness chain, that we will not continue this explanation for each of the twenty-four picks in the design. On every odd-numbered pick the standard and doup are lifted, and on the even-numbered picks, the doup and crossing, and the ground threads required to form the pattern, are lifted. There is, however, one feature of the chain which might cause unnecessary trouble. Upon close examination, it will be noted that at some points on the even-numbered picks a square and a circle come together, as at the fourth and fifth squares of the fourth pick in Fig. 9P7 242 TEXTILE DESIGN X \! \ i \i \ K K 24- 23 — 22- Pl — 2a— 8 — " 7 — 6 — 5 — 4 — 3 — 2 1 — — 9 S-T 7 6 — 6 4- 3 2 1 1 rL^A (•J_(-_L(d_(d_ If y c-hc-c- -b -) -) c-c— (- 4l4\ Fig. 325. 258 TEXTILE DESIGN 243 324. At other points two blank squares adjoin as in the sixth and seventh squares of the second pick. These would seem to suggest either a break in the plain weave or some sort of interference with the gauze, when as a matter of fact neither is the case. In the course of various explanations, the threads have been referred to as working in pairs, and it will be found upon carefully examining the design that where two marks or two blank spaces come together, one of the blank spaces or marks belongs to one pair of threads and the other belongs to the next pair of threads, or the ground thread of one pair is lifted and the crossing thread of the next pair, or vice versa. It is obvious that it would not be correct to raise both the ground and crossing threads in one pair, or to leave both down; that is, it would not be correct in this design, but it might be done in form- ing a warp figure. This, however, will come under a different head- ing, and will be taken up later. - Another design on the same general principles as Fig. 323, is shown in Fig. 325, with the harness chain or design in Fig. 326. In the former instance, a diamond-shaped space of plain cloth is outlined by plain gauze, while in the latter there are two solid diamond- shaped spaces of plain gauze and plain cloth respectively. We will not take up much space in explaining the method of drawing in the warp, as it is the same in every respect as in Fig. 323. Twelve ground harnesses and twelve crossing harnesses are required with one standard and doup. The design repeats on twenty-four tlireads and twenty-four picks. " The small circles in Fig. 326 show where the crossing harnesses are lifted, and correspond to the gauze crossings in the plan. The blocked-in squares show where the ground harnesses are lifted, and represent that portion of the plan occupied by the plain cloth. An analysis of the first two picks of the design, in conjunction with the plan, will be sufficient to show the method of making this effect. On the first pick the standard and doup are lifted, which raises all the crossing threads on the doup side of the ground thread. On the second pick, the doup, first ground harness, and the last eleven crossing harnesses are raised, which makes the first pair of threads weave plain, and forms gauze crossings on the other eleven pairs of threads. The third pick is plain ; the fourth pick has three pairs of threads ?59 244 TEXTILE DESIGN weaving plain, and nine pairs forming gauze. The fifth is plain; and so on, till the space occupied by gauze tapers off to a point at the twelfth pick. From this point it gradually widens, until, at the twenly- fourth pick, it takes in every pair of threads in the design. From the above examples it will be understood that the require- ments, when working figured leno of this character with one doup and standard, are to lift the doup and standard on each alternate pick, weaving plain on the doup side of the ground thread ; to lift the crossing harnesses and doup on the other picks, to form the crossings; and to lift the ground harnesses when plain cloth is desired. DS c G c G C G C G C G c G c G c G G c G c G ^G 24- o 6 o o o o o o o o o o 23 22 O o o o o o o o o o o 21 20 o o o o o o o o o 19 m la o o o o o o o 17 16 • o o o o 6 lb 14. ■ o o o ■ 13 12 ■ ■ o ■ ■ II 10 ■ o o o ■ 9 8 o o o o 7 6 o o o o o o o b ■ 4 o o o o o o o o o 3 2 ta o 6 o o o o o o o o o 1 Fig. 326. When studying any combination of weaves, it is an excellent plan to find the kinds of cloth and the classes of designs they are most suitable for. In this combination of plain cloth and gauze, the very manner in which the pattern is formed seems almost to suggest that the most suitable figures will be ones which have a geometrical base. Although patterns of a more or less floral character may be produced, there is a great tendency to produce an uneven appearance where curved lines are attempted, while this difficulty is wholly avoided in making figures of a geometrical form. Note that the crossing threads pass over the picks on each side of the gauze crossings, thus forming clear definitions of the patterns. Warp Figures with Gauze. Considering the designs taken up thus far, the suggestion is implied that in weaving leno designs with 260 TEXTILE DESIGN 245 one doup and standard, the only effects which may be produced are combinations of plain cloth and plain gauze. This, however, is not the case, for various kinds of figures may be woven between lines of gauze. For the purpose of producing variety of patterns or designs in leno fabrics, warp and filling figures are produced; i. e., figures where the warp or filling floats loosely on the surface to form the desired figure. In weaving ordinary spot or figured designs, there is no difficulty in floating either warp or filling threads on the surface of the cloth, but in cross weaving the method is not quite so simple. As shown in the figures illustrating the methods of combining plain gauze and plain cloth with one doup and standard, the crossing thread works in the crossed position (which is the doup side) to form plain cloth, at all times except where the gauze crossings are formed. The crossing thread then passes from the crossed position to that which it would occupy in ordinary weaving, or if the standard and doup were not used, and passing back again to the crossed position makes a complete gauze crossing. There is another feature which must be considered before passing further. By this method of working, the doup forms the ground on the alternate picks where the doup and standard are lifted, and the gauze crossings take place, not when the standard and doup are lifted, but on the picks where the standard is down; the object being to make it a matter of choice whether the harness carrying the crossing thread (to which we have previously alluded as the crossing harness, and which is marked C in previous illustrations) shall be raised to form a crossing or whether its companion thread shall be raised to form plain. From this it will be seen that the doup and standard must be raised together on every alteTnate pick. There can be no departure from this, consequently a filling figure cannot be formed on the face of the cloth, because it is necessary that a number of threads shall stay down for a number of picks when the filling is interwoven, so that the filling can float over them to make a filling figure. This, of course, is impossible when using a principle where the standard and doup must rise at every alternate pick, so it is clear that a filling figure cannot be formed on the face of the cloth. 246 TEXTILE DESIGN Warp figures can be formed, however, sp it follows that if the warp is floated over the filling to make a warp figure, the filling must float under the warp to form a filling figure on the back of the cloth ; therefore, filling figures can be made by weaving the cloth face down. This being understood, the warp figure will be explained, remembering that a figure of the same characteristics is being formed by the filling floating underneath. The illustration in Fig. 327 shows a design or harness chain for two diamond-shaped warp figures on a plain gauze ground The arrangement of harnesses, drawing-in draft, and plan of the cloth are shown in Fig. 328. Before making a careful study of the chain and plan, the fact should be firmly fixed in mind that the standard and doup must rise at every alternate pick; of course raising the crossing thread; and for the formation of gauze the crossing thread is raised at the next pick by the crossing harness. For plain cloth the compan- ion or ground thread is lifted by the ground harness, so that the plain cloth and gauze are made in the same manner as previously explained. Now, in the formation of a warp figure, all threads must be raised so the filling will pass under them. When the standard and doup are Ufted, all the crossing threads are raised without lifting any of the crossing harnesses, and the ground threads may be raised by lifting the ground harnesses. On the picks where the standard is not raised, the required threads are lifted by hfting the crossing and the ground harnesses. This will be made clearer by reference to the third and fourth picks in Fig. 327. On the third pick the doup is lifted, but of course this will not lift any threads if either the standard or crossing harnesses are not also lifted; consequently, the first seven crossing harnesses are Hfted as indicated by the small circles. In the figure five ground harnesses are lifted and two more crossing harnesses, making a total of fourteen harnesses, in addition to the doup, that are lifted on the third pick. On the fourth pick the standard and doup are lifted, so none of the crossing harnesses is lifted, there being as many threads raised by lifting the standard and doup and three ground harnesses as were lifted on the previous pick with fourteen harnesses. This illustrates the reason why the odd-numbered picks in Fig. 327 have so many more risers than the even-numbered picks. 262 TEXTILE DESIGN 247 The circles indicate where a crossing harness is raised on the pick where the doup also is raised and shows where gauze crossings take place. To become familiar enough with this principle to be able to tell at a glance to which set each thread belongs, and whether it is forming plain, gauze, or figure, it will be profitable to examine several picks of Fig, 328, in conjunction with the chain or design shown in Fig. 327. On the first pick, the crossing threads of the first eight pairs are at the left of the ground thread and pass over the filling. In the SD c G c G c G c G C G c G c G c G c G c G c G c G 24 23 o o o ■ o o o o o a o o 22 HI o ■ ■ o o o o o o o 20 19 o ■ ■ ■ ■ o o o o o o 18 ■ 17 ■ ■ ■ ■ ■ ■ ■ ■ o o o o o 16 15 o ■ I ■ ■ o o o o o o 14 13 o o ■ ■ o o o o o o o 1? 1 1 o o o ■ o o o o o o o 10 9 o o o o o o o ■ ■ o ft 7 o o o o o o ■ ■ ■ ■ ■ R ■ 5 ■ o o o o ■ a ■ ■ ■ ■ ■ ■ A- B 3 n o o o o o o o ■ ■ ■ ■ ■ ? ■ H 1 a o o _^ o o o o o o H a H o Fig. 327 ninth, tenth, and eleventh pairs, the ground threads are over the filling, and the crossing threads are at the. right of the ground threads and under the filling. The last pajr of threads is Hke the first nine. Reference to the first pick of the chain shows how this is brought about. The first eight crossing harnesses, being raised in conjunction with the doup, draw the crossing threads from the doup side and over the filling. The last crossing harness works in the same manner. The ninth, tenth, and eleventh ground harnesses are lifted, so these ground threads are raised, while their companion crossing threads remain down. On the second pick, the standard and doup are lifted which, of course, raises every crossing thread, and on the doup side of the ground 248 TEXTILE DESIGN T \ 24 22 21 20 — 9-C- 8 — 7 — 6 — 5-(- 4 3 2 v-j? c- ■1- -1 J-l- -) ^> -J- -) -J '^ 04) 9 4 3-(- <-(fc-c-c- -fl -^1 -) -J4) -)- -)4)- ■V 4^ # <- -c4 -) 4) ■e c- 5- 4 -) -) -) ■M) (- -1 C^(- 5 -I -> (— -r ^4)4J- Fig. 328. 1^ < -)■ kr-i 264 TEXTILE DESIGN 249 thread. The tenth ground harness also is raised on this pick, which Ufts the tenth ground thread over the filKng. The third pick is similar to the first; the first to the seventh crossing threads being drawn to the left of the ground thread and over the filling, while the eighth, ninth, and twelfth crossing threads are at the right or doup side, and pass under the filling, their companion ground threads being raised. In the tenth and eleventh pairs of threads, however, both the ground and the crossing threads are raised. Reference to the third pick of Fig. 327 will explain how the positions of the various threads are brought about. The first seven crossing threads in conjunction with the doup cause the gauze cross- ings on the first seven pairs of threads. The eighth, ninth, and twelfth ground harnesses are raised, while their companion crossing threads are down, which gives the relative positions of these threads, and the tenth and eleventh ground and crossing harnesses are both lifted which raises both ground and crossing threads over the filling, and forms part of the warp figure. The filling floating under these threads will, of course, form part of a filling figure. The fourth pick is similar to the second, there being three ground harnesses, in addition to the standard and doup, raised on this pick. The other picks may be followed in a similar manner, comparing the effect, as shown in the plan of the cloth, with the method of lifting the harnesses as shown in Fig. 327. The principle of boating the warp on the surface may be used to form diagonal patterns, as is shown in the design at Fig. 329 and the plan of cloth in Fig. 330. Twenty-four threads and picks are required for one repeat, and the arrangement of harnesses and drawing-in draft is the same as in the previous example. The small circles on the even-numbered picks are always on the crossing harnesses and show where the crossing thread is lifted to form a gauze crossing, the same as in Fig. 328. It will be unnecessary to go into a detailed explanation of this design, as it is made on exactly the same principle as Fig. 328. It will, however, be excellent practice for the student to carefully trace the interlacings of each thread and follow the risers in Fig. ,329. It should be noted that the standard and doup are raised on the first pick of the design, while Fig. 328 commences with the doup and crossing harnesses raised. 265 250 TEXTILE DESIGN There are other considerations relating to this class of designs which demand attention. It is generally recognized that where a figure is formed by the same warp or filling that forms the ground floating over a number of threads, the texture, or number of threads per inch, should be sufficiently close to produce a compact fabric, or one which will have the appcrance of- compactness. This makes the use of a large number of threads and picks, or heavy yarn, neces- sary. In both Figs. 228 and 230 there are long floats between the series of gauze crossings, so as many threads and picks per inch as possible should be used, but from the nature of cross weaving a large number of threads and picks cannot be used. If a heavier yarn is used, the number of threads and picks per inch will be reduced in proportion to the increased size or diameter of the yarn, because the crossing takes place between the picks and each pick will be separated from the next by at least the diameter of the yarn which is used. This difficulty will be met in making any kind of figures with plain gauze, and care should be used to select designs in which it may be over- come to at least some extent. Another feature of plain gauze is that one of the chief objects is to produce as much contrast as possible between the gauze ground and the figure. To do this two things are necessary; first, to form a close compact figure ; and second, to have the texture of the ground as open as possible. It has just been shown that it is rot an easy matter to obtain a close figure by any of the methods described up to this point, because of the influence of the crossing. At the same time, it is not an easy matter to obtain the desired degree of openness in the gauze because of the thickness of the yarn, or the attempt to press it closely together to improve the appearance of the part that is not gauze. The fact may be stated generally that, with the method of working just explained, the two important conditions, i. e., openness of gauze and compactness of the rest of the cloth, cannot be obtained with any degree of perfec- tion. It is, therefore, necessary to resort to other means. There are two distinct methods of obtaining the requisite open- ness in the gauze, and a close texture in the plain and figure, and they may be employed either separately or combined. The first is to introduce more than one pick of filling into one shed between the S66 IMPROVED DOBBY WITH ATIACHMENT FOR LENO WEAVING Crompton & Knowles Loom Works TEXTILE DESIGN 251 crossings, and the second is to cause the crossings to take place with more than two threads, as has always been the case up to now. It is very practical to take four, six, or almost any other reasonable number of threads and cross two over two, three over three, or in any manner desired to produce the requisite openness, because by so doing there is greater bulk at the point of crossing and of necessity there is a greater space between the threads so crossed than if they had simply been crossed in pairs. Taking up the first method, it is quite clear that if only one doup is employed, and if that doup has to share in the formation of plain, DS^^G^G^G^G^ G G e G 24 23 22 21 20 19 18 17 16 15 14 13 12 I I 10 Q 8 7 6 S 4 3 2 I G^G^G^G ■ ■ ■ ■ ■ m ■ ■ B ■ 5 o o o B ■ ■ ■ ■ ■ u ■ ■ ■ O o o o a ■ ■ ■ ■ u ■ o o o o ■ a a ■ a ■ ■ ■ O o o ■ B B B ■ a a ■ ■ ■ o o o o ■ B a a ■ a ■ ■ O o o o ■ ■ a a a ■ ■ ■ o O o o a ■ a ■ a a a a ■ ■ a ■ o o o o a a ■ a a a a a B ■ ■ - ■ o o o ■ • ■ !■ ■ ;•; ■ a a ■ a o o ■ - ' ■ ■ ■ '• ■ • ■ ■ g a ■ a o ■ ■ ■ ■ B ■ a a ■ a a a o o c ■ B a g ■ B B Q a a a B a B B a o o o o ■ , B m E H _ _j Fig. 329. that more than one pick cannot be inserted between the crossings, because of the doup having to rise at alternate picks. It is therefore clear that the method of working with one doup crossing one thread is out of the question. It is equally clear that if more than two threads are to cross each other a different system of douping must be resorted to. The following chapter takes up this matter and explains methods of combining parallel and cross-woven methods of interlacing so as to produce any texture required. Open-Work Leno Designs. The need of other methods of crossing in addition to the one-thread-crossing-one system has been shown by the effect of this method on the texture. Furthermore, 267 252 TEXTILE DESIGN t \ N \ f I n c-c— \ i 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 e 8 7 6 5 4- 3 2 I -J K-^. -)7P-^ 11^44)4 Cf-(-^C-^(4 Ln^^A^^ f)-4M)- S44)4 -c- C-tC J4444 -)H-) > (' ■c- -J- -) 4- Fig. 330. S68 TEXTILE DESIGN 253 many patterns are formed by varying the methods of crossing, no attempt being made to form figures, such as produced by ordinary weaving. This class, however, is th6 highest type of cross-woven fabric, or any other class of woven fabric, and has the appearance of lace, the filling and warp both being deflected to form the charac- teristic open work. The largest class of leno designs is between the fine lace-Hke patterns and those made on the one-thread-crossing-one system. Crossing threads may pass over or under any practical number of threads, as easily as they cross one thread, and these crossings may be the groundwork for figured cloths, or they may form figures. If they form ground for figures, the latter may have a compact texture, because the threads which are worked together in the crossings may have different methods of interlacing in the figures. This system may be applied equally well when the crossings form the figure and the ground is a compact weave, by running several threads together to form the gauze. These are perhaps the most useful applications of the one-thread- crossing-more-than-one principle; i. e., to form a compact figure on an open ground or to form an open figure on a compact ground. Other useful features will become apparent in the course of the explanation. Following the same methods as were used in plain gauze, the system will be taken up in a graded manner, the simplest principles being illustrated and explained with a view to estabhshing firmly the differences between one thread crossing one, and one thread crossing more than one. The illustration in Fig. 331 shows one thread crossing three others, which are interlaced in plain order between the crossings. Other illustrations show twills combined with cross weaving. Each indi- vidual thread in these designs should be followed, and especial attention should be given to the interlacing of the crossing threads. Assume that it is necessary to form a pattern in which plain and cross weaving are combined, the effect to be alternate stripes of plain and cross weaving running across the cloth. This pattern is shown in the section on simple cross weaving, but the cross-woven effect in the present instance is to be of a more open character than the previous example. From previous remarks it will be inferred that the open 269 254 TEXTILE DESIGN effect can be obtained only by having a larger number of crossing threads, or by having a larger number of threads crossed by them. It may be obtained by one thread" crossing two threads, by one thread crossing three, by two threads crossing two, or by any similar arrange- ment. For a first example, it will be convenient to deal with one thread crossing three, as by that method the general principles can be brought out in such a manner that the details will be thoroughly understood. Fig. 331 shows a pattern which consists of five picks of plain cloth and one pick on which the crossing takes piace. To make the space OSCGGG e ■ B 5 4 ■ ■ 3 2 ■ ■ I 6 I 5 4 g ■ ■ 3 i> ■ a 1 -^s ■^f G ' '' ^" l_ I.. l_. '^ - ^, s n &' r ^J Hi- Hj" 1 1 1 ' 1 1 1 6 — L «5 0~ -),i- I '^f :-)- ?4i- ll- 1 1 1 1 1 1 1 1 1 1 Fig. 331. between the crossing pick and those on each side of it larger than it would be with one thread crossing one, the crossing thread crosses three threads. To produce this effect, the method of drafting and douping the pattern is different from any of the examples previously explained, and .will perhaps require a little study. The illustration shows a plan of the cloth, also the arrangement of harness, drawing-in draft, and chain. The ground harnesses are marked G, crossing harness is marked. C, and the standard and doup are marked S and D respectively. The ground threads are drawn in on the ground harnesses and the crossing thread is drawn 270 TEXTILE DESIGN 255 in on the crossing harness, then passed under the three ground threads and drawn through the doup. Analyzing the plan in conjunction with the harness chain, the effect of Hfting the harnesses is found to be the same as in previous examples, except that the standard and doup being lifted, draws the crossing thread under three threads instead of under one. This is due to the doup being at the right of three threads instead of being only one thread to the right. It is equally impossible for the crossing thread, drawn in on the arrangement where the doup is one thread to the right of the crossing harness, to cross under three threads, as it is for the crossing thread drawn in on the present arrangement to cross under only one thread. Therefore, it may be accepted as a general rule that when the crossing thread is drawn under the ground threads, it must be drawn under as many threads as it is crossed under when passed from the heddle on the crossing harness to the doup. Returning to the analysis of the plan and harness chain, it will be noted that the first pick on the harness chain has the doup, crossing, and the second ground harness lifted, which raises the crossing thread over the filling on the left of the ground thread, and also raises the second ground thread, as this is the one drawn in through the second ground harness. • On the second pick, the doup and the first and third ground harnesses are lifted, which of course lifts the first and third ground threads over the filling. The crossing thread and second ground thread are under the filling, as neither the standard nor crossing har- ness nor the second ground harness is lifted. The third and fifth picks are like the first, and the second pick is like the fourth. The crossing takes place on the sixth pick by raising the standard and doup in just the same manner as in plain gauze weaving. The first pick after the sixth is- like the first pick at the bottom of the design, and shows how the crossing thread is drawn back to the left of the ground threads by raising the crossing harness and doup. Two repeats of the pattern are given in the direction of the filling, and three repeats in the warp, the object being to show the continuity of the pattern and to give a better idea of the effect. an 256 TEXTILE DESIGN There is one feature of this design which merits special attention. In the pages on simple leno effects, it is stated that there should be an uneven number of picks of plain between the crossings so that the crossing thread may pass over both the pick preceding and the pick following the crossing. Note that this plan is followed, as is shown at picks five and one. Summarizing the operation of making this pattern, and com- paring it with others made on the one-thread-crossing-one system. DSCGGG 6 ■ ■ 5 ■ ■ 4 ■ ■ 3 ■ ■ Z ■ ■ 1 ■ ■ 6 ■ ■ b ■ ■ 4 ■ ■ 3 ■ ■ 2 ■ ■ 1 i ■ t 5-C- 3-4 t t I I — G — G — G — C I I f-t FT 3-\ 2 1 — T l-l- I I III tH^AbH_^ H-i-'-A-i-y I I I I I I I I I Fig. 332. the differences are as follows: The arrangement of harnesses and the operation of drawing-in the warp are different, and when the standard and doup are lifted the crossing thread crosses three ground threads instead of one. The latter is a direct result of the former, so practically the only new feature is the method of drawing in the warp threads. When four harnesses in addition to the standard and doup are employed, as in Fig. 331, it is not necessary to confine the ground to the plain weave, as other weaves may be combined with this pri^iciple of crossing. As there are four harnesses, a four harness twill may be used, as shown in Fig. 332, the ground weave in this illustration being the one up three down swansdown weave. Note that the crossing 272 TEXTILE DESIGN 257 thread is over the picks on eaah side of the crossing, as in previous examples. A careful study of Fig. 332 shows that the arrangement of har- nesses and drawing-in draft is the same as in Fig. 331, the difference in the plan of cloth being due to the harness chain. Referring to the chain we find the one up, three down weave on the ground and crossing harnesses, the crossing being formed by lifting the standard and doup in the usual manner. Of course, the ground weave might be repeated any number of times between the crossings, if this were DSCGGG 6 ■ 5 ■ ■ 4 ■ ■ 3 ■ ■ 2 ■ ■ ■ 1 ■ ■ 6 ■ a ■ ■ 4 ■ ■ 3 P ■ 2 ■ ■ 1 ■ ■ — )h HE -^' G „ G ^^ , G I. I. 1^" C f? ft %zfz 1 1 1 _ J 1 1 -1-- A-y^- L.| ~>i >^ 1 1 1 1 .J 1 --l- 1 1 1 1 1 — H 1 Fig 333. necessary, but. it would be a good plan to have one pick more than even repeats, so that the picks on each side of the crossing would be the same. The illustration. Fig. 333, is another example of the four harness ground weave combined with a crossing. In this instance the four- harness cassimere twill, two up, two down, is used. The method is the same as in previous examples, so it will be unnecessary to go into details. It will be valuable to study these illustrations comparing the plan and drawing-in draft with the harness chain or design, for the principles illustrated in these three examples are extensively used in leno designing. The method of crossing one thread under more than one may be extended and used in connection with other weaves 273 258 TEXTILE DESIGN to produce more elaborate patterns by the use of a larger number of harnesses. o c 3 C L C L C !> ^ 5 C D C Q ( D I c •l t 3 - - 1 > - — _ — — — _ _ ^ ) ^ - - - - - - — - _ - > ) ^ - : 1 ) 1 1 1 1 i 1 1 1 ^■ 1 1 1 ^ - - J 1 1 - - r J 1 r J ^ I - V -x - 1 r \ /- 1 \ y r 1 I _ _ K 1 1 I. - - — - ( ) - y 1 ) ) 1 ) : |_ 1 1 1 1 1 1 1 1 1 1 III 1 1 1 _ - - - - 1 1 > - - — - - ) ) ) - - 1 , < « ; ; < ) < D C L \ « > 1 ■) •s [i Leno Stripes. It has been previously stated that large varieties of patterns can be formed by simply varying the number and position 274 TEXTILE DESIGN 259 of the ground and the crossing picks, and it is unnecessary to illustrate this further, but most of the patterns formed in this manner would show stripes crossing the cloth. While this is not always objection- able, stripes running lengthwise or in the direction of the warp may be more desirable. These are made by the arrangement shown in Fig. 334. The threads which are to form the cross-woven portion of the pattern are drafted and douped in the manner shown in the illustra- tion, while the threads forming the ground between the stripes are drawn in on the ground harnesses in the usual manner. This necessi- tates the use of what are known as stripe harnesses and doups, which are harnesses arranged in such a manner that there will be a number of heddles at specified distances, and then a space in which there are no heddles. The spaces on some of the harnesses correspond to the places where there are heddles on other harnesses, which gives the required number of heddles for each repeat of the pattern. The plan of the cloth shows a combination of leno, sateen, and plain weaving. The threads forming the leno stripe are drawn in on the doups, ground and crossing harnesses, which are marked D, G, and C, respectively. The threads forming the sateen stripe are drawn in on the harnesses marked B, and the threads for plain are drawn in on the harnesses marked P. Two doups and standards are required, as the first and fourth pairs of crossing and ground threads do not "work" in the same manner as the second and third pairs. In fact, the first and fourth pairs, although drawn in on the same harnesses, do not work the same, but the difference is merely a difference in the side of the ground thread on which they weave, the first crossing thread being on the right side of the first ground thread when the fourth crossing thread is on the left side of the fourth ground thread, and vice versa. This is obtained on the full gauze principle, one crossing thread being drawn through the doup at the right of. the ground thread and the other being drawn through the doup on the left of the ground thread. The same difference will be noted in the second and third pairs of threads. Two harnesses are allowed for the plain weave, and three harnesses are allowed for the threads weaving in sateen order, which makes a total of nine harnesses, in addition to two standards and doups. 275 260 TEXTILE DESIGN The harness chain is shown in Fig. 335. The letters correspond to the letters on the harnesses in the plan, and the numbers correspond to the figures on the picks. A cursory examination of the chain shows nothing unusual, except perhaps that there are no risers on the first ground harness. The ground threads in the first and fourth pairs of threads forming the leno stripe are drawn in on this harness, and a reference to the plan shows that they are never raised over a pick of filling, so of course the harness on which they are drawn is never lifted. An analysis of the first two picks would show the following: On the first pick of the chain, both doups, the first three harnesses marked B, the first harness marked P, and both crossing harnesses are lifted. The result as shown in the first pick of the plan is that every odd- numbered thread in the first ten, which are weaving plain, is lifted; four threads on each side of the leno stripe are raised; the crossing threads are all on the crossing harness side of the ground threads and lifted over the filling; and the last ten threads weave in the same man- ner as the first ten. On the second pick of the chain the doups, second and third harnesses marked B, second harness marked P, and the crossing harnesses, are raised. The effect as shown in the plan is to raise the even-numbered threads of those weaving plain. The first, second, and fourth of those forming the sateen stripe, and the crossing threads on the same side of the ground threads as in the first pick. Other picks may be followed in the chain and plan in the same manner. The stripes of plain sateen or leno may be varied in width and texture, or other weaves may be added at the designer's pleasure. In laying out an original design of this nature, it would be neces- sary to take into consideration the textures of the various weaves. For instance, the leno stripe would, of course, be as open as possible. The plain cloth ought to be quite firm, so would require a medium number of picks per inch, depending upon the size of the yarn. The sateen stripe would be "crowded" in the reed to give the characteristic sateon effect. In the arrangement of harnesses in Fig. 334, only two harnesses are allowed for the plain weave. In some instances, where there is a large number of threads per inch, consequently a large number of heddles on the harnesses, it might be necessary to increase the number 276 TEXTILE DESIGN 261 DSDSBBBGGPPCC llllll ■ ■ ■■1H1__I 11 1_1_1_1 ■ 111 11_1 l_ll_lll 111 ■ _iini ■_■_ 111_11 l_i 111_111 1 1 11 l_t_l_l 1 ■11_11_S_ 1_1 11 111 ■ ■ ■■■ ■ ■■ of harnesses used for the plain cloth to four, in order to avoid excessive breakage in the warp. In combining leno stripes with stripes of other weaves, the crossing thread usually crosses more than one ground thread. When one thread crosses three or five ground threads, better effects are possible, because the chief object is to obtain as much contrast as possible between the openness of texture of the leno stripe and the closeness of the other sections of the pattern. This result is ob- tained by inserting more than one pick in each shed of the cross weaving, so as to allow a large number of picks to be used, and having the other stripes woven with the twill or any weave which will make a compact texture. This arrangement will give a ^^' marked contrast between the cross woven and the ordinary woven stripes. The limit of variation has not been reached with varying the texture, however, for the threads which are forming the leno stripe may change from cross weaving to ordinary weaving, and form plain, twilled, or even figured cloth. This simply means that, as shown in previous examples, the crossing harnesses would work in the same manner as regular harnesses, just as though the dpup had no connec- tion with the pattern. The form of cross weaving might also be changed, thus forming different degrees of openness in the leno stripe. It will be understood that the jacquard may be used in the same manner as an ordinary loom, when the patterns are too elaborate to be woven or a practical number of harnesses. The threads would be drawn through the eyes of the harness cords in the usual manner and those which are to form leno would be drawn through a doup, just as if a dobby or head motion were being used. The jacquard is not used, however, except when it is impossible to produce the patterns on harnesses, on account of the expense of operating the jacquard machine. Patterns which are seemingly beyond the range of harnesses may be woven on them by a judicious arrangement of the harnesses. The illustration Figc 336 shows a design which consists of cross 5377 262 TEXTILE DESIGN weaving, plain cloth, and small figures. The plan of the cloth and the drawing-in draft are shown in Fig. 337. It might be supposed that this design is beyond the range of a dobby or head motion, but by careful arrangement it may be woven on sixteen harnesses with one standard and doup, as shown by the harness chain in Fig. 338. DS 44 XX ■ ■ i ■ ■ ■ ■ ■ ■ *J ^ O g 5 o c 3 ■ ■ ■ ■ B ■ a 1 1 1 ■ gx ■ ■ ■ ■ ■ X Q O Q i 3 B a ■ a a ■ 1 1 1 40X>< ■ ■ ■ ■ a a a 5< D ■ BO O o 5S5< B X ■ BO O O B BO a I B ■ 1 lO xs ■ X ■ BO O O ■ BO a ■ a ■ I ■ o xg ■ ■ fl B B X B BO O o o o >?5< ■ a ■ B 1 X _ ■ ■■BBaSB B BO O o o o Fig. 336. Reference to the drawing-in draft shows that every crossing thread is drawn under three ground threads, and the chain shows that the standard and doup are lifted at every alternate pick, to weave plain cloth between the crossing places. This is similar to previous examples, and limits the design to one pick in each shed. Sufficient openness of the texture is obtained, howevcx, by the crossing thread passing under three ground threads. If this pattern required the crossing thread to be on the crossing harness side* of the ground threads when weaving plain, more har- 278 TEXTILE DESIGN 263 —^ G la " n:_ ._ :. _± _i: _^:__ , 44 |__J |__J ^__|J |__|J |__|J IWW Vi-k S-l-v S-i-k S-i-k Vi-is ^l-i-K ri-i- ri-'-i r'-l-i ri-i-f^ .i _^ i._j_ijJ__U V-s S-i-k S-i-x 1 ll ^° ^-i-i-' 1 M 1 M 1 r'-i-i^ h> 1 p) l_l_l-' . l-l-K /-l-l-L-^ 1 \\ -%g) — i--i4— p^-i- S-l-K 1 1 ' 1 'l ^H-k 1 ■ -^;,-^-^3^ 4- 1 V-i-k S-i-k '-i-i-k 1 1 (i-\-? ll 1 1 1 il r'-i-r 1- ^-v N-l-K 1 1 ll 1 1 1 N-l-v 1 1 ^l-l-P ^i-i-P ,1-1 -/ 1 1 1 Vl-k '-l-l-k "^IH-k 1 Ij d~'"' 1 ' ' ' 1 ' ('~'~^ 1 ' 1 ^l-l-P ,1-l-P ,1-1-1-' 1 ll -|-t^^-^>-^>~J|— N-l-k. 11 1 1 1 l| Vl-k 1 1 1 Vi-k ^-i-k S-i-k h ^iH-i-',, II 1 1 1 |l ri-i-r 1 1 1 ^i__p ^1 — p ^|__,; 1 S-i-k; Ij j 1 I li N-i-k 1 1 (^-1-^ fi — p" ,i~-i^ <-i-l-i'' /-i-i-i'' 1 1 -^A ^-'-'^ p-i-s ^-1-s ^-i-s i-i-s 1 1 "1 1 1 1 1 tI^K ~t t — q_H i-i-k S-i-k 1 1 <]-\- )4i4i— hitI-?^- 1 1 ll fl-i-r' ,1-1-1-' A-\-\^ 1 1 1 (.1-1- 1 1 || Sh_i i.|_i_| S-l-k 1 I Ij M-i- N Ij 1 1 1 Ij ''H-k 1 1 ll /J-l-K ^l-l-K /H-l-K 1 |l ,1-1- '' |l 1 1 M ,1-l-K 1 1 || (hh_l C|_|-| Vi-k 1 1 Vl- ^ 1 Ml! ^-i-K 1 1 l' (^-l-i-^ r'-i^'^ r^-i-^ 1 1 r^i- ? 11 1 1 1 1 r-i-i-^ 1 1 || v O ^ o ^ a> >, ^ ft P-, « » -a < a C3 03 i ^^ .cl -O - HH n -C r/J q OQ tc d 03 s ^ 3 03 'I U CO cq ZQ >5 O 02 " - - o pq ^ - - « < CO Ttl lO CO r~ 00 (-» o ^_l CO o CD CD CD CO CO r^ t^ OS Ci OJ 05 05 01 Ol Ol OS CO fe p iz; g go 294 COST FINDING o o H H o o CO CO - 1—1 l-H 1—1 ■ cq cq H < < v,.^ s—^ Sfc-^ s,— i' N— • "s-^ r^, T~1 7— ', 1— 1_ rH T— 1 i-H l-H i—\ T-S C^ CI S39S COST FINDING The sum of the footings of account columns on the credit side should equal the sum of the cash footings on the same side. The work may thus be checked for accuracy as it proceeds. In order to main- tain this equality, however, it is necessary to provide a column for Transfers of Cash from Drawer to Bank, or vice versa. The debit side of the cash may be proved in the same way, but due allowance must be made from the cash columns for the amount on hand when the month's business was begun. Many mill men never realize the difference in the nature of the accounts of expense and income, which they carry upon their books. Probably a majority of establishments have at least three, and sometimes more of these various kinds of accounts. 1. Costs of Manufacturing, including Material, Labor and Supplies. 2. Costs of Distribution, such as Commissions and Freight on Product. 3.. Expenses and Income not directly connected with manu- facturing, such as Repairs to Tenements, Rent, Storage, etc. It is not an unusual sight to see mill statements with these accounts reported upon in a confused manner. For instance, Rent account may be made to appear as a profit on Manufacturing. For a proper system of cost finding it is necessary in addition to the books of debit and credit to maintain careful records of ma- chinery. In each department there should be a permanent daily record of the amount and kind of machinery run on each class of work, and of the amount of work of each kind produced thereon. There should also be a record of all material used, such as cotton, yarn, etc., and of all the kinds of waste miade and the amount of each kind. The pay-roll should be properly classified and the occupation of each employee designated. There will, of course, be a record of the product invoiced from the mill, but there should also be a record of its weight before any finishing or aging operation has added to or reduced it. With these preliminary observations, we may take up the ac- tual work of applying to the results of a period of manufacturing the necessary methods of examination and analysis of the expenses to approximate the costs of manufacture. As by a mere description, without illustration, it would be •06 COST FINDING difficult to explain the working out of the various processes with sufficient clearness, it will be best to take an imaginary mill, which we will name the Enterprise Cotton Mills, and a supposititious state- ment of its operations and expenses. These mills had been recently started, and run only about three months, when the manager di- rected that an inventory be taken of the stock in process of manu- facture and of the suppKes, fuel, packing, oil, repairs, cotton, waste, etc. ; that all bills be paid ; that the books of account be closed, and a statement of expenses and income be prepared, and also a state- ment of the financial condition of the mill. The bookkeeper was without former experience in cotton mill accounts and some time after the inventory had been completed he came to the manager with an anxious face and reported that while he had not completely closed the books, he had made a few figures in advance and believed the mills were doing business at a considerable loss. The manager replied that it was quite possible as expenses were heavy in starting up, but that he had expected that there would be a slight profit. He asked the bookkeeper to go over with him the work, done in closing the books that he might set a few prices on stock in process. The bookkeeper replied that he had taken the stock in process at the value per pound of the cost of the cotton used. "That is not fair," repHed the manager, "because for every ninety pounds of roving now on hand, we have used over a hundred pounds of cotton, and every eight hundred and fifty pounds of yarn has taken nearly a thousand pounds of cotton from the warehouse. So that your books show that cotton used cost us about ten cents a pound, while the cotton in every pound of yarn on hand is worth more than that, for it took nearly fifteen per cent more cotton to make it. It has lost that in waste." "But," replied the bookkeeper, "we have sold the waste for money or we have it on hand, and I have it also in the inventory." "That is true," was the reply; "but the value of the waste is small as compared with its cost. The balance of the cost of the cotton used in making the stock in process should be added to the inventory value of the stock in process. Do it this way : In setting a value on the stock in process, make it, say, twelve per cent per 397 8 COST FINDING pound more than the cost of the cotton. Take fine roving at, say, ten per cent above cotton, and the balance of the card-room stock at five per cent per pound above cost of cotton. The full value of the cotton or stock in process should be charged to Inventory, and credited to Cotton account. More than that, we started four months ago with no work in process. We now have a mill full of partially manufactured stock. Some nearly ready for market. Some scarce- ly advanced from the raw material. We must make an estimate of the cost of labor bestowed on the unfinished material and make it a part of the inventory. Furthermore a considerable amount of power has been expended in bringing this cotton to its half-com- pleted stage. Also make an entry covering this, crediting Power and charging Inventory account for its estimated cost. There have been other expenses, but they are of less importance, not so easily estimated, and we shall neglect them." "This will make a decided difference in our statement," said the bookkeeper, "but I see that it is right and shall make entries to effect the change." This having been done, the mill showed results of the three months run as follows: Production — 406,840 lbs. No. 25 warp yarn, made and sold in warps. Cotton— 472,635 lbs. costing 9.80 c. per lb., or $46, 318.23 Less waste on hand and sold, value 1,584.63 Net cost cotton used 447733.60 10.96c Manufacturing Labor, Carding $3,091,90 .76c Spinning 3,336.08 .82 Spooling 1,749.41 .43 Warping 876,42 .24 9,053.81 2.22 Power Fuel 1,938.50 Supplies 162.70 Labor 361.40 Insurance and Taxes Repairs and Supplies, Material 1,265.20 Labor ■ 512.00 Salaries and Expense Interest Freight Commission and Discounts Total cost per pound 298 2,462.60 .61 825.00 ,20 1,777.20 .44 1,375.00 .34 750.00 .19 3,017.62 .74 5,887.60 1.45 17.15c < Q < or O 03 < ^ 9 PS a, n g w a COST FINDING As there was but one kind of product, and practically all of this, sold, it is only necessary to divide the items of expense by the product in pounds to obtain the cost per pound of each item, and to add these together, or to divide the total expense, to get the total cost per pound. Such simplicity of conditions is not often met with, however. Even yarn mills corhmonly have a diversity of product, and when another six months had rolled around, an inventory had been taken, and the accounts were ready to close, the bookkeeper called on the manager for directions, presenting the following statement of oper- ations, after having charged to Inventory the value of the cotton, and the labor on stock in process. Production op Enterprise Mills. Six months ending June 30th. Yarn Made and Sold No. 25 warp, Chains 325,000 lbs ^ Skein 120,000 " No. 36 " 50,000 " 2 (< 28 175,000 " No. 25 " 380,000 " ^-^ Chain 150,000 " 2 11 To' 30,000 " Cloth Made, Print Cloth 64 x 64 230,000 " 1,460,000 lbs Costing: Cotton: $144,500.00. Value Waste Sold $6,100 Labor, Carding $11,680.00 Spinning 13,140.00 Spooling 4,527.60 Warping 1,026.46 Twisting 3,230.00 Eeeling 2,950.00 Dressing 690.00 Weaving 7,228.94 Packing Room 1,825.00 Repairs 3,000.00 Power 1,850.00 Yard 1,675.00 $52,823.00 The manager called for the superintendent and showed him the sheet saying "We want now to find out what we have made on these yarns which we cannot do until we know what each cost. Can you show us how to get at it?" "Why I think it is easy to do that," was the answer; "the estab- 299 10 COST FINDING lished method of distributing cost is from the basis of the average number. First, ascertain what processes and expenses are com- mon to all the varieties of the product, such as Carding, Spinning, Repairs, Insurance, etc. These are termed Costs in Common. Second, separate the processes and expenses undergone by portions of the product alone, such as reehng for the skein yarn, sizing mate- rials for cloth, different commissions for yarn and cloth, etc., and find how many pounds have been submitted to each special cost. Third, ascertain the average number of the mill product submitted to each special cost. Fourth, divide the sum total of the costs in common by the total pounds produced. This is the cost per pound in common, of the average number. This cost per average number is thus distributed over the whole product: each kind of product bearing the cost per pound in proportion to the number of the yarn. The special costs are divided in the same manner over the kinds of product they affect, through the medium of the average number of the products affected," Following this method these costs must be rearranged, and some of them, as Power, Repairs, and Commissions must be divided. They are common to all, but Power and Repairs have a special cost for weaving, which we will estimate and set apart as a special cost, deducting it from the totals, and consider the remainders as common costs. The Manufacturing Costs may then be listed as follows: Costs Common to all, the Product of the Mill Labor, Carding 111,680.00 " Spiuning 13,140.00 " Packing Room $1,825.00 Supplies, Packing Roora 625.00 2,450.00 Labor, Repairs, 94% 2,820.00 Supplies, Repairs, 94% 7,322.00 10,142.00 Labor, Yard 1,675.00 " Power, 96 % 1,776.00 Supplies, Power, 96 % 7,055.00 8,831.00 Insurance and Taxes 2,800.00 Interest 8,000.00 Salaries and Office Expense 2,900.00 Expense Account 975.00 57,593.00 300 COST FINDING 11 The total costs in common to all the product was $57,593.00 4- 1,460,000 (pounds produced) = 3.9447 cents per pound of yarn of the average number (26.866). We proceed on the hypothesis that the cost of making yarns varies in the same ratio as the number. If the costs in common for No. 26.866 = 3.9447 cents per pound, then to find the cost for No. 10 yarn 26.866 : 3.9447 cents :: 10 : 1.468 cents per pound. In the same way we find the costs in common per pound to be: For No. 25 Yarn 3.670 cents " 28 " 4.110 " " 30 " 4.404 " " 36 " 5.285 " The special costs may be classified as follows, and the pounds subjected to each operation are tabulated for convenience of anal- ysis, with the exception of the special costs on print, which are dealt with in bulk. Special Cost on Chain Yarn, Ply Yarn, and Warp of Print Cloth Spooling $4,527.00 Special Cost on Chain Warps and Warp of Print Cloth, Warping 1,026.46 Special Cost on Ply Yarns, Twisting 3,230.00 Special Cost on Skein Yaans, Reeling 2,950.00 Special Cost on Print Cloth Dressing $ 690.00 Weaving •7,228.94 Repairs, Weaving, Labor (6%) 180.00 " " Supplies (6%) 468.00 Power Weaving, Labor (4%) 74.00 " " Supplies (4%) 295.00 Sizing Materials 506.00 9,441.94 The rule for finding the average number of a plain fabric, is based upon the principle of reducing the yarns to an equivalent weight of number one yarn, and then dividing again into the same number of threads, as the previous counts, but all of an equal size. The rule is expressed as follows: Divide the threads per inch of warp, by the number of the warp yarn, and add the quotient to the picks per inch divided by the number of the filling yarn. Divide the sum of the picks and sley by the sum of the two quotients, above 8M 12 COST FINDING described, and the result will be the average size or number of the yarn. The same idea will enable us to find the average number of the mill product as follows: No. 10 Yarn 30,000 lbs. X 10 300,000 325,000 lbs. 380,000 " 150,000 " 855,000 lbs. X 25 21,375,000 25 " Warp Chains 25 " Skeins 25 ' ' JV Chains 28 " ^% Skeins 175,000 " 28 " Print Cloth Warp 128,800 " 303,800 lbs. x 28 8,506,000 30 " 3^^ Skeins 120,000 lbs, x 303,600,000 36 " Skeins 50,000 " 36 " Print Cloth Filling 101,200 " 151,200 lb s, x 36 5,443,200 1,460,000 lbs. 39,224,600 -=- 1,460,000 = 26.8662 = Average number spun. 39,224,600 Spooling Warping Twisting Reeling ^Tj Skein Yarn as -^^ 30,000 lbs. lbs. lbs. lbs. " s TO 30,000 30,000 25 Warp Chains 325,000 325,000 ^\ Chain as ^V 150,000 150,000 150,000 150,000 25 Skeins 380,000 A " ^^ aV 175,000 • 11 175,000 175,000 28 Print Cloth Warp 128,800 128,000 s\ Skein as J^ 120,000 11 2 "3TJ 120,000 120,000 36 Skein 50,000 1,078,800 lbs. 603,800 lbs. 475,000 lbs. 755,000 lbs. The cost per pound of each of these operations on each variety of product is estimated after the same manner, as the cost in com- mon. This we will illustrate in the cost of spooling. It will be noticed that the two-ply warps undergo spooling twice, first as sin- gle yarn, and again as double yarn. In determining costs, ply 302 COST FINDING 13 yarns are considered single yarns of equal weight, that is -/^s is treated as single 14s. SPOOLING No. 10 Yam 30,000 lbs. x 10 = 300,000 25 Warp Chain 325,000 lbs. A Chains as J^ 150,000 " 470,000 " X 25 =11,875,000 ^^ " " -i^ 150,000 " X 12.5 = 1,875,000 •^3 Skein as ^V 175,000 " 28 Print Cloth Warp 128,800 " 303,800 " X 28 = 8,506,400 3^0 Skein as gV 120,000 " X 30 = 3,600,000 Total Pounds Spooled 1,078,800 " 26,156,400 26,156,400 ^ 1,078,800 = 24.246 Average Number Yarn Spooled. The total cost of spooling was $4,527.00 which divided by 1,078,800 equals the cost per pound of spooling the average number or .4196 cents per pound for spooling No. 24.246 yarn. .4196 cents -^ 24.246 = .017306 cents cost per unit of number, or cost per hank of spooling number one yarn. .017306 X 10 = .17306 cents cost of spooling No. 10 Yarn . .017306 X 25 = .43265 " " " " *' 25 " .017306 X 12.5 = .21632 " " " " " -f^ " .017306 X 28 = 48457 " " " " " 28 " . .017306 X 30 =.51918 " " " " " 30 " The correctness of these figures can be proved as follows: 30,000 lbs. of No. 10 Yarn Spooled at .17306 Cost % 51.92 475,000 " " " 25 " " " .43265 " 2,055.08 150,000 " " " A " " " -21632 " 324.58 303,800 " " " 28 " " " .48457 " 1,472.12 120,000 " " " 30 " <' " .51918 " 623.02 14,526.62 By the same methods we find the cost of the special costs of Warping, Twisting and Reeling to be as follows: Cost of Warping No. 25 Yarn .1886 cents per pound u i( 11 " _2„ " .0943 " " " (1 11 (1 11 OQ " ^11*^ " " " Cost of Twisting No. y^ Yarn .2573 cents per pound " " " " A " .6434 " " " It 11 11 " _s_ 11 .7206 " " ' " (< 11' (1 " -2- " .7720 " " *' 303 14 COST FINDING w f^ J ^ 5 J o <: K mOI CO i^co CO Ph Lo -^ tc o 5 o g CO (2^ tn CO 1—1 LO o CO CO CO Ol (M oq O CO CD ^ CO t^ CO -H Ol -^ CD ^ CM O CO cn CO t^ CO CD t^ lO Of) ^ T— 1 . 1—1 o CD 00 CO 1—1 •* CO o CO o 1— 1 T-H 0) > 13 O ■ a a; 3 o ft .2 6 m OS OS fir " &0 bn bn >► 1=1 fl a a isD a ,9 o- a 33 OD "o - a a CO CO 02 o (53 ^ H a> o s O ^ rt be fe O &H 304 COST FINDING 15 Cost of Reeling No. -f^ Yarn .0825 cents per pound 2 ^8 II .2310 2 ■30 u .2475 25 11 .4125 36 II .5940 Cost of Special Operations for Print Cloth 230,000 lbs. $9,441.94. $9,441.94 -- 230,000 =4.1052 cents per pound. The stock used in these yarns and goods is the same, excepting that the -j\ Skein Yarn has been made one-half of cotton and one- half card strippings. The balance of Cotton account showing the cost of cotton for the mill is therefore divided by the total product, less one-half the amount of -^-q skein made. 1,460,000 - 15,000 lbs. = 1,445,000 lbs. $144,500.00 - 1,445,000 = 10 cents per pound for cotton for each pound of yarn made, excepting -^-q skeins. The y^^- skeins were one-half strippings worth 60 % of the cost of cotton, or for the whole amount of yarn made: 15,000 lbs. @ 10 cents for cotton $1,500.00 15,000 " " 60% of 10 cents 900.00 30,000 lbs, at an average price of 8 cents = $2,400.00 The value of the strippings used should therefore be added to the value of waste sold. That much of waste used not having been credited to waste account, previously, it should now be credited to the products made from clean cotton. A deduction for the value of waste may now be made from the cost of cotton. Waste sold $6,100.00 plus $900.00 waste also made but used = $7,000.00. $7,000 - 1,445,000 = .484 cents credit to cost cotton per pound of product for waste sold. (Only one-half of this per pound of -^-Q skein.) The only two items now remaining undistributed are the Freight on product and Commissions. The freight paid in this case is more on the print cloth than on the yarn, per pound, being 65 cents per hundred, and the balance divided among the other products, equally. Of commissions it should be said, before the division of the cost, that those on the print 305 16 COST FINDING cloth amount to above 2 % of the cost, the No. 25 chain warps were sold direct, and no commissions were paid on these, while the balance amounting to about 9.85 % was divided among the other products on a percentage basis of the cost as shown below. At this stage the proof of the accuracy of the mathematical work may be had thus: 30,000 lbs. of ■^^ Skein at 10.330 cents per pound, cost $ 3,099.00 380,000 ' 25 " " 14.189 53,918.20 325,000 ' 25 Chain " 14 399 46,796.75 150,000 ' ^-^ " " 15.163 22,744.50 175,000 ' ^% Skein " 15.654 27,394.50 120,000 ' -,% " " 16.050 19,260.00 60,000 ' 36 " " 15.986 7,983.00 230,000 ' Print Cloth " 19.286 44,361.80 * $255,547.75 Cost of C )otto] a $144,500. Less value of Waste sold 6,100. $138,400. Labor 52,823. General Charges, without Commissionfe 34,746. $225,969.00 This discrepancy might be avoided by carrying the work to further decimals. 421.25 The bookkeeper having worked out the costs of manufactur- ing as above under the supervision of the superintendent, the proc- esses and results were shown to the manager. The costs of some of the yarns were more and of others less than he expected, and after an examination of the tables, the manager once more sent for the superintendent. "I have examined the way you get at the cost of the different numbers of yarn, etc., and think I understand it, and believe it is about right. But there are one or two inquiries I wish to make. First, the idea underlying the whole operation seems to me a mere assumption that the cost will vary as the number or fineness of the yarn. This may be so or it may not. I do not see anything to prove it. How do you know this, or don't you know it? There may be some reason for believing so; if there is, I would like to know it, but I confess that it seems to be taking a great deal for granted." "The average number system of cost finding," replied the superintendent, "was not original with me. For many years it 59e COST FINDING 17 has been used by mill men as a convenient and ready way of reck- oning costs and making estimates on cotton goods. I have been told that early New England manufacturers adopted it after a care- ful examination in detail of the cost of various operations on dif- ferent organizations of goods. I suppose they were satisfied of its approximate accuracy. Some justification is afforded by such figures as the following, which represent actual results in a large mill in New Hampshire for the six months ending May 2, 1885. This company operated three mills, making various organizations, and you will note that the total manufacturing labor costs vary very nearly as the average numbers. In fact, do not vary from this stand- ard more than the same mill might vary its own record in the chang- ing vicissitudes of continuous operation." No. 1 Mill No. 2 Mill No. 3 Mill Average Average No. of Product 26.83 22.93 18.12 21.64 Labor, Carding 1.131 cts. 1.004 cts. .757 cts. .919 cts. " Warp Spinning .566 " .394 " .331 " .406 " Filling " .465 " .438 " .385 " .420 " Dressing etc. .517" .454" .348" .420 " Weaving 2.779 " 2.527 " 1.825 " 2.260 058 " ' 4.817 " 3.646 " 4.425 Based on the cost of the average number for the whole plant, the costs would be as follows: 5.487 4.680 . 3.705 By these figures it will be seen that the variations of the actual cost from the estimated cost by the average number is as follows. No. 18.12 .059 cents per pound " 22.93 .128 " " " " 26.83 .029 " " " The greatest variation is therefore less than three-tenths of one per cent. " Further than this, I think I can show you why this method has some basis of reason in it. As you are well aware, a most -impor- tant element in the cost of any product is the amount that can be produced in a given time. If I were spinning, say, number 30 yarn, and some one should come along with an invention which would enable me, other factors remaining the same, to double the produc- tion per spindle, the cost of spinning would be reduced nearly one- half. So, if I should change to a coarser yarn the production would 307 18 COST FINDING be increased, and the cost per pound decreased. Not proportion- ately decreased, but in nearly that ratio. As the amount of product increases, however, there is so much more material to be handled, so that there is more expense for labor in attendance and handling. "If you examine the tables of production of spinning frames you will find that the pounds per spindle decrease as the yarn grows finer, in a ratio somewhat exceeding the reverse ratio of the change in number. For example, one of the production tables in common use gives the production in pounds per spindle per day as follows: No. 8 Yarn " 1.082 lbs. "16 " .497 " " 24 " -294 " " 32 " .200 " " 40 " .152 " "It will be noticed that 8 (yarn) is one-fifth of 40 (yarn) but the production of JSTo, 8 is rather more than five times as great. This increase in ratio approximately covers the increased cost of attendance and handling of the coarser yarns. It is thus that it comes about that the cost of manufacture varies in nearly the same ratio as the number. To be sure the spinning frame is not the only machine in a mill, but it is to a considerable degree the gauge of the production, and the elementary principle holds in all departments that the higher the number of yarn the greater the cost of production and manipulation. Labor Costs are not the only ones affected by production. The cost of Power, Taxes, Insurance, Salaries, Repairs, Interest, and some other items of expense are similarly affected by the rate of production, "The same New Hampshire mill I have mentioned had a prac- tice of charging Interest, Insurance, Taxes, General Expense and Salaries at an equal amount per pound whether the average num- ber were 17 or 27, and whether the production were consequently greater or less. This seems to me jdenying the principle in its most evident application. For an increase or loss in production would not affect the gross amount of these expenses, but the more pounds produced the more to divide them among and pro- portionately the less per pound," "I concede the force of much you have said," answered the manager, "and I imagine that for numbers of a moderate range such a system might be very convenient and as eflicient as any 308 COST FINDING 19 that could easily be devised. I can also see that it might find a widespread and proper application in mills under the circum- stances apparently prevailing in the mill you instanced where there are a number of organizations not widely dissimilar, and without a wide range in the numbers of yarns spun. Its weakness lies in there being no means of proving its results, no certainty that its limitations have been observed, and no recognition of varying con- ditions. "As an illustration of my first objection, you cannot, in any way, prove that the costs of Reeling, as distributed by you over the yarn made into skeins the last six months, are just. In fact they do not very well agree with the prices per pound we paid for the work. This also illustrates my second point. Further, I do not suppose you would claim that making number 100 yarn would cost just ten times as much as making number 10 yarn. That is, there is a limit to the average number method of reckoning costs, "And lastly, suppose two sateens, woven, one with a warp face, and another of a similar organization but with a filling face. They would both have the same average number, but would both cost the same ? And two fabrics of utterly dissimiliar organiza- tion might have the same average number and according to your theory would have the same cost per pound, which I do not think probable. "Furthermore, the changes and extensions we propose in this plant will bring in such varying factors, that our past methods will be crude and incomplete. It has been so, to some extent, al- ready, for our weaving has introduced an element which along with, and in addition to, our yarn, makes the separation of expenses of operating the departments a problem for serious study. "I have been thinking and enquiring about this matter for some time and I propose in another six months to install a system by which I may hnow what our goods cost, prove the estimates to my own satisfaction, and challenge any one to dispute their accu- racy. "In the first place, I propose to separate the Manufacturing and the Distributing expenses. We have been fortunate in our short experience in disposing of our product as fast as made, but this 309 20 COST FINDING will not always be our liappy lot. Under these past circumstances the expense of Freight and Commission might, with fairness to the results, be considered costs along with other expenses, but they are different in their nature, belonging to the commercial de- partment of our business along with such charges as advertising and bad debts. If we, in the next six months, find ourselves with a lot of unsold goods, on which we have paid no freight or com- missions, the amount of these charges which we have paid must not be charged into manufacturing, with labor and supplies, but kept in a separate account. "We shall have a plant selling a part of its product as yarn, and weaving the remainder of its yarn into cloth. We may even be compelled to purchase some yarns. Under these conditions the apportionment of the expense of Eepairs, Supplies, Power, Insur- ance, Taxes, etc., should not be left to guesswork, even though we style the guess an estimate, but should have some basis in ac- counting of the amount chargeable to each department. This the method we have just followed does not afford." The manager at once put in operation a series of reports for the purpose of affording detailed information regarding the cost of each operation, which were placed on record, and made a basis for making up the estimates of cost at the end of another six months' period. In the meantime there had been completed some changes and additions for the purpose of putting a part of the mill on colored w^ork, and a coarse cheviot was made in this portion of the mill, so as to utilize the waste. Product of the Enterprise Cotton Mill Six months ending Dec. 29, was as follows: 102,000 lbs. Cheviot 160,000 " Print Cloths 250,000 " Madras 100,000 " 1-25 long chain Warp Yarns 120,000 " 1-28 Skeins 80,000 " 2-28 " 812,000 " Total 810 COST FINDING 21 The organization of the cloths was as follows: Cheviot .... Print Cloth Madras .... Warp Yarn Filling Yarn Sley Picks Widths Yds. Per lb. Warp % Filling 8 12 66 45 29 2.15 70 30 28 36 64 64 28' 7.00 56 44 25 32 56 60 28 6.00 60 40 Sizing on Warp 6 6 6 The weight of the cloth given above is as it comes from the looms. There are several factors tending to modify this weight, as compared with the weight of the yarn originally consumed in the making of the cloth. The principal of these are, the weight added by sizing, the effects of coloring and bleaching, and the loss in waste. If the mills were making but one grade of goods, these would be of no special importance. But comparing the weight of woven goods with the weight of yarns, it is worth while to consider whether some allowance should not be made in order to put the yarns sold on a just footing with the cloth woven. As concerns the sizing, the weight of starch and other com- pounds used equals about six percent of the weight of yarn dressed. This is equivalent to approximately four percent of the weight of the cloth. And if no other factor entered into the calculation it would be necessary to reduce the weight of warp yarn used in weaving by this six percent, in order to place it on a parity with other yarns. But since spooling, in the operation of warping, beaming, dressing, drawing-in and weaving, there has been a further loss of weight in waste. This loss has been greater on the warp yarns than on the filling, because of the more hand- ling of the chains and the chafing of the warp. This loss is greatest on the yarns which have been sized, and may have amounted to one and one-half percent in weave room sweepings alone; a loss partly of warp and partly of sizing. On the whole, the waste in operations subsequent to spooling, is sufficient to largely offset the gain in sizing, and we make no allowance for the weight added in sizing. Furthermore, dyeing and bleaching affect the weight of cot- ton. The madras is largely white with colored stripes. This white yarn or cotton is bleached, which causes a loss in weight. 811 22 COST FINDING But there has been an increase of weight in dyeing the colored yarn, varying according to the nature of the dye, and the depth of shade. In this instance we will estimate that one offsets the other, so that no allowance need be made either way for dyeing or bleaching;. In the case of the cheviots, there is no bleached stock of consequence used in them, but the colors, both warp and filling, are mostly heavy or dark ones, and it is thought well to make an allowance of two percent from the weight of the cloth, in estimat- ing the amount of gray yarn or cotton used in their manufacture. The cheviots for purposes of cost estimate will therefore be 100,000 lbs. instead of 102,000 lbs. The cheviots were a coarse colored fabric, manufactured to utilize card strippings and flyings. The yarn being composed of about seventy percent waste of this character, with some cleanings from picker motes. These were dyed in the loose cotton or waste, and spun thus, into colored yarns. The goods were finished and shipped in bales. The print cloths were the same organization as before and shipped in rolls. The madras were a medium grade fabric, with bleached and colored warp yarns. The bleached warp was spun from bleached cotton, but the colored warp was spun in the gray and made into long chain warps, dyed, beamed again, and dressed on a slasher. A portion of the warp yarn for these goods w^as of printed yarn, and as the mill did not care to purchase a machine for this pur- pose, the yarn was bought, printed, in long chain warps, amounting to 10,000 pounds. A portion of these goods, also, was woven on drop box looms for the purpose of making check patterns. The filling in all the stripes was bleached, and this with the bleached and colored filling in the checked patterns was spun from bleached or colored cotton. Only a small amount of colored filling was used, as the filling stripes of color were mostly small. The warp in these goods was irregular, some of the patterns having small cords where several warp threads were woven as one. For the goods described above, and the, yarns sold, the follow- ing yarns were required: No. 8 Yarn, Cheviot Warp 70,000 lbs. '' 12 " " FUling 30,000 " 312 COST FINDING 23 No. 25 " Madras Warp 150,000 lbs. 25 " Warps Sold 100,000 " 25 " Total 250,000 lbs. 28 " Print Cloth Warp 89,600 lbs. 28 " 1-28 Skeins 120,000 " 28 " 2-28 Skeins 80,000 " 28 " Total 289,000 32 Filling for Madras 190,000 36 " " Print Cloth 70,400 810,000 lbs. We may divide the cost into three divisions, 1st, The Stock or Material. 2nd, The Labor in Manufacturing. 3rd, The General Charges, Supplies, Power, Etc. We will take these up in the order named. The Stock or Material put in process for these yarns and goods v^^as, as previously stated, 1920 Bales of Cotton, 903,614 lbs. costing $72,289.12 77 " " Strippings, 35,000 " " 1,820.00 No. 25 Printed Yarn 10,000 " " 2,500.00 Passing by for the present the Printed Yarn, we recall that seventy percent of the cheviot, and all of the other output of the mill, are made from the same general quality of cotton. We may therefore separate the stock used into these two classes, and on the assumption that the proportion of waste made has been the same in both classes, proceed to find the percentage of waste, and then work back by means of this to estimate the amount of waste and cotton originally put in process, in each class of stock. For it has not been practicable under the circumstances to keep an ac- curate weight of it. We then approximate the value of the waste used which was made in the mill, and credit the cost of clean cot- ton with this amount. The waste used has been from clean un- colored cotton. This value of the waste sold is then credited to each class. This value is either divided according to records of waste made, or on a percentage basis in absence of data. The details are worked out as follows: The Stock in process, Dec. 29 94,100 lbs. " " " July 30 76,700 " Excess Stock in Process Dec. 29 17,400 lbs. Product (Less Yarn Purchased) 800,000 " 817,400 lbs. 313 24 COST FINDING Cotton Put in Process 903,614 lbs. Waste Purchased and Put in Process 35,000 " Total Material Put in Process 938,614 lbs. Less Product Plus Gain in Process 817,400 " Gross Waste 121,214 lbs. Gross Waste Equals 14.83% of 817,400 lbs. Product of Cheviot 100^000 lbs. In Process Dec. 29, Cheviot Stock 9,000 " 109,000 lbs. 109,000 + 14.83% = 125,164 lbs. estimate/1 amount of stock, made up of good cotton (30%), purchased waste and in the mill (70%) both together making the 125,164 lbs. estimated as started in process for the cheviots. Total Cheviot Stock 125,164 lbs. Less Good Cotton (30%) ' 37.550 " Waste Used— Purchased, and Made (70%) 87,614 lbs. Waste Purchased 35,000 " Waste Made and Used hv Cheviots 52,614 lbs. Stock in Process July 1, all Good Cotton 76,700 lbs. $ 8,437.00 Cotton Put in Process, for Goods other than Cheviot 866,064 " 69,285.12 942,464 lbs. 177,722.12 Cotton Used for Cheviot 37,000 lbs. $3,004.00 Waste Purchased 35,000 " 1,820.00 Made and Used 52,614 " 2,735.93 125,164 lbs. $7,559.93 " Made and Used, Cr 52,614 " 2,735.93 890,150 lbs. 74,986.19 On Hand in Process Dec. 29 9,000 " 543.60 85,100 " 7,488.80 116,164 lbs. 7,016.33 805,050 lbs. 67,497.39 Waste accounted for and not 16,164 " 323.28 105,050 " 2,101.00 Total net Cost of Stock 100,000 lbs. $6,693.05 700,000 lbs. $65,396.39 By these processes we arrive at 6.693 cts. per lb. as cost of material for Cheviot, and (65,396.36-^-700,000) 9.342 cts. for all other product, excepting Madras, to which there is a further charge for 10,000 lbs. of Printed Yarn costing $2,500.00, used only on this work. This is equivalent to 1.00 cts. per pound of all Madras; but as only 8,000 lbs were consumed, 2,000 pounds being in pro- cess, the cost for yarn was .800 cts. per pound. This yarn has been neglected heretofore, because in this in- stance it is a small amount in proportion, and the waste made from it, is inconsiderable. If large amounts of yarn were purchased in different shapes, it might be necessary to separate the different departments, charging to each its material used and waste made and crediting the output. 814 KNOWLES SWIVEL LOOM FOR WEAVING A SURFACE FIGURE ON A PLAIN GROUND Crompton & Knowles Loom Works COST FINDING 25 THE MANUFACTURING LABOR The basis for the apportionment of the labor cost, consists of a series of weekly reports from each department, covering the iamount of machinery running and the amount of product, and the cost of each operation as computed immediately upon the making up of the pay-roll. These reports are tabulated, and at the end of the six months, or other period, when the costs are made up, their totals are compared with the amount of work ultimately produced by the mill. The costs are based upon the production of the room; but on account of the loss by waste and other causes, the final output of the mill, upon which the cost must be reckoned, is less than the room product. The reported costs are, therefore, less than the actual costs, and are subject to the revision noted above. Pay-rolls are subject to change, and the total labor cost of each department on the reports, is corrected by the actual amount ex- pended. This is exemplified in the case of the Card Room as follows: A single weekly report is shown, and the summary of the work for the six months. ENTERPRISE COTTON MILLS Cost of Roving for week ending Oct. 3d, '06. Hank Roving . Fly Frame Spindles Run Pounds Roving Made . Picking Carding and Drawing . . Slubber Inter. Frames Fly Frames General Room Expense , Total Wages. Cost per pound, cents . 1.00 1.50 5.20 3180 1272 25400 $ 2.25 $ 6.00 $ 1.50 $ 2.60 $ 1.60 .90 2.52 .90 1.50 .75 18.00 50.40 28.60 45.16 77.48 41.20 $13.95 6.57 260.84 .440 .517 .103 6.00 4770 3.37 9.45 7.85 11.10 19.92 8.20 59.89 .152 Summary for the Six Months Hank Roving 1.00 1.50 5.20 6.00 Total pounds made, from reports 80,720 32,800 650,900 109,200 Total pounds yarn and cloth from above 70,000 30,000 600,000 100,000 Add Inventory- Dec. 29 6,100 900 58,800 3,300 76,100 30,900 658,800 103,300 Deduct Inventory June 30 54,700 76,100 30,900 604,100 103,300 815 26 COST FINDING The sum of the cost from the weekly reports, during [ $350.16 $156.58 $6,680.27 $1,230.26 the six months is These make a total of $8,417.27. The corrections and changes in the card- room payroll after leaving as%rmakeX^co?reSe5 ^348.16 $155.68 $6,536.36 11,223.16 total as shown by the ac- count books $8,263.36 and the necessary correction re- duces the costs to The revised cost of making the roving should be obtained next, and if these total costs are divided by the sum of the goods sold plus the increase of the stock in process the results will give the actual cost per pound. $ 348.16 155.68 76100 = .457c Cost per Pound of No. 1. Hank Roving 30900 = .504 " " " " " 1.50 " 6536.30 ^ 604100 = 1.082 " " " " " 5.20 1223.16 -H 103300 = 1.184 " " " " " 6. The value of the labor on the roving and yarns in process at the end of the six months is now computed. 6100 lbs. 1. Hank Roving @ .457c = $ 28.38 900 " 1.50 " " .504 = 4.53 58800 " 5.20 " " 1.082 = 636.21 3300 " 6. " " 1.184 = 39-07 $708.19 This, with the value of labor in subsequent operations be- stowed on the stock in 'process, as disclosed by the inventory, is credited to Manufacturing Labor in closing the account books, or retained as the balance of the account, before charging 'off the remainder into Manufacturing Account. The further uses of the cost of rovings in the yarn and cloth output of the mill, will be illustrated later. A table should be prepared showing the stock in process in each department, of the amount of stock of each kind on hand, both at the beginning and end of the period, but is omitted from this illustration. The summaries of the Labor Costs in each department or operation must be treated in a similar manner. It will not always be the case that the yarn on hand at the end of the period will be greater than at the beginning. They are as often less. By the system outlined above this will adjust itself. m.6 COST FINDING 27 It will be noticed that the pounds of roving made, obtained from the weekly reports, vary about six percent from the roving accounted for by the product of the mill plus the inventory, but in later operations where there is less subsequent waste, this differ- ence should be considerably reduced. TABLE Q. ENTERPRISE HILLS. SPINNING ROOM REPORT. Cost per pound of Spiauing for week ending September 22. Number of Yarn 28 Warp 8,000 8 Warp 12 Fill 35 Warp 5,600 33 Fill 36 Fill Total Spindles Run 448 234 3,600 3,688 20,320 No. of Pounds Spun 11,200 2,600 900 9,600 4,200 3.000 31,500 Wages Spinners. $65.80 23.40 33.48 $3 60 2.06 2.83 $3.07 1.87 1.80 $40.45 14.36 34.67 $31.60 7.30 13.50 $18 00 7.20 9,60 Doffers . . General Room Expense Total Wages. $121.68 1.086 $8.43 .324 $5.74 .638 $79.48 .828 $42.30 1.010 $34.80 1.160 $392.43 Cost per pound, cts TABLE H. ENTERPRISE MILLS. WEAVING ROOM REPORT. Cost per pound for weaving, week ending September 22, 1906. Kind of Goods Cheviot Print Madras Plain Looms Madras Check Looms Total Looms Run 27 150 150 75 402 Pounds Woven 4,000 6,400 7,350 3,333 21,083 Cuts Woven 200 3,100 735 330 Wages Weavers 147.90 6.10 $175.60 22.83 $230.85 31.15 $119.54 29.92 Other Hands.. Total Wages 154.00 $198.43 $262.00 $149.46 $663.89 Cost per pound, cts 1.35 3.10 3.56 4.48 Weekly cost reports of the same general discription are made for each department. Samples of these for the spinning and weave rooms are given in Tables G and H. Passing over for the present the further consideration of Labor Costs, we take up tlie cost of Repairs, Power, etc., and find the following charges to be divided among the product and the inventoried stock. 317 28 COST FINDING Labor Repairs Machinery $1368.20 " Boilers and Engine Room 1286.93 " Repairs Buildings 60.00 ti Watch 350.00 ti Electric Lights 212.50 11 Moisteners 20. % 3,297.63 Materials Repairs Machinery $1182.37 " " Buildings 120. " Fuel 7000. " Fire Protection 70. (1 Supplies, Store Room 1576.32 " " Spiecial 6895.33 16,844.02 Taxes " 5,500. Insurance 900. Salaries and Office Expense 4,000. Expense, Miscellaneous 500. Yard 600. Interest - 3,600 135.241.65 In addition to these there should be a sum set aside or charged off for depreciation of the Machinery and Buildings which will be estimated later. An analysis of these expenses for the purpose of classification will disclose that they may be fairly grouped in three general divisions. First: Those which are incurred in maintaining the plant in good repair and condition, protecting it from danger of fire and robbery and providing the necessary supplies for operation, Main- tenance, Protection and Supplies. Second: Expenses incurred in the generation and transmis- sion of Power, and of Steam for other uses than Power, Third: The cost of administration of the general conduct of the business. Under the heading Maintenance and Supplies, we collect first the cost of Maintenance in general, dividing between Machinery and Buildings and ejccluding the particular repairs of which a sep- arate account has been kept. These include. Taxes on the value of Machinery, Insurance on Machinery, Fire Protection and Watchmen in their proportion, and Depreciation. For the purpose of subdivision of these expenses make a de- tailed list of machinery in the form shown in Table M, giving in appropriate columns the value of each machine, and of the total 818 COST FINDING 29 value for each operation. By this means we find the grand total value of machinery to be $250,000. A conservative estimate for depreciation may be set at four percent, or $10,000. This com- pletes the items of General Maintenance, which are placed in the box at the head of the columns, and foot up |15,000. This amount is divided upon the machinery in proportion to the value of each operation. The percentage this bears to the total is set in Column 5, and the amount of the corresponding percentages in Column 6. This adds up the same amount as the sum in the box at the top, showing the work to be correct. We next take the items chargeable to the Maintenance of Buildings, including the furnishings. These items of expense are made up of the due proportion of those which have Just now been charged to Machinery, with the addition of Repairs in Material and Labor, an account which is supposed to have been kept. In the distribution of these items, first set down the approximate floor space occupied by each operation, next the estimated or known cost per square foot of construction, adding the accessories, automatic sprinklers, humidifiers, piping, wiring, etc. The cost of building will vary considerably, and some departments will have more or less furnishings than others. The Dye House will have a cost for piping, but no humidifiers, and the store house will have neither one, nor wiring for lights. The floor space is then multiplied by the total cost per square foot, and the products put down in Column 13. By the footing of this column, the total value of construction, etc., is found to be $100,000. To the items charged at the head of the column, we now add one percent for depreciation, making a total of $3,000. The percentage of this amount to each operation is then added in Column 14, and the actual charge, obtained by taking the percentage of $3,000, is set in Column 15. This column is then footed to prove the work correct. In the Repair Shops, a detailed account has been kept through the six months of the labor and material expended or used for each department and operation. (Total Labor $1,094.56. Total Ma- terial $1,074.88.) This cannot include the supervision of the work ($273.64), so that at the end of the period, having ascertained the percentage which the whole bears to tho hitherto recorded eost in 819 30 TABLE M. MACHINERY. BUILDINGS. Taxes . $ 4,000 700 50 250 . 10,000 $15,000 ■Rpnairq 5 Material. Repairs ^ Labor.... Taxes Insurance Fire Protection Watch Depreciation 1%.. .. .$ 130 160 Insurance 1,500 Repairs Fire Protection Watch Depreciation 4% . 100 20 100 . 1,000 $3,000 Operation. Description. Price. Total Cost. Per Cent. Distrib. $§5 m >> hfl 1.2 a "p. m U O O u ' a D. ^ 3 S t«t/3 cn Roll Covering Includinf; Card Oil Clothiug Belting Bobbins Sticks Spools Harness Travelers & Reeds Crayons Cans Shuttles Lamps Strapping Carbons Packing Starch Bands Wires LIGHT HUMID= IFYINQ STEAM AND POWER H. P. Per Ct. Distrib < H O H 13 14 15 16 17 18 19 20 21 22 23 24 25 $4 960 4.959 .992 6.313 1.155 1.925 5.774 $148.77 39.76 189.36 34.65 57.75 173.22 $31.03 3.40 33.00 15.19 35.30 43.10 $35.60 4.68 18.26 16.70 31.10 33.20 $40.10 3.80 60.42 35.60 60.40 130.00 $ 383.16 4.30 36.50 15.31 191.68 375.90 315.78 24.12 65.30 1,809.10 $33.73 5.05 63.10 13.28 30.46 61.38 $ 54 3 67 7 13 34 7.714 .429 9.571 1.000 1.857 4.857 $694.36 38.61 861.39 90.00. 167.13 437.13 $1,370.48 993 129.30 6,314 1,155 1,925 5,775 11.40 3.35 3.75 11.35 3,751.89 453.62 935.29 2,356.49 34,180 2,038 1,560 2,730 1,560 1,605 24.173 3.038 1.560 3.739 1.560 1.605 725.19 60.84 46.80 81.87 46.80 48.15 337.60 13.10 2.00 8.40 16.30 50.30 181.58 7.60 1.50 38.75 42.00 35.50 334.00 33.00 15.00 3.50 35.30 47.10 353.69 30.28 16.37 38.64 16.37 10.37 50.08 3.90 3.00 5.35 3.00 314 5 3 3 30 5 44.857 .714 .429 .429 4.286 .714 4,037.13 64.36 38.61 38.61 385.74 64.36 825.00 64.26 275.00 12.87 77.13 400.00 1,054.26 244.26 12,87 38.61 64.26 404.45 51.39 3.24 3.34 10,813.85 741.76 303.28 413.14 1,018.51 3,054.48 2,140 2.140 64.30 40.20 20.00 38.70 810.00 13.37 5 .714 1,504.73 1,560 1.560 3.379 46.80 68.37 1.10 12.00 2.60 15.30 4.30 107.10 736.23 12.37 34.55 1 6 .143 .857 113.84 3,280 1,597.58 13,480 3,130 218 12.476 3.119 .218 .316 1.793 374.28 93.57 6.54 6.48 53.76 343.13 110.30 300.10 133.05 205.60 71.30 16.80 3.30 34.30 133.13 33.03 450.00 149.40 39.23 1.64 1.64 13.09 34.06 6.00 82 19 1 3 5 11.714 2.714 .143 .429 .714 3,870.95 1,269.64 53.85 316 3.50 35.60 18.40 33.00 115.83 1,793 1,340.36 333 .333 .218 .109 9.99 6.54 3.37 13.60 3.20 3.30 .60 1.00 5.00 380.00 Ch. 180.00 Pr. 113.00 Mad. 806.00 35.10 Yarn 310.00 3.45 1.64 .83 4 .571 .036 .036 141.83 318 33.03 109 293.13 3,370 3.369 .545 5.079 3.809 .348 1.350 .133 4.399 3.150 98.07 16.35 1.53.37 114.27 7.44 37.50 3.69 138.97 64.50 3.50 1.35 3.30 1.30 60.90 350.63 33.18 34.55 4.09 .036 .036 3.34 3.24 1,316.91 545 283.88 5,080 150.00 160.00 18.00 387.00 75.00 3.50 3,810 348 94.00 30 3 3 4,286 .429 .385 385.74 40.00 35.00 1,350 133 11.50 6.34 3.12 8.60 4.30 3.10 8.30 4,300 139.41 3,150 1 69.73 $100,026 100.004 $3000.13 $1368.20 $1319.87 $1576.33 $6895.33 $818.36 $133.94 700 100,000 $10,905.19 $37,541.77 32 COST FINDING detail (25%), the same is added to the cost of repair labor ex- pended on each operation in the mill. In this supervision is included also the labor on the repair department itself. These amounts are then entered in their proper place in the table (Col- umn 16) amounting to $1,368.20. There is also an unaccounted-for balance of charges ($107.49) for material, but before this is distributed there may be added a charge of $40,00 for power. This is estimated and will be de- ducted from Power account before distributing, later. By the portion of the table already constructed, we find the cost of Maintenance of the Repair Plant to be $60.00 for Ma- chinery, and $37,50 for Buildings, etc. These three items, with the unaccounted-for balance of Repair account, are then added to the detailed materials cost, on a percentage basis, in the same manner as the general labor, and the amounts set down in Column 17. These amount to $1319.87, and prove the work correct. From the Storeroom there have been delivered miscellaneous supplies, oil, brooms, crayons, loom strapping, pickers, picker sticks, shuttles, travelers, packing, etc. An account of these has been kept, and the value delivered to each department entered in Column 18, In addition to these lighter supplies from the Storeroom, a large amount of money has been spent in paying bills for supplies of a heavier nature, such as card clothing, bobbins, spools, har- nesses, roll covering, starch, and the like. In the column in which these are also included some items especially applied to particular classes of costs, may be disposed of, such as packing cases, bands, burlaps, cloth boards, cones, etc, with a notation of the amount. The amount of all the items chargeable to each department or oper- ation, may perhaps be most easily ascertained by an inspection at th© end of the period of the bills charged to this account. In Column 20 are the expenses of Lighting ($818.36) as sum- marized in the box at the head of the column. The items include Maintenance of Machinery $66.00, and Buildings $7.44, as taken from Columns 6 and 15 of this table. Repairs and Supplies from Columns 16, 17, 18 and 19 amounting to $146.68, and the cost of Power as later ascertained $385.74 and Labor $212.50 from the division of general Labor, already given. This cost is divideci 228 COST FINDING 33 among the departments in proportion to the light or current used, omitting the Power and Kepair departments, as these cannot be closed and divided up, until after all items have been determined. On the other hand the cost of Lighting cannot be settled until the expense of Repairs and Power has been ascertained. As the costs of these latter are more important than the former, the lighting of Repairs and Power Departments is passed over. The cost of Plumidifying is determined and distributed in a similar way. It will be noticed that this expense applies to but a portion of the mill. The costs of Power and Steam are next worked up. As a con- siderable amount 'of the steam generated at this plant is used for dyeing, drying, warp dressing, and finishing, a separation is made between the Boiler and Engine Installations, and with the cost of running the latter is included the care and maintenance of shafting. The cost of Steam is made up of Fuel |7,000,00, Labor 1646.93 (both taken, from the records). The Repairs and Sup- plies as taken from this table amount to $498.00, and the Main- tenance of Machinery |576.00, and Buildings $152.37. Of the total $8,873.30 thus obtained, estimated amounts are apportioned in Column 24, to Dyeing, Dressing and Finishing, to cover the cost of these processes. The remainder of the cost of Steam is added to the cost of Labor $640.00, Repairs, etc., $485.62 and Maintenance of Machinery $792.00, also Buildings $114.27, applicable to the Power Plant. In Column 22 is set down the estimated average power con- sumed in each operation. The total Is 700 horse power. The per- centage of each operation is extended in Column 23. The total cost of Power, including the balance of Fuel is then divided accord- ing to the percentage of power used and carried out into Column 24. This column, including the amounts already allotted for Steam, will now foot up to the sum of cost of Steam and Power, $10,905.19. Excluding Steam, Power, Lights, Repairs, and Humidifying, which have been redistributed, the General Expense of Maintenance, Supplies, Power, etc., are then added across the page, horizontally and enumerated in Column 25. We have now the means of uniting the Labor Cost with that of Maintenance, Supplies and Power, hereafter abbreviated to M.S, 8S3 34 COST FINDING and P., for the same departments, and dividing the combined amounts among the various kinds of product. This is accomplished in a series of forms such as follow: Semi^Annual Cost Sheet, Card Room. Total lbs. carded stock lu Yarns and Cloth made. No. of Hank or Roving Total. 1. 1.50 5.20 6.00 Total lbs. carded stock in Yarns andClotb made. Add Inventory- Dec. 29 70,000 6,100 30,000 900 600,000 58,800 100,000 3,300 Deduct Inventory- June 30. . . 76,100 30,900 658,800 54,700 103,300 814,400 76,100 30,900 604,100 103,300 Total. Per lb. Total. Per lb. Total. Per lb. Total. $1,223.16 174.24 Per lb. Labor Costs, cor- rected $8,263.36 1,370.48 129.30 3,751.89 453.63 935.29 3,526.49 $348.16 128.14 91.90 350.39 42.39 $155.68 52,21 37.40 142.36 17.21 $6,536,36 1,015.89 Picking, Mainte- nance, Sup. and Pow Waste Picking, Maintenance, Sup. and Pow. . Carding, Mainte- nance, Sup. and Pow 3,783.24 336.48 790.37 2,157.60 475.90 57.00 134.93 368.89 Slubbers, Mainte- nance, Sup. and Pow Interm ediate. Maintenance, Sup. and Pow.. Fly Frames, main- tenance. Sup. $17,420.43 960.98 1.263c $404.86 1.310c $13,619.94 3.354c $2,434.65 2.357e As a basis of division of cost, at the top of the form are given the pounds of roving contained in the finished product of the mills, and this is then corrected to the amount passed through the card room, by adding the inventory at the end of the period and deduct- ing that at the beginning. The corrected labor costs are then in- serted. The total cost of M.S. and P. of Picking is then entered from Table M, and divided according to the pounds of each hank roving made. The M.S. and P. of Waste Picking is entered and divided among the two rovings containing waste. The M.S. and P. of the various processes of roving frames are then taken separately, and divided according to the spindles occupied on each roving. By this 324 COST FINDING 35 means the cost of 1. hank roving in the department of carding is found to be 1.263 cents per pound. 1 . 50 hank roving 1.310 5.20 " " ....2.254 6. " " 2.357 By a similar method, the tabular forms for the Spinning Room, Spooling Room, Reeling Room, Warping Room, Twisting Room, Raw Stock Dyeing, Chain Dyeing, Beaming Room, Dressing Room,.. Weaving Room, Finishing Room and Storage are entered up and figured out. Semi^Annual Cost Sheet, Spinning Room. No. of Yarn. No. 8. No. 12. No. 25 Average Spindles run 21,000 500 310 6,133 .Lbs. Spinning in Cloth and Yarn 800,000 24,300 70,000 4,900 30,000 100 240,300 Add Inventory Dec. 29 18,500 Deduct " June 30.... 824,300 8,900 74,900 30,100 2.58,500 Labor Costs, corrected .. .. Maintenance, Sup. and Pow 815,400 $ 6,999.90 10,812.85 74,900 $214.70 .300c 257.43 .330 30,100 $195.65 .650c 159.61 .530 258,500 $3,197.35 .850c 3,157.63 1.223 $17,813.75 $472.13 .630c $355.26 1.180c $5,354.88 2.073c No. of Yarn. No. 28. No. 32. No. 36. Average Spindles run 8,126 3,400 2,531 Lbs. Spinning in Cloth and Yarn Add Inventory Dec. 29 289,600 100,000 800 70,400 Deduct " June 30 289,600 8,100 100,800 70,400 800 Labor Costs, corrected 281,500 $2,533.50 .900c 4,184.45 1.487 105,000 $1,058.40 1.050c 1,750.53 1.737 69,600 $ 800.40 1.150c Maintenance, Sup. and Pow 1,303.21 1.873 $6,717.95 3.387c $3,808.93 3.787c $3,103.61 3.022c Senii=Annual Cost Sheet, Spooling Room. No. of Yarn 8 25 38 Average No. Spindles run 50 600 350 Pounds spooled yarn in cloth and yarn . . . Add Inventory Dec. 29 479,600 44,.500 70,000 4,700 240,000 25,500 169,600 14,300 Less Inventory June 30 524,100 28,500 74,700 365,500 5,000 183,900 23,500 495,600 $ 1,775.63 741.76 74,700 $ 112.05 .15 c 37.09 .049 260,500 $ 989.90 .380c 445.05 .171 Labor cost, corrected Maintenance, sup- plies and power. $ 673.68 .430c 259,63 .163 $ 3,517.39 $ 149.14 .199c $1,434.95 .551c $ 933.30 .582c 36 COST FINDING Semi-Annual Cost Sheet, Reeling Room. No. of Yarn 28 53 Average reels run 13 3 Pounds reeled yarn, in yarn sold 120,900 900 80,000 Add inventory Dec. 39 800 120,000 1,000 80,800 Deduct Inventory June 30 500 119,900 $575.53 .480c 243.63 .303 80,300 Labor Costs, cor- rected Maintenance, S u p - plies and Power $ 876.64 303.28 $301.13 >375c 60.66 .075 $1,179.93 $818.14 .683c $361.78 .450c Semi=Annual Cost Sheet, Warping Room. No. of Yarn 8 25 28 No. of Machines run 5 5 1.5 Ponnds Warped Yarn in CI oth and Yarn 70,000 3,700 .240,000 22.500 89,600 Add Inventory Dec. 29 10,500 Deduct Inventory June 30 73,700 262,500 100,100 20,000 Labor Costs, corrected Maintainance, Supplies and Power $1,097.24 413.14 73,700 $93.13 .135c 39.51 .040 262,500 $708.75 .270c 295.10 .112 80,100 $296,37 .370e 88.53 .110 $1,510.38 $131.63 .165c $1,003.85 .382c $384.90 .480c Semi=Annual Cost Sheet, Twisting Room. No. of Yarn 2138 No. of Spindles ran 80,000 800 Deduct Inventory June 30 80,800 500 Labor Cost, corrected 80,300 $ 531.95 .6.50c Maintenance, Supplies and Power . . . 1,018.51 1.368 $1,540.46 1.918c Semi=Annua! Cost Sheet, Raw Stock Dyeing. Pounds cotton dyed in raw stock in clotb • 398,500 Add Inventory Dec. 29 33,500 332,000 Labor cost, corrected $ 644.00 .200c Maintenance, sup- plies and power 3,054.48 .948 $3,698.48 1.148Q 3S6 COST FINDING 37 Semi=AnnuaI Cost Sheet, Chain Dyeing. 67,000 10,700 77,700 Pounds of dyed stock in cloth made Add Inventory Dec. 29 Labor Cost $ 293.10 Maintenance, Supplies, Power .' 1,504.73 $1,797.83 $1,797.83 -=- 77.700 = 2.314e per lb. cost. Semi^-Annual Cost Sheet, Beaming. Pounds of Beamed Yarn in Cloth Made Add Inventory Dec. 29 Labor Cost ■ ' $669.60 Maintenance, Supplies, Power 112.84 $782.44 $669.60 -^ 83,700 = .800 per lb. Cost Labor. 112.84 -f- 83,700 = .135 " " M., S. and P. .44 -i- 83,700 = .935c Total Cost per lb. 75,000 8,700 83,700 Semi^Annual Cost Sheet, Dressroom. No. Slashes run. Kind of Warp. Total. Cheviot. Madras. Print. Pounds dressed yarn in cloth made 70.000 3,500 150,000 17,000 89,600 Add Inventory Dec. 29 9,000 Deduct Inventory June 30 72,500 167.000 98,600 18,000 Labor cost $1,685.83 1,597.58 73,500 $253.75 .350c 273.25 .377 167,000 $1,085.50 .650c 948,11 .568 80,600 $346.58 .430c Maintenance, Supplies, Power 376.22 .460 $3,283.41 $527.00 .727c $3,033.61 1.218c $722.80 .890c Semi^ Annual Cost Sheet, Weave Room. Kind of Goods Total Cheviot Print Madras Check Madras No. of Looms run 27 153 150 75 Pounds of Cloth woven . . . 100,000 $1,380.00 1.380c 316.71 .318 160,000 $4,880.00 3,050c 1,704.69 1.123 170,000 $6,120.00 3.600c 1,7.59.55 1.030 80,000 Labor Cost, cor- rected . $15,860.00 3,870.95 1,269. 64 $3,480.00 4.350c M. S. & P. Plain M. S. & P. Check looms 1,269.64 1.587 $31,000.59 $1,696.71 1.698c $6,674.69 4.173c $7,879.55 4.635C|$4,749.64 5.937c 367 88 COST FINDING Semi" Annual Cost Sheet, Finishing Room. Kind of Goods.. .. Total . Yarn. Cheviot. Print. Madras, No. of Pounds.... 810,000 300,000 100,000 160,000 350,000 No. of Yards 215,000 1,120,000 1,500,000 • Labor Cost. $2,090.00 $600.00 $150.00 $240. 00 $1,100.00 Sewing, Main., Sup. and Power 52.85 4.00 22.00 26.85 Brushing, Main., Sup. and Power 115.83 8.40 46.20 61.23 Tentering, Main., Sup. and Power 1,240.36 1.240.36 Calendering, M'n., Sup. and Power 141.83 60.48 81.35 Folding, Main., Sup. and Power 33.03 13,80 18.22 Winding, Main., Sup. and Power 293.13 393.13 Cloth Pressing, Main., Sup. and Power. 1,316.91 225.11 173,00 918.80 Yarn Pressing, Main., Sup. and Power. 282.88 283.88 $5,565.81 $882.88 .294c $387.51 .388c $555.48 .347c $3,739,94 1.4960 Semi^Annual Cost Sheet, Storage. Kind of Goods Stored Cotton. Cheviot. Madras. Skein Y'rn Total. Percentage of Space Used 100% 20% 60% 30% Pounds Stored $139.41 $13.95 $41.83 $13.95 Cotton Warehouse $69.73 Cost per pound Finished Goods. .018c .014c .017c .005c It is unnecessary to follow in detail all the calculations of these forms. Concerning the distribution of M.S. and P. it should be un- derstood that as a rule it is to be divided according to the pro- portion of machinery run, rather than the pounds produced. For example, in the Spinning Room, one thousand spindles will require about the same floor space, oil, and power whether run on No. 8 yarn or on No. 36 yarn, but the production in pounds will be far different. It is, therefore, contrary to good reasoning, to divide this expense on the basis of so much a pound, but rather should it be on so much a spindle, and the pound cost will take care of itself. The force of this is seen again, in the Weave Room, where the madras is divided into two portions: that woven on plain looms, and that woven on drop box looms — with a decided increase in cost of the 828 COST FINDING 39 latter — and again in the contrast of the cost of the cheviot and print cloth. The last expression of the Cost is made on the Assembling Sheets, of which we may conveniently make two, one for yarn and one for cloth. As tlie name implies the departmental costs are here assembled under proper headings to obtain the full gross costs of manufacturing. Assembling Sheet Yarn. Number 35 Warp 28 Skein fs Skein Carding 2.254c 2.073 .551 .382 2.254c 2.387 .582 2.254e (Spinning 2.387 Spooling Warping Twisting 1.918 Reeling .682 .294 .005 .018 .450 Finishing .294 .294 Storage, Yarn s .005 Storage, Cotton .018 .018 General Expense and Interest 5.572 .598 9.342 6.222 .672 9.342 7.326 .832 Cotton 9.342 Freight 15.512 .252 1.600 16.236 .330 1.680 17.500 .336 Commission 1.760 Total Cost Yarns 17.364 18.246 19.901 Taking the case first of No. 25 warp yarn; we find this to be made from 5.20 hank roving, and the department cost of carding this, from the Semi-Annual Cost Sheet, is found to be 2.254, which is set down in the proper space. The other sale yarns are also made from the same size roving, and are similarly entered. From the Spinning Room Cost Sheet we find the cost of spinning No. 25 yarn to be 2.073 cents, now to be entered below the carding. After the same manner we obtain and enter the costs of Spool- ing, Warping and Finishing. We omit Twisting and Reeling as having no part in the cost of single warp. We omit also Storage of Yarn as this yarn was shipped promptly upon being packed. The storage of cotton, however, is a part of the cost, and is included. 329 40 COST FINDING Following the same steps with all the yarns, we find the sum of the costs, thus far attained, to be No. 25 Yarn 5 . 572 cts. No. 28 Skein Yarn 6 . 222 " No. ^^a " " 7.326 " These figures include all the costs of manufacturing proper except the stock, and certain general expenses which are not assign- able to any department, nor can they be divided among the products by any system by which it is possible to say: "We know that so much money was expended for Salaries, Postage, or Cleaning up the Yard, and the expense is directly caused by such a kind of goods or yarn, and chargeable to it." These unassignable expenses as shown by the mills accounts, are Salaries and Office Expense $4,000.00 Miscellaneous Expense 500 . 00 Yards 600 . 00 Interest 3,600.00 $8,700.00 This sum is found to be 1^% of the amount of other expenses, excluding cotton and yarn purchased, and is divided among the products on this percentage plan. It may fairly be assumed that those departments having a higher labor cost and using more sup- plies, will call for more supervision, more correspondence and office expense, more general labor and money borrowed. Charges of in- terest on money used in the purchase and carrying of cotton, may previously be calculated and added to Cotton account, or the cost of interest on funds invested in cotton and finished goods may be added to the Semi-Annual Storage Report, if thought more con- venient. This percentage of general expense should be added before the inclusion of the cost of stock, since the latter bears no relation to it and, varying from season to season, would vary the proportion of expense to each product without good reason. We have already found the cost of stock used in all yarns sold to be 9.342 cents, and having added this to the previously ascertained cost, the full manufacturing cost, with the exception of the important one of profits, is completed. As the purpose of all manufacturing is gain, and the utility of cost investigation lies in showing where, and how much of that gain 830 COST FINDING 41 has resulted or will result, profits may be considered legitimately an element of cost. It is often easier to determine what it ought to be, than to obtain it under adverse market conditions, and it is occa- sionally obtainable to a greater degree than is necessary for an average return on capital invested. The return on capital investment, how- ever, is the only basis, when considered as a cost. If there is no wide variation in product, such as would be the case if the yarns already considered were the only product, the necessary profit might be reckoned from the production per spindle of each kind of yarn, but in such a combination of departments and processes as arise in a spinning and weaving mill, a better rule is to calculate the gross profit desired, and add the necessary percentage to the costs, again excluding the stock used. The cost of the stock used should be omitted because it is such a variable element. Depending upon conditions of the crop and markets, it may vary fifty per cent in price, while the margin neces- sary for fair returns would be unchanged. Of two kinds of goods having a very different cost of stock, the one costing more might, on account of greater production per unit of loom or spindle, require less margin of profit than the other. The Manufacturing Costs having now all been obtained, the additional expense of marketing and distributing goods must be had. These include Freight, paid on goods shipped. Commissions, for selling, and sometimes Advertising, Traveling Expense, and other items. In these tables the net Commissions are added as a percentage, varying according to the contract with the seUing house, or with trade custom. The estimated amount which will have to be paid for freight is added. It must be borne in mind that these items are based on the actual cost per yard or pound of the product under estimate. Unlike other factors this cost per pound cannot be taken from the net expense incurred during the periods. It is quite usual for goods to be stored in large quantities, so that the expense of distrib uting is a very variable one, so far as amount of charges in any length of period is concerned. Goods which it took most of the time for six or nine months to manufacture, may be stored and then cleared out in one or two 331 42 COST FINDING months, and all the charges for selling and shipping, concentrated in a short time. ASSEMBLING SHEET, CLOTH. Cheviot Warp No. 8 No.lh.r. Fill No. 12, 1.50 " Yards, per lb., 2.15 Print Cloth WarpNo.28.No.5.20h.r Fill No. 36, 5.20 " Yards, per lb. 7.00 Madras WarpNo.25,No.5.20h.r Fill No. 82, 6.00 " Yards, per lb. 6.00 Cost per pound Per cent used Cost per pound Cloth Cost per pound Per cent used Cost per pound Cloth Cost per pound Per cent used Cost per pound Cloth Labor Cost, corrected Carding warp Carding filling Scinning warp Spinning filling Spooling warp Warping 1.263 1 310 .630 1.180 .199 .165 70 30 70 30 70 70 .884 .393 .441 .354 .159 .106 2.254 3.254 2.387 3 022 .582 .481 56 44 56 44 56 56 1.262 992 1 337 1.330 .326 .269 2.254 2.359 3.073 3.787 .551 .382 .935 1 148 2.314 1.218 56.8 40.7 56.8 40 56.8 56.8 SO 70 26.8 60 i.2T9 .943 1 177 1.115 .313 .217 Beaming .281 Raw Stock Dyeing. .. Chain Dyeing . 1.148 100 1.148 .794 .620 Dressing .727 70 .509 1.698 .388 .018 .014 .897 56 .502 4 172 .347 .018 .731 Weaving 4.635 Finishing 4.496 Storage, Cotton .018 Storage Goods .017 Total Mill Expense . . 6.112 10.555 13.635 General Expense and Interest 11^3% .693 1.203 11.758 9.342 1.565 6.805 6.693 15.260 Cotton . 8.968 Yarn .800 13.498 .560 .850 14.908 21.100 .240 .350 24.968 Freight .720 Commissions 1.500 31.690 37.188 The above cost of Madras is for 170.000 lbs. woven on plain looms. The 80,000 lbs- woven on drop box looms cost (per Weave Room Cost Sheet) 5.937 cents per pound for weaving instead of 4. 635 cents as above. The total cost of manufacturing the check goods was therefore 38.490 cents per pound instead of 24.968 cents. In the assembling sheet for woven goods, we have a similar work to that on yarns, with additional elements. The Cheviot is made of 70% warp and 30% filling, made from different rovings, and therefore having different card room costs. The warp carding L263 cents per lb., and each pound of cloth contained 70% warp. The cost per pound of cloth for carding warp, was therefore, 70% of 1.263 cts., or .884 ct. per lb. The cost per pound of cloth for card- ing fining is 30% of 1.310 cts., the cost of the filling. For convenience these assembling sheets for cloth are provided with separate columns for each of these three items, and each process is entered up for the extent to which it enters into the make-up of the fabric. There is no division of the cost of weaving and subsequent operations. 332 COST FINDING 43 In the cost of warp for Madras it will be noted that only 56.8% of the cloth is carded and spun for warp. The filling is 40% of the cloth. The balance, 3.2% , is the yarn purchased which did not pass through the carding and spinning in the Enterprise Mills, and there- fore is ehminated from the labor costs of those departments. Only one half of the warp is beamed, the other half being warped from yarn spun from bleached cotton. One half the warp makes 30% of the cloth. The yarn purchased was dyed previously, and amounted to 3.2% of the cloth. As already stated 60% of the Madras was warp. One half of this, or 30% of the cloth, less 3.2% purchased, equal to 26.8% of the cloth, was dyed by the long chain system. The balance or 70% was dyed in raw stock. The addition of General Expense, etc., is also on the same plan, as with the cost of yarn, and also the cost of Stock, excepting that in the Madras the item of the additional cost of the yarn purchased solely for these goods. Deducting the value of the inventory of yarn the amount used was equal to .800 cent per pound. There were also two kinds of INIadras, one woven on plain looms, and one on drop box looms, but alike in all other respects, and hav- ing the same cost except for weaving. Having summed up the ]\Ianufacturing Costs, we may add Freight and Commissions. These differ from the Manufacturing Cost items in that they should equal the expense that has been, or will be incurred in the distribution of the goods, whether it has already been paid out or not. The total costs per pound for cloth, less margin for profit, are: Cheviot 14.908 cts. per lb. Print Cloth 21.690 " " " Madras, plain looms 27 . 1 88 " " " Madras, drop box looms . . . .28 .490 " " " As 170,000 lbs. of INIadras were woven on plain looms, and 80,- 000 lbs. on check looms, but were all sold at the same price, we are interested to find the average price of INIadras: (27 .188 cts. X 170,000) + (28 .490 X 80,000) - 250,000 = 27 .604 cts. per lb. The cost per yard may be obtained from the cost per pound by dividing by the yards per pound, as follows: Cheviot 14.908 ^ (2.15 + 2% = 2.193) = 6.S0 cts. per yard. Print Cloth 21.690 h- 7 = 3.10 cts. per yard. Madras 27.604 -=- 6 = 4.60 cts. per yard. 333 44 COST FIXDING These yards per pound are the figures obtained by dividing the pounds from the loom by the finished yards. And 2% is added to the cheviot because 2% has been gained in v^eight in process through the mill above the original proportion of stock, as previously noted. The computations have been long, complicated and laborious, and it is well to prove the substantial accuracy of the mathematical work, which may be done as follows: 100,000 lbs. No. 25 Warp at 15.512 cts. per lb . . . . $15,512.00 19,483.00 14,000.00 13,498.00 33,760.00 42,445 . 60 21,016.00 $159,714.60 Additional value Labor, and M. S. & P., inventory of . stock in process 1 ,439 .19 120,000 80,000 100,000 160,000 170,000 80,000 28 Skein " 16.236 ■i^ " " 17.500 Cheviot " 13.498 Print Cloth 21.100 Stripe Madr. 24.968 Check Madr. 26 . 270 Total Cost of Products, as computed 1161,153.79 Total Value, Mfg. Labor, from semi-annual cost sheets $40,777.25 " " Repairs, Labor, Material, Taxes, etc., see page 28 35,241 . 65 Depreciation alloAved , 11,000.00 Cotton, less increased inventory, see page 24 65,396.39 Waste, " " " " "24 6,693.05 Yarn, " " " 2,000 .00 Total Expenses Manufacturing $161,108 .34 The manager of the Enterprise Mills, having devised in outline the method above described, had it carried into effect, at the end of the half year. He discovered, however, that the bookkeeper, though efficient, was not sufficiently informed upon the mill work and proc- esses to carry out the scheme, without his own personal, strict super- vision, and that on the other hand the clerical work was far too great for him to do alone. One afternoon he called the superintendent and showed him the results, and asked him what he thought of them. "Well!" was the reply, 'T reckon they are all right, but it seems to be a mighty lot of work." "Yes," replied the manager, "it is. But I think in our condi- tion it is worth it, I would not bother with such fine points if we were making only a few yarns, as we began. But I want now, not an estimate of what goods have cost, but a computation. And while this method is not perfect, and we may yet improve it, no one can say that we have not considered practically all the items of cost in 334 COST FINDING 45 a rational way. Moreover, it has proved an "eye-opener" to me in many ways. We strive to keep down the labor costs, and rightly, and tliink the card room pay-roll a heavy one, but dp you realize that the Depreciation, Maintenance, Supplies and Power cost equally as much. Spinning Room labor cost is considerable, but its Maintenance, Supplies and Power are half as much again. In the light of these facts, how important it is to obtain and maintain the highest efficiency and production of our machinery and help. "We direct our energies to keep down the cost of supplies for the weave room, but their importance dwarfs in comparison with a ten per cent increase in the spinning room production, and, if this new method teaches us something r>f true values, it will not be in vain." 335 INDEX The page numbers of this volume will be found at the bottom of the pages; the numbers at the top refer only to the section. Corkscrew and double-twill weaves Cost finding Page 113 291-335 Actuating the harnesses Alternate drafts Application of color to fabrics Areas occupied by main figures Ari'angenient of figure 55 70 39 216 222 Cost sheets Cotton filling and woolen back Cotton sateen stripe Cut sections D Damask 324 — oou -328 126 101 25 B Backed cloths 125 67 Basket weaves 112 Damask patterns, exercises on 72 Binding 145 Design, from a written formula 47 Broken colors 287 Design paper, use of 11 Diagonals 15, 231 C Diamond patterns 254 Card cutting Casting out 205 208 Diaper work Distribution of pattern 67 214 Chinchilla 191 Double cloth 141 Classification of colors 282 Double-cloth design, laying out 154 Cloths Double draft 69 backed with filling 121 Double plain design 175 l^acked with warp 127 Doup 238 Color, theory of 281 Drafting, exercises in 76 Color eftects 39 Drafting and reduction 55 Coloring, textile 281 Dress goods design 48 Colors P application of to fabrics 39 classification of 282 Fancy leno designs 247 compound 282 Fancy 45-degree twills 20 secondary 283 Fancy twills 65 simple 282 Figiu-e, arrangement of 222 tertiary 283 Figured pique 200 combination of 288 Figures of the spectrum 286 formed with both warp and filling 226 Combination of colors 288 not square 229 Compound colors 282 Filling pile 185 Corduroy 187 Filling plush 186 Note. — For page numbers see foot of pages. 337 II INDEX Filling-effect, figured rib weaves Page 109 E Page Flushes 62 Relation of color to textiles 284 Full gauze 242 Reverse twills 66 G S Gauze 237 Sateen stripes 98 H Sateen tick stripe 99 Hairline Harness 176 48 Sateen weaves' exercises in 88 92 Harnesses, actuating tlie Heddles and eyes Hue I Influence of color on weaves Interlacing Intersections Irregular rib weaves 55 48 287 Satin Satinet Scaling Secondary colors 88 88 287 283 39 25 25 106 Simple colors Spectrum, colors of Spot weaves exercises in Standard and doup 282 286 179 35 238 J Steep and reclining twills 24 Jacquard designing 202 Swansdown weave 272 L T Laying out triple clotli design Leno 171 237 Tertiary colors Textile coloring 283 281 Leno designs 244 Textile design 11-289 fancy 247 Textiles, relation of color to 284 open-work 267 Theory of color 281 Leno stripes 274 Tliree-ply cloths 164 Luminous colors 287 Tones 286 M Triple cloth design, laying out 171 Main figures, areas occupied by Manufacturing labor N 216 315 Triple cloths Triple drafts Twill weaves 164 70 15 Neutral colors 2SS Twilling Twills 62 O Oblique rib weaves Open-work leno designs 110 267 fancy 45 degree steep and reclining V Value, color 20 24 Overchecks P 104 287 Pattern, distribution of 214 W Pique 195 Warp effect, figured rib weaves 108 Plain cloth 14 Warp figures with gaiize 260 Plain gauze 237 Warp pile 185 Plain rib weaves 106 Warp plush 189 Plan making, exercises in 31 Warping and dressing 49 Plush 185 Weaves Point draws 67 basket 112 Potentiality, color 287 corkscrew and double-twill 113 Note. — For page numbers see foot of pages. 338 M 23 19U2 /,'-^.^\ n;/ r' ^-v-s A r \t '; .i^ > VV }jB^ A A